title: Japanese dry garden

text: A recent suggestion by Gert van Tonder of Kyoto University and Michael Lyons of Ritsumeikan University is that the rocks of Ryōan-ji form the subliminal image of a tree. The researchers claim the subconscious mind is sensitive to a subtle association between the rocks. They suggest this may be responsible for the calming effect of the garden.


title: Japanese dry garden

text: Chinese landscape painting was one of the many Chinese arts that came to Japan with Zen Buddhism in the fourteenth century. That the Buddhism of Zen influenced garden design was first suggested not in Japan, but in the West by a Hawaiian garden journalist Loraine Kuck in the 1930s and disputed as such by a scholar of Japanese garden history, Wybe Kuitert in 1988. This was well before scholars jumped on the bandwagon in the 1990s to deconstruct the promotion and reception of Zen. The critique comes down to the fact that Buddhist priests were not trying to express Zen in gardens. A review of the quotes of Buddhist priests that are taken to "prove" Zen for the garden are actually phrases copied from Chinese treatises on landscape painting. Secondary writers on the Japanese garden like Keane and Nitschke, who were associating with Kuitert when he was working on his research at the Kyoto University joined the Zen garden critique, like Kendall H. Brown, who took a similar distance from the Zen garden. In Japan the critique was taken over by Yamada Shouji who took a critical stance to the understanding of all Japanese culture, including gardens, under the nominator of Zen. Christian Tagsold summarized the discussion by placing perceptions of the Japanese garden in the context of an interdisciplinary comparison of cultures of Japan and the West.


title: Japanese dry garden

text: Zen priests quote from Chinese treatises on landscape painting indicating that the Japanese rock garden, and its karesansui garden scenery was and still is inspired by or based on first Chinese and later also Japanese landscape painting. Landscape painting and landscape gardening were closely related and practiced by intellectuals, the literati inspired by Chinese culture. A primary design principle was the creation of a landscape based on, or at least greatly influenced by, the three-dimensional monochrome ink ("sumi") landscape painting, "sumi-e" or "suiboku-ga". In Japan the garden has the same status as a work of art. Though each garden is different in its composition, they mostly use rock groupings and shrubs to represent a classic scene of mountains, valleys and waterfalls taken from Chinese landscape painting. In some cases it might be as abstract as just a few islands in a sea. Any Japanese garden may also incorporates existing scenery outside its confinement, e.g. the hills behind, as "borrowed scenery" (using a technique called "Shakkei").


title: 1950 United States census

text: The United States census of 1950, conducted by the Census Bureau, determined the resident population of the United States to be 150,697,361, an increase of 14.5 percent over the 131,669,275 persons enumerated during the 1940 census.


title: 1950 United States census

text: On April 1, 2022, the National Archives and Records Administration released scanned census enumeration sheets to the general public, in accordance with the 72 year rule.


title: 1950 United States census

text: In addition, a sample of individuals were asked additional questions covering income, marital history, fertility, and other topics. Full documentation on the 1950 census, including census forms and a procedural history, is available from the Integrated Public Use Microdata Series.


title: 1950 United States census

text: Microdata from the 1950 census are freely available through the Integrated Public Use Microdata Series. Aggregate data for small areas, together with electronic boundary files, can be downloaded from the National Historical Geographic Information System. Personally identifiable information became available in April 2022.


title: 1950 United States census

text: On April 1, 2022, 72 years after the census was taken, the National Archives and Records Administration released scanned census enumeration sheets to the general public. Soon after, census data will also be made freely searchable by name at other websites.


title: Joe Simon

text: Joseph Henry Simon (October 11, 1913 – December 14, 2011) was an American comic book writer, artist, editor, and publisher. Simon created or co-created many important characters in the 1930s–1940s Golden Age of Comic Books and served as the first editor of Timely Comics, the company that would evolve into Marvel Comics.


title: Joe Simon

text: With his partner, artist Jack Kirby, he co-created Captain America, one of comics' most enduring superheroes, and the team worked extensively on such features at DC Comics as the 1940s Sandman and Sandy the Golden Boy, and co-created the Newsboy Legion, the Boy Commandos, and Manhunter. Simon and Kirby creations for other comics publishers include Boys' Ranch, Fighting American and the Fly. In the late 1940s, the duo created the field of romance comics, and were among the earliest pioneers of horror comics. Simon, who went on to work in advertising and commercial art, also founded the satirical magazine "Sick" in 1960, remaining with it for over a decade. He briefly published with DC Comics in the 1970s.


title: Joe Simon

text: Joe Simon was born in 1913 as Hymie Simon and raised in Rochester, New York, the son of Harry Simon, who had emigrated from Leeds, England, in 1905, and Rose (Kurland), whom Harry met in the United States. Harry Simon moved to Rochester, then a clothing-manufacturing center where his younger brother Isaac lived, and the couple had a daughter, Beatrice, in 1912. A poor Jewish family, the Simons lived in "a first-floor flat which doubled as my father's tailor shop". Simon attended Benjamin Franklin High School, where he was art director for the school newspaper and the yearbook – earning his first professional fee as an artist when two universities each paid $10 publication rights for his art deco, tempera splash pages for the yearbook sections.


title: Joe Simon

text: Upon graduation in 1932, Simon was hired by "Rochester Journal-American" art director Adolph Edler as an assistant, replacing Simon's future comics colleague Al Liederman, who had quit. Between production duties, he did occasional sports and editorial cartoons for the paper. Two years later, Simon took an art job at the "Syracuse Herald" in Syracuse, New York, for $45 a week, supplying sports and editorial cartoons there as well. Shortly thereafter, for $60 a week, he succeeded Liederman as art director of a paper whose name Simon recalled in his 1990 autobiography as the "Syracuse Journal American", although the "Syracuse Journal" and the "Syracuse Sunday American", were the separate weekday and Sunday papers, respectively. The paper soon closed, and Simon, at 23, ventured to New York City.


title: Joe Simon

text: There, Simon took a room at the boarding house Haddon Hall, in the Morningside Heights neighborhood of Manhattan, near Columbia University. At the suggestion of the art director of the "New York Journal American", he sought and found freelance work at Paramount Pictures, working above the Paramount Theatre on Broadway, retouching the movie studio's publicity photos. He also found freelance work at Macfadden Publications, doing illustrations for "True Story" and other magazines. Sometime afterward, his boss, art director Harlan Crandall, recommended Simon to Lloyd Jacquet, head of Funnies, Inc., one of that era's comic-book "packagers" that supplied comics content on demand to publishers testing the new medium. That day, Simon received his first comics assignment, a seven-page Western.


title: Joe Simon

text: Four days later, Jacquet asked Simon, at the behest of Timely Comics publisher Martin Goodman, to create a flaming superhero like Timely's successful character the Human Torch. From this came Simon's first comic-book hero, the Fiery Mask. Simon used the pseudonym Gregory Sykes on at least one story during this time, "King of the Jungle", starring Trojak The Tiger Man, in Timely's "Daring Mystery Comics" #2 (Feb. 1940).


title: Joe Simon

text: During this time, Simon met Fox Feature Syndicate comics artist Jack Kirby, with whom he would soon have a storied collaboration lasting a decade-and-a-half. Speaking at a 1998 Comic-Con International panel in San Diego, California, Simon recounted the meeting:


title: Joe Simon

text: and remained a team across the next two decades. In the early 2000s, original art for an unpublished, five-page Simon and Kirby collaboration titled "Daring Disc", which may predate the duo's "Blue Bolt", surfaced. Simon published the story in the 2003 updated edition of his autobiography, "The Comic Book Makers".


title: Joe Simon

text: After leaving Fox and landing at pulp magazine publisher Martin Goodman's Timely Comics (the future Marvel Comics), where Simon became the company's first editor, the Simon and Kirby team created the seminal patriotic hero Captain America. "Captain America Comics" #1 (March 1941), going on sale in December 1940 – a year before the bombing of Pearl Harbor but already showing the hero punching Hitler in the jaw – sold nearly one million copies. They remained on the hit series as a team through issue #10, and were established as a notable creative force in the industry. After the first issue was published, Simon asked Kirby to join the Timely staff as the company's art director.


title: Joe Simon

text: Despite the success of the Captain America character, Simon felt Goodman was not paying the pair the promised percentage of profits, and so sought work for the two of them at National Comics, (later named DC Comics). Simon and Kirby negotiated a deal that would pay them a combined $500 a week, as opposed to the $75 and $85 they respectively earned at Timely. Fearing that Goodman would not pay them if he found out they were moving to National, the pair kept the deal a secret while they continued producing work for the company. At some point during this time, the duo also produced Fawcett Comics' "Captain Marvel Adventures" #1 (1941), the first complete comic book starring Captain Marvel following the character's run as star of the superhero anthology "Whiz Comics".


title: Joe Simon

text: Kirby and Simon spent their first weeks at National trying to devise new characters while the company sought how best to utilize the pair. After a few failed editor-assigned ghosting assignments, National's Jack Liebowitz told them to "just do what you want". The pair then revamped the Sandman feature in "Adventure Comics" and created the superhero Manhunter. In July 1942 they began the "Boy Commandos" feature. The ongoing "kid gang" series "Boy Commandos", launched later that same year, was the team's first National feature to graduate into its own title. It sold over a million copies a month, becoming National's third best-selling title. They also scored a hit with the homefront kid-gang team, the Newsboy Legion in "Star-Spangled Comics". In 2010, DC Comics writer and executive Paul Levitz observed that "Like Jerry Siegel and Joe Shuster, the creative team of Joe Simon and Jack Kirby was a mark of quality and a proven track record."


title: Joe Simon

text: Harry Mendryk, art restorer on Titan Books' Simon and Kirby series of hardcover collections, believes Simon used the pseudonym Glaven on at least two covers during this time: those of Harvey Comics' "Speed Comics" #22 and "Champ Comics" #22 (both Sept. 1942), though the Grand Comics Database does not independently confirm this. Mendryk also believes that both Kirby and Simon used the pseudonym Jon Henri on a handful of other 1942 Harvey comics, as does "Who's Who in American Comic Books 1929–1999".


title: Joe Simon

text: Simon enlisted in the U.S. Coast Guard during World War II. He said in his 1990 autobiography that he was first assigned to the Mounted Beach Patrol at Long Beach Island, off Barnegat, New Jersey, for a year before being sent to boot camp near Baltimore, Maryland, for basic training. Afterward, he reported for duty with the Combat Art Corps in Washington, D.C., part of the Coast Guard Public Information Division. He was stationed there in 1944 when he met "New York Post" sports columnist Milt Gross, who was with the Coast Guard Public Relations Unit, and the two became roommates in civilian housing. Pursuant to his unit's mission to publicize the Coast Guard, Simon created a true-life Coast Guard comic book that DC agreed to publish, followed by versions syndicated nationally by "Parents" magazine in Sunday newspaper comics sections, under the title "True Comics". This led to his being assigned to create a comic book aimed at driving Coast Guard recruitment. With Gross as his writer collaborator, Simon produced "Adventure Is My Career", distributed by Street and Smith Publications for sale at newsstands.


title: Joe Simon

text: Returning to New York City after his discharge, Simon married Harriet Feldman, the secretary to Harvey Comics' Al Harvey. The Simons and the now-married Kirby and his wife and first child moved to houses diagonally across from each other on Brown Street in Mineola, New York, on Long Island, where Simon and Kirby each worked from a home studio.


title: Joe Simon

text: As superhero comics waned in popularity after the end of World War II, Simon and Kirby began producing a variety of stories in many genres. In partnership with Crestwood Publications, they developed the imprint Prize Group, through which they published "Boys' Ranch" and launched an early horror comic, the atmospheric and non-gory series "Black Magic". The team also produced crime and humor comics, and are credited as well with publishing the first romance comics title, "Young Romance", starting a successful trend.


title: Joe Simon

text: At the urging of a Crestwood salesman, Kirby and Simon launched their own comics company, Mainline Publications, in late 1953 or early 1954, subletting space from their friend Al Harvey's Harvey Publications at 1860 Broadway. Mainline published four titles: the Western "Bullseye: Western Scout"; the war comic "Foxhole", since EC Comics and Atlas Comics were having success with war comics, but promoting theirs as being written and drawn by actual veterans; "In Love", since their earlier romance comic "Young Love" was still being widely imitated; and the crime comic "Police Trap", which claimed to be based on genuine accounts by law-enforcement officials. Bitter that Timely Comics' 1950s iteration, Atlas Comics, had relaunched Captain America in a new series in 1954, Kirby and Simon created "Fighting American". Simon recalled, "We thought we'd show them how to do Captain America". While the comic book initially portrayed the protagonist as an anti-Communist dramatic hero, Simon and Kirby turned the series into a superhero satire with the second issue, in the aftermath of the Army-McCarthy hearings and the public backlash against the Red-baiting U.S. Senator Joseph McCarthy.


title: Joe Simon

text: The partnership ended in 1955 with the comic book industry beset by self-imposed censorship, negative publicity, and a slump in sales. Simon "wanted to do other things and I stuck with comics," Kirby recalled in 1971. "It was fine. There was no reason to continue the partnership and we parted friends." Simon turned primarily to advertising and commercial art, while dipping back into comics on occasion. The Simon and Kirby team reunited briefly in 1959 with Simon writing and collaborating on art for Archie Comics, where the duo updated the superhero the Shield in the two-issue "The Double Life of Private Strong" (June–Aug. 1959), and Simon created the superhero the Fly; they went on to collaborate on the first two issues of "The Adventures of the Fly" (Aug.–Sept. 1959), and Simon and other artists, including Al Williamson, Jack Davis, and Carl Burgos, did four issues before Simon moved on to work in commercial art.


title: Joe Simon

text: Through the 1960s, Simon produced promotional comics for the advertising agency Burstein and Newman, becoming art director of Burstein, Phillips and Newman from 1964 to 1967. Concurrently, in 1960, he founded the satirical magazine "Sick", a competitor of "Mad" magazine, and edited and produced material for it for over a decade.


title: Joe Simon

text: During this period, known to fans and historians as the Silver Age of Comic Books, Simon and Kirby again reteamed for Harvey Comics in 1966, updating Fighting American for a single issue (Oct. 1966). Simon, as owner, packager, and editor, also helped launch Harvey's original superhero line, with "Unearthly Spectaculars" #1–3 (Oct. 1965 – March 1967) and "Double-Dare Adventures" #1–2 (Dec. 1966 – March 1967), the latter of which introduced the influential writer-artist Jim Steranko to comics.


title: Joe Simon

text: In 1968, Simon created the two-issue DC Comics series "Brother Power the Geek", about a mannequin given a semblance of life who wanders philosophically through 1960s hippie culture; Al Bare provided some of the art. "Superman" editor Mort Weisinger harbored an admitted dislike for the hippie subculture of the 1960s and felt that Simon portrayed them too sympathetically which helped to bring a quick end to the title. Simon and artist Jerry Grandenetti then created DC's four-issue "Prez" (Sept. 1973 – March 1974), about America's first teen-age president and the three-issue "Champion Sports" (Nov. 1973 – March 1974). That same year, Simon returned to the romance genre as editor of "Young Romance" and "Young Love" and oversaw a "Black Magic" reprint series.


title: Joe Simon

text: Simon and Kirby teamed one last time later that year, with Simon writing the first issue (Winter 1974) of a six-issue new incarnation of the Sandman. Simon and Grandenetti then created the Green Team: Boy Millionaires in the DC anthology series "1st Issue Special" #2 (May 1975), and the freakish Outsiders in "1st Issue Special" #10 (Jan. 1976).


title: Joe Simon

text: In the 2000s, Simon turned to painting and marketing reproductions of his early comic book covers. He appeared in various news media in 2007 in response to Marvel Comics' announced "death" of Captain America in "Captain America" vol. 5, #25 (March 2007), stating, "It's a hell of a time for him to go. We really need him now".


title: Joe Simon

text: For a concept called ShieldMaster, created by Jim Simon, Joe Simon provided prototype art. A ShieldMaster graphic novel was in production by Organic Comix in 2010 and was scheduled for release in 2011; ShieldMaster comics continue to be published in France and the United States.


title: Joe Simon

text: Simon is among the interview subjects in "Superheroes: A Never-Ending Battle", a three-hour documentary narrated by Liev Schreiber that premiered posthumously on PBS in October 2013.


title: Joe Simon

text: Simon's grandchildren attended the Los Angeles premiere of "" and called Simon from the red carpet when his name was announced as creator of the character.


title: Joe Simon

text: In 2000, American writer Michael Chabon published "The Amazing Adventures of Kavalier and Clay", a Pulitzer Prize-winning novel that loosely alluded to elements of the partnership of Joe Simon and Jack Kirby, among others.


title: Joe Simon

text: Simon was married to Harriet Feldman, with whom he lived on Brown Street in Mineola, New York, on Long Island. The Simons had two sons and three daughters.


title: General Electric J79

text: The General Electric J79 is an axial-flow turbojet engine built for use in a variety of fighter and bomber aircraft and a supersonic cruise missile. The J79 was produced by General Electric Aircraft Engines in the United States, and under license by several other companies worldwide. Among its major uses was the F-104 Starfighter, B-58 Hustler, F-4 Phantom II, A-5 Vigilante and IAI Kfir.


title: General Electric J79

text: A commercial version, designated the CJ805, powered the Convair 880, while an aft-turbofan derivative, the CJ805-23, powered the Convair 990 airliners and a single Sud Aviation Caravelle intended to demonstrate to the U.S. market the benefits of a bypass engine over the existing Avon turbojet.


title: General Electric J79

text: In 1959 the gas generator of the J79 was developed as a stationary 10MW-class () free-turbine turboshaft engine for naval power, power generation, and industrial use, called the LM1500. Its first application was in the research hydrofoil .


title: General Electric J79

text: By the late 1940s, jet engine design had progressed to the point where further progress was limited by the performance of its compressor, in particular the pressure ratio of the compressor had to be increased to reduce the engine fuel consumption. However, the useful operating range of the compressor was limited at that time and centered around its design condition which is at a high compressor speed for take-off or cruise. If designed for high efficiency at high speeds it was very inefficient and prone to stall at low speeds.


title: General Electric J79

text: In 1944 the National Advisory Committee for Aeronautics had tested a theory for "Extending the useful operating range of axial-flow compressors by use of adjustable stator blades" by running an eight-stage axial compressor with pressure ratio 3.42:1 and adjustable blade angles. Considerable improvement in efficiencies were obtained at compressor speeds appreciably below the design speed.


title: General Electric J79

text: Departures of velocity from the design condition are most noticeable in the first stages at low rpm and become more so as the design pressure ratio is increased leading to blade stall and compressor surging as happened with the Rolls-Royce Avon compressor, with design pressure ratio of 6.3:1 in 1949. In 1947 Geoff Wilde, a Rolls-Royce compressor designer, had applied for a patent "Axial flow compressor regulation" "to provide a compressor with a wide speed-range of operation". An experimental 12-stage compressor was built with the inlet guide vanes and first four rows of stator blades adjustable to lower the air incidence angles while running at low speed. It was very effective in overcoming the stall and surge. However, a simpler mechanical-design solution (variable inlet guide vanes and bleed) had already been shown to work with the required design pressure ratio so variable stators were not used in a Rolls-Royce engine until the 1980s (V2500).


title: General Electric J79

text: By 1950 General Electric was focussing on supersonic engines with variable stators as a result of design studies which compared them with dual-rotor types. Based on their past experience at that time, and estimation of the development effort required to prove new technologies, variable stators promised the best way of designing the compressor for the high required pressure ratio of 12:1. This pressure ratio was needed to achieve the supersonic performance, subsonic cruise performance and low weight necessary for future supersonic aircraft.


title: General Electric J79

text: In 1951, a General Electric team led by Gerhard Neumann, at that time in charge of engine development testing, was given funding to build a test compressor with variable stators. In addition, the Aircraft Gas Turbine Division lead, C.W. 'Jim' LaPierre, formed two teams to do design studies for an engine that could run for extended periods at Mach 2.0 while still giving good fuel economy while cruising at Mach 0.9. Neumann led a team using a variable stator configuration, while Chapman Walker led a parallel effort using two-spools. After a years study the engine with variable stators was chosen as it was lighter, simpler and had a smaller diameter. A demonstrator engine with variable stators, the GOL-1590, predecessor to the J79 was built. At the same time a new engine, the X-24A, was designed for a supersonic aircraft and selected by the Air Force. Development of the new engine was supported by running the GOL-1590 demonstrator engine.


title: General Electric J79

text: GE won the Air Force contract for a new engine with approximately 14,000 pounds thrust, with afterburning, to power a new supersonic bomber, which became the Convair B-58 Hustler. The two other engines offered by GE, an advanced version of the existing J73 and a much larger design, known as the J77, were both cancelled. The first prototype of the production version, XJ-79, ran on 8 June 1954.


title: General Electric J79

text: The first flight of the engine was on 20 May 1955 with the engine installed in a J47-powered B-45C "(48-009)". In flight the J79 was lowered from the bomb bay into the airstream for testing. The first flight after the 50-hour qualification test, required for a new engine that is the sole source of thrust for a flying testbed, was on 8 December 1955, powering the second pre-production Douglas F4D Skyray, with the J79 in place of its original Westinghouse J40 engine as part of the General Electric development and qualification program. The YF-104 was the next airplane to fly with the J79 followed by a re-engined Grumman F11F Tiger in a Navy-sponsored program to gain experience with the engine before the first flight of the F4H (F-4).


title: General Electric J79

text: The J79 was used on the F-104 Starfighter, B-58 Hustler, F-4 Phantom II, A-5 Vigilante, IAI Kfir and SSM-N-9 Regulus II supersonic cruise missile. It was produced for more than 30 years. Over 17,000 J79s were built in the US, and under license in Belgium, Canada, Germany, Israel, Italy, and Japan. A downgraded version of the F-16 Fighting Falcon with a J79 was proposed as a low-cost fighter for export, and though a prototype aircraft was flown, it found no customers.


title: General Electric J79

text: The J79 was replaced by the late 1960s in new fighter designs by afterburning turbofans such as the Pratt & Whitney TF30 used in the F-111 and F-14, and newer generation turbofans with the Pratt & Whitney F100 used in the F-15 Eagle which give better cruise fuel efficiency by-passing air around the core of the engine.


title: General Electric J79

text: For their part in designing the J79, Gerhard Neumann and Neil Burgess of General Electric Aircraft Engines were jointly awarded the Collier Trophy in 1958, also sharing the honor with Clarence Johnson (Lockheed F-104) and the US Air Force (Flight Records).


title: General Electric J79

text: The compressor blades and vanes are made of 403 stainless steel, except for the -3B and -7A variants, which have A286 vanes at stages 7 through 17. The compressor rotor is made of Lapelloy, B5F5 and titanium.


title: General Electric J79

text: The J79 makes a particular howling sound at certain throttle settings. This strange feature led to the NASA operated F-104B Starfighter, "N819NA", being named "Howling Howland". Early engines also produced noticeable quantities of smoke, especially at mid-throttle/cruise settings, a disadvantage in combat aircraft making them vulnerable to visual detection. Later models were redesigned to be "smokeless".


title: General Electric J79

text: The turboshaft counterpart to the J79 is the General Electric LM1500, used for land and marine applications. Many J79 derived engines have found uses as gas turbine power generators in remote locations, in applications such as powering pipelines.


title: General Electric J79

text: The J79 has two commercial derivatives: CJ805-3 (a non-afterburning engine, fitted with thrust reverser and sound suppressor), and the CJ805-23 (with a free-wheeling aft fan and thrust reverser) fitted to the Convair CV-880 and the Convair CV-990 respectively.


title: General Electric J79

text: J79 engines may be started using compressed air directly on the engine turbine blades or by using a turbine starter attached to the accessory gearbox. The gas used in this starter is either compressed air or from a solid propellant cartridge.


title: 2022 FIFA World Cup qualification – UEFA Group F

text: The 2022 FIFA World Cup qualification UEFA Group F was one of the ten UEFA groups in the World Cup qualification tournament to decide which teams would qualify for the 2022 FIFA World Cup finals tournament in Qatar. Group F consisted of six teams: Austria, Denmark, the Faroe Islands, Israel, Moldova and Scotland. The teams played against each other home-and-away in a round-robin format.


text: The group winners, Denmark, qualified directly for the World Cup finals, while the runners-up, Scotland, and the fourth placed team, Austria, advanced to the second round (play-offs).


text: The fixture list was confirmed by UEFA on 8 December 2020, the day following the draw. Times are CET/CEST, as listed by UEFA (local times, if different, are in parentheses).


title: Public holidays in France

text: There are 11 official public holidays in France. The Alsace region and the Moselle department observe 2 additional days. These holidays do not shift when they fall during a week-end, which means that the average number of observed public holidays "falling on weekdays" is 8.7 and ranges from 7 to 10. Most Asian countries and all North American countries observe between 2 and 10 more public holidays per year "on weekdays".


title: Public holidays in France

text: "Note:" French law dictates that work should stop, but be paid, only for the "Fête du Travail" (May Day, 1 May), except in industries where it is infeasible to stop working. The rest of the public holidays are listed in statute law, but law does not dictate that work should stop; however a leave from work may be granted by the employer or by "convention collective" (agreement between employers' and employees' unions).


title: Public holidays in France

text: In 2005, French prime minister Jean-Pierre Raffarin removed Pentecost (Whit) Monday's status as a public holiday. This decision was eventually overruled by French courts in 2008. Employers are free to decide whether to make Whit Monday a day off or not.


title: Joachim Andersen (footballer)

text: Joachim Christian Andersen (; born 31 May 1996) is a Danish professional footballer who plays as a centre-back for Premier League club Crystal Palace and the Denmark national team.


title: Joachim Andersen (footballer)

text: Andersen started playing football at the age of four for local club Greve Fodbold, where he played from 2000 until 2009. He then joined Copenhagen’s academy, School of Excellence, before leaving for Midtjylland when he was 15.


title: Joachim Andersen (footballer)

text: At Midtjylland he moved into the talent academy in Ikast where players like Simon Kjær, Winston Reid, Erik Sviatchenko, Viktor Fischer and Pione Sisto had stayed before him.


title: Joachim Andersen (footballer)

text: In April 2013, before he had made his first team debut with Midtjylland, Twente sent out scouts to observe Andersen, and offered him a one-week trial, which he accepted. Four months later, he signed a youth contract with FC Twente for a fee rumored to be around 5 million Danish kroner (€650,000). The plan was to start in the youth team in order to acclimatise, and progress to the senior sides after about 6 months.


title: Joachim Andersen (footballer)

text: Though he was still an under-19 player he was promoted to the senior team and on 8 November 2013, Andersen made his first appearance for Jong Twente playing the whole match. He did not play any matches for the first team in his first season, but already in his second year at the club he was promoted to train with the first team squad with players like Dušan Tadić, Hakim Ziyech, Jesús Manuel Corona, Quincy Promes, Andreas Bjelland, Kasper Kusk and Kamohelo Mokotjo.


title: Joachim Andersen (footballer)

text: On 7 March 2015, he got his chance in the first team debuting against Willem II, and playing the last 20 minutes. A week later, he signed a new contract with Twente until 2018. In 2015, Andersen won the prize for U19 talent of the year by the Danish Football Association.


title: Joachim Andersen (footballer)

text: On 22 March, he was named in the starting eleven against Groningen and scored his first goal for the first team. He slowly got more and more time on the pitch for the first team. He continued his development and became almost a regular part of the first team squad in the 2015–16 season.


title: Joachim Andersen (footballer)

text: On 26 August 2017, Andersen signed a contract with Serie A club Sampdoria. He had offers from other clubs in different leagues but chose Sampdoria to develop in Serie A.


title: Joachim Andersen (footballer)

text: Andersen made his debut on 25 February 2018, in a match against Udinese. He played seven more matches that season and from the beginning of the 2018–19 season he became a regular starter attracting attention from bigger clubs. In his second season he only missed one game due to a ban. Sampdoria offered him a new contract until summer 2022 which he signed on 8 November 2018.


title: Joachim Andersen (footballer)

text: On 12 July 2019, Andersen signed a five-year contract with French side Olympique Lyonnais. The transfer fee amounted to €30 million (24 + 6 million in bonuses), meaning Andersen became Lyon’s record transfer. It was also a record high transfer fee for a Danish football player.


title: Joachim Andersen (footballer)

text: On 2 October, he made his debut in the Champions League against RB Leipzig, and on 11 November he scored his first Champions League goal in the 3–1 win against Benfica.


title: Joachim Andersen (footballer)

text: On 5 October 2020, Andersen joined Premier League club Fulham on a season-long loan. On 19 December 2020, Andersen was sent off in a 1–1 draw with Newcastle United, receiving a second yellow when he gave away a controversial penalty for a foul on Callum Wilson which was dispatched by the latter. Andersen was nominated for the league's Player of the Month award for February 2021 after a number of impressive defensive displays that saw Fulham concede just three goals in six matches as they picked up a vital nine points in their fight against relegation. On 19 March 2021, Andersen scored his first Fulham goal in a 1–2 home league defeat to Leeds United.


title: Joachim Andersen (footballer)

text: On 28 July 2021, Crystal Palace announced the signing of Andersen on a five-year deal for a fee of €17.5 million with €2.5 million add-on bonuses and a 12.5% sell on fee.


title: Joachim Andersen (footballer)

text: He represented Denmark at U16, U17, U19, U20, and U21 levels before he was called up to the senior team for matches against Kosovo and Switzerland in March 2019. On 15 October 2019, he earned his first national team cap when Denmark beat Luxembourg 4–0.


title: Joachim Andersen (footballer)

text: Andersen is considered a great ball playing defender with the ability to play in both right and left side of the central defense and even in defensive midfield. In the 2018–19 season, Inter Milan midfielder Marcelo Brozović was the only player in Serie A with more accurate long passes than Andersen.


title: Baek Ye-rin

text: Baek Ye-rin (Korean:백예린; born June 26, 1997), also credited as Yerin Baek, is a South Korean singer-songwriter. A former member of duo 15&, she debuted as a solo artist with the mini album "Frank", in 2015. Known for her delicate and sweet vocals, since 2015, she has had eight singles peak in the top ten on Gaon Digital Chart. A singer-songwriter, Baek is credited with composing and writing the lyrics for the majority of her songs, often touching on personal topics and writing from real-life experiences. In addition to her solo career, she is also the front person for Korean rock band The Volunteers and has been performing with them from 2018 onwards.


title: Baek Ye-rin

text: Baek was born on June 26, 1997, in Jung District, Daejeon. While a trainee under JYP Entertainment, she spent two years living in New York where her family now lives. She graduated from Hanlim Multi Art School in February 2016 alongside 15& member Park Ji-min and Kim Yu-gyeom of Got7.


title: Baek Ye-rin

text: In a 2007 episode of the SBS variety show "Amazing Contest Star King", Baek performed "Listen" by Beyoncé and was labeled a "contemporary R&B genius". Baek Ye-rin, who appeared on the stage as a "10-year-old ballad genius", surprised the cast and viewers. After her "Star King" appearance, Baek decided to audition for JYP Entertainment. She performed "Listen" on the audition day, and later won the second place, behind only 2PM's Jang Woo-young. She spent five years (2007–2012) training in South Korea and the United States, and was called a "genius girl" for her vocal talent, skills in using the piano and fluency in the English language.


title: Baek Ye-rin

text: On September 27, 2012, JYP revealed Baek would debut as part of a duo along with Park Ji-min called 15&. October 5 marked Baek's debut date and on October 7, 15& debuted with their first single, "I Dream", on SBS "Inkigayo". The duo began a four-year hiatus in February 2015 and disbanded following Park's departure from JYP Entertainment.


title: Baek Ye-rin

text: In 2015, she planned a solo album for the music style she pursued and met Cloud, a producer of Cheeze. At the first meeting, Baek Yerin did not know Cloud, but he said that he was a fan of Baek Yerin, and later he was able to meet her with the introduction of his agency. In November 2015, Baek debuted as a solo artist with her first extended play, "Frank", with the lead single titled "Across the Universe". The lead song's lyrics were inspired by the film "The Martian".


title: Baek Ye-rin

text: Baek released her first digital single titled "Bye Bye My Blue" on June 20, 2016. Her follow-up digital single titled "Love You on Christmas" was released on December 7.


title: Baek Ye-rin

text: As Baek continued to feature on songs by popular artists, she also began performing covers and her own unreleased songs at festivals. In 2018, she formed The Volunteers with members of the independent rock band Bye Bye Badman, and released their first EP, the post-grunge rock "Vanity & People". The Seoul-based rock band consists of vocalist and guitarist Baek, bassist Hyungseok Koh, guitarist Jonny, and drummer Chiheon Kim. Like the majority of Baek's post-JYP solo work, The Volunteer's lyrics are written entirely in English.


title: Baek Ye-rin

text: Baek released her second mini-album, "Our Love Is Great", on March 18, 2019. The following day, her title track "Maybe It's Not Our Fault" went to the top of all eight domestic music sites' realtime charts. "Our Love is Great" and lead track "Maybe It's Not Our Fault" won Album of the Year, Best Pop Album, and Best Pop Song respectively at the 2020 Korean Music Awards.


title: Baek Ye-rin

text: Baek also contributed to the soundtrack of the popular 2019 K-drama Crash Landing on You, with an original ballad, "Here I am Again." The song peaked at #6 on Billboard's K-pop Hot 100 chart, her highest position on the chart yet.


title: Baek Ye-rin

text: On September 13, 2019, Baek announced her contract with JYP Entertainment had finished, and that she was leaving to create her own independent record label, Blue Vinyl.


title: Baek Ye-rin

text: Baek officially launched her own label, Blue Vinyl, on November 6, and on November 22 she released her first single through the label, "Popo (How Deep Is Your Love)""." In the build up to Baek's new album, it was revealed that songs which had previously been released on her SoundCloud would feature on the new release, as well as new, never-heard-before tracks.


title: Baek Ye-rin

text: On December 10, 2019, Baek released the first studio album and first double album "Every letter I sent you." with 17 out of the 18 songs being written in English. Her next single "Square (2017)" also made Baek the first South Korean artist to top charts with a song in English. The track went on to score an 'all kill', where an artist tops the daily and realtime charts of Melon, Genie, Bugs, and Soribada; and the realtime charts of Flo and iChart. As well as "Square (2017)" finding success, the album also topped charts in South Korea. Baek was awarded Top 10 artist and Best R&B/Soul for her track "Square (2017)" at the 12th Melon Music Awards in 2020, as well as Best Pop Album for "Every letter I sent you." at the 2021 Korean Music Awards.


title: Baek Ye-rin

text: In February 2020, her first solo concert, "Turn on that Blue Vinyl", was a success. As tickets for about 4,400 seats were sold out in 30 seconds, it is an example of how Baek Yerin's reputation is clearly different from before.


title: Baek Ye-rin

text: On December 10, 2020, exactly one year after her previous album, Baek Yerin released her second studio album "tellusboutyourself", consisting of 14 tracks. The first single "0415" also came with a music video on the same day. Overall 5 music videos ("0415", "Hate You", "I'll be your family!", "I'm in love", and "You're so lonely now, so you need me back by your side again") were released along with the album. The album features a both a wider range of musical genres and lyrical themes than her previous work.


title: Baek Ye-rin

text: On February 16, 2021, Baek released "tellusboutyourself (remixes)", a digital EP featuring 6 remixed tracks.


title: Baek Ye-rin

text: Her band The Volunteers launched their self-titled debut album under Blue Vinyl on May 27, 2021, after previously making their music solely available through SoundCloud and YouTube. The album draws influence from rock acts such as Oasis, Red Hot Chili Peppers and the Beatles, while sonically channelling "a sense of rebellion".


title: Baek Ye-rin

text: Baek has cited Amy Winehouse, Oasis, Avril Lavigne, Rage Against the Machine, as well as Korean artists BoA, Light & Salt, and Yoo Jae Ha among her many varied influences. She named her first album as a solo artist, "Frank", as a tribute to Amy Winehouse, whose debut album shared the same name.


title: Baek Ye-rin

text: On her decision to write most of her recent songs in English, Baek explains her intentions as wanting to make her music accessible to international fans, plans for an international tour, and the influence English-language artists have had on her style and music. In a 2021 interview she mentioned that it is her dream to perform in the home countries of the many western artists that inspired her.


title: Baek Ye-rin

text: Whether in English or Korean, Baek is known for her candid and straightforward lyrics. On her lyrical inspiration for her most recent album, Baek cites the poetic metaphors of Blossom Dearie and the straightforward style of Amy Winehouse as influences.


title: Goldeneye (estate)

text: Goldeneye is the original name of novelist Ian Fleming's estate on Oracabessa bay on the northern coastline of Jamaica. He bought adjacent to the Golden Clouds estate in 1946 and built his home on the edge of a cliff overlooking a private beach. The three-bedroom structure was constructed from Fleming's sketch, fitted with wooden jalousie windows and a swimming pool. Fleming's visitors at Goldeneye included actors, musicians, and filmmakers. The property now operates as Goldeneye Hotel and Resort, consisting of Fleming's main house and several cottages.


title: Goldeneye (estate)

text: The estate is located in the Oracabessa Bay Fish Sanctuary, established in 2011 to protect the area's marine ecosystem. It is adjacent to James Bond Beach.


title: Goldeneye (estate)

text: In spite of its obvious proximity to Golden Clouds, Fleming claimed a number of origins for the name Goldeneye, including Carson McCullers's 1941 novel, "Reflections in a Golden Eye" and Operation Goldeneye, a Second World War era contingency plan Fleming had developed in case of a Nazi invasion of Gibraltar through Spain.


title: Goldeneye (estate)

text: Fleming joined "The Sunday Times" in 1946, for which he oversaw the paper's worldwide network of correspondents. He negotiated a contract whereby he could spend three months of each year at Goldeneye. Here he entertained Ann Fleming. Ann was then married to Lord Rothermere, who thought Ann was staying with Noël Coward.


title: Goldeneye (estate)

text: On 17 February 1952, Fleming began writing his first Bond novel, "Casino Royale", at Goldeneye. For the next twelve years, Fleming wrote all his Bond stories there. A number of the Bond movies, including "Dr. No" and "Live and Let Die", were filmed near the estate.


title: Goldeneye (estate)

text: In 1956 British Prime Minister Sir Anthony Eden and his wife Clarissa spent a month at Goldeneye after Eden's health collapsed in the wake of the Suez Crisis. The attendant publicity helped to boost Fleming's writing career.


title: Goldeneye (estate)

text: In 1976, twelve years after Ian Fleming's death, the property was sold to reggae musician Bob Marley. A year later he sold the estate to Island Records founder Chris Blackwell. Blackwell gradually added in small parcels to the original estate to reach a current total of . As it grew, he also added various cottages and huts around an inner lagoon sandwiched between James Bond Beach and Low Cay Beach. In the late 1980s, he formed the Island Outpost Company and opened the property as a small hotel.


title: Goldeneye (estate)

text: The name Goldeneye has found its way into the James Bond film and television franchises. It was used in the 1991 animated series "James Bond Jr", where it became the name of a valuable pendant worn by a prince in the episode "Ship of Terror". It was more famously used again in 1995, when "GoldenEye" became the title of the seventeenth James Bond film, the first to star Pierce Brosnan, and in the 1997 video game "GoldenEye 007"; the plot of both revolve around the eponymous weapons program which entails the use of satellites to generate a nuclear electromagnetic pulse.


title: Goldeneye (estate)

text: Rather than a traditional hotel, Goldeneye resort is a compound of tropical buildings, gardens and private beaches. It closed in 2007 for major additions and renovations, and reopened in December 2010.


title: Goldeneye (estate)

text: Fleming's Goldeneye became the social epicenter of Jamaica's north coast along with nearby Firefly owned by Noël Coward, and Bolt House, owned by Chris Blackwell's mother, Blanche, who was a long time friend of Fleming. The property was equally popular with a coterie of Hollywood stars and British literary greats as it was British aristocrats and international heads of state. Errol Flynn, Lucian Freud, Truman Capote, Patrick Leigh Fermor, the Duchess of Devonshire, Princess Margaret, and Prime Minister Anthony Eden were all visitors.


title: Goldeneye (estate)

text: The Goldeneye of the Blackwell era has also attracted celebrities, both as his friends and resort guests.


title: Goldeneye (estate)

text: Among them Grace Jones, Bono, Naomi Campbell, Michael Caine, Pierce Brosnan, Harrison Ford, Johnny Depp, Kate Moss, and Richard Branson. Sting wrote "Every Breath You Take" at Fleming's writing desk while vacationing on the estate in 1982.


title: Goldeneye (estate)

text: A tradition, which was started by Sir Anthony Eden when he and his wife, Clarissa, planted a Santa Maria tree before departing from Goldeneye, is still ongoing. Today, there are hundreds of mango, lime, orange and ackee trees in the garden. Each was planted by a guest, and has a small plaque saying who planted it and when. A $1,000 required donation goes to the Oracabessa Foundation.


title: Flood (Halo)

text: The Flood is a fictional parasitic alien lifeform and one of the primary antagonists in the "Halo" multimedia franchise. First introduced in the 2001 video game "", it returns in later entries in the series such as "Halo 2", "Halo 3", and "Halo Wars". The Flood is driven by a desire to infect any sentient life of sufficient size; Flood-infected creatures, also called Flood, in turn can infect other hosts. The parasite is depicted as such a threat that the ancient Forerunners constructed artificial ringworld superweapons known as Halos to contain it and, as a last resort, to kill all sentient life in the galaxy in an effort to stop the Flood's spread by starving it.


title: Flood (Halo)

text: The Flood's design and fiction were led by Bungie artist Robert McLees, who used unused concepts from the earlier Bungie game "Marathon 2". The setting of the first game, the ringworld Halo, was stripped of many of its large creatures in order to make the Flood's surprise appearance more startling. Bungie environment artist Vic DeLeon spent six months of pre-production time refining the Flood's fleshy aesthetic and designing the organic interiors of Flood-infested spaceships for "Halo 3".


title: Flood (Halo)

text: The player's discovery of the Flood in "Halo: Combat Evolved" is a major plot twist, and was one of the surprises reviewers noted positively. The Flood's return in "Halo 2" and "Halo 3" was less enthusiastically praised. Reaction to the Flood has varied. While some critics have described the Flood as derivative or clichéd, others have ranked it among the greatest video game villains.


title: Flood (Halo)

text: The Flood is depicted as a parasitic organism that infects any sentient life of sufficient size. The largest self-contained form that the Flood can produce itself without using other biomass is an "infection form". These forms seeks hosts, living or dead, and attempt to drive sharp spines into the host and thereby tap into the nervous system. The host is incapacitated while the infection form burrows into the host's body and begins the mutation process, bringing the host under Flood control. Depending on the size or condition of the body, the infection form mutates the hapless host into various specialized forms in the continual drive for more food. Larger hosts are turned into forms for combat, growing long whip-like tentacles, while mangled and disused hosts are turned into incubators for more infection forms. The Flood also creates forms known as "key minds" to coordinate the Flood; these include the apex of Flood evolution, known as "Graveminds".


title: Flood (Halo)

text: The Flood was added early in Bungie's development of the 2001 video game "", before the game had made its jump from the Macintosh platform to the Xbox. A design for one Flood form appeared as early as 1997. Commenting upon the inception of the Flood, Bungie staff member Chris Butcher noted that "the idea behind the Flood as the forgotten peril that ended a galaxy-spanning empire is a pretty fundamental tenet of good sci-fi. Yeah, and bad sci-fi too." Another inspiration was Christopher Rowley's "The Vang" series. Early design for the Flood was done by Bungie artist and writer Robert McLees, who considers himself "the architect" of the Flood; the Flood's roots are reflected in concept art of a "fungal zombie" that McLees did for the earlier Bungie game "". McLees also did all the early concept art for the Flood.


title: Flood (Halo)

text: Based on the behavior of viruses and certain bacteria, the Flood was intended to be "disgusting and nasty"; McLees modeled one Flood form off the memory of his cousin's infected thumb. The creatures were constructed from the corpses and bodies of former combatants, so the artists had to make sure the Flood soldiers were recognizable while changing their silhouette enough to differentiate them from the uninfected. Many concepts and ideas were discarded due to time constraints—initially, the Flood was intended to convert any species of the alien Covenant into soldiers. "We didn't have the resources to make it happen," McLees recalled, so they modified the game's fiction to suggest that some Covenant were too small or too frail to serve as combat troops. The technical inability to create different Flood forms procedurally informed the game's fiction that the Flood had optimized their host forms over years of trial and error, creating standardized templates that the developers used to obfuscate the repeated use of similar models. Likewise, the Flood enemy intelligence was intended to be as complicated as that of the other enemy faction in the game, but full implementation was cut for time. The dinosaur-like terrestrial wildlife that originally dwelled in Halo's environments were dropped due to gameplay constraints and fear that their presence would reduce the surprise and impact of the Flood.


title: Flood (Halo)

text: Bungie decided a new visual language for the Flood was needed for "Halo 3". The task of developing the new Flood forms, organic Flood terrain, and other miscellaneous changes fell to Vic DeLeon, then Bungie's Senior Environment Artist. Early concepts of what became new morphing Flood types in the game called "pure forms" featured the creatures wielding an array of weapons via tendrils, while forms like the Flood infector and Flood transport concepts never made it into the final game. The pure forms had to morph between three radically different looks, and it proved challenging to make plausible transformations that also looked good once it was developed and animated in 3D. Artist Shi Kai Wang suggested that in the end, they had simply tried to do too much and the results were less than they wanted.


title: Flood (Halo)

text: Flood-infested structures were designed as angular to counterbalance Flood biomass, as well as provide surfaces for the game's artificial intelligence to exploit and move on. New additions were designed to be multi-purpose; exploding "growth pods" that spew Flood forms were added to the game to adjust pacing, provide instant action, and add to the visuals. Endoscopic pictures provided further inspiration. "Halo 3" added new capabilities to the Flood, including the ability for the parasite to infect enemies in real time. Bungie used "Halo 3"s improved capacity for graphics to make a host's sudden transformation into Flood form more dramatic; two different character models and skeletons were fused and swapped in real-time.


title: Flood (Halo)

text: The Flood makes its first appearance more than halfway through "Halo: Combat Evolved", during the story mission "343 Guilty Spark". A group of humans fleeing the enemy alien Covenant land on "Halo", a ringworld built by the alien Forerunners. The artificial intelligence Cortana sends the supersoldier Master Chief to find their commander, Jacob Keyes, who disappeared in a swamp while searching for a weapons cache. The Master Chief discovers that the Covenant have accidentally released the Flood. Keyes' squad is turned into soldiers for the parasite, while Keyes is interrogated by the Flood in an attempt to learn the location of Earth and ultimately assimilated. The emergence of the Flood prompts Halo's caretaker artificial intelligence 343 Guilty Spark to enlist the help of the Master Chief in activating Halo's defenses and preventing a Flood outbreak. When Master Chief learns that activating Halo would instead wipe the galaxy of sentient life to prevent the Flood's spread, he and Cortana detonate the human ship "Pillar of Autumn"s engines, destroying the ring and preventing the Flood from escaping.


title: Flood (Halo)

text: The Flood returns in "Halo 2" (2004), appearing on another Halo ring called "Delta Halo". The Flood on Delta Halo is led by the Gravemind, a massive Flood intelligence that dwells in the bowels of the ring. Gravemind brings together the Master Chief and the Covenant holy warrior known as the Arbiter and tasks them with stopping the Covenant leadership from activating the ring. In the meantime, Gravemind infests the human ship "In Amber Clad" and crashes it into the Covenant space station of "High Charity". Once there, the Flood sweeps through the city, and the Gravemind captures Cortana. As the Flood spreads, the Covenant form a blockade in an effort to prevent the parasite from leaving its prison.


title: Flood (Halo)

text: The Flood reappears in the "Halo 3" mission "Floodgate", on board a damaged ship that escapes the quarantine around Delta Halo. While the infestation of Earth is prevented, Master Chief and Arbiter form a tenuous alliance with the Flood to stop the activation of all the Halo rings at the Forerunner installation known as the Ark. Once the threat is stopped, the Gravemind turns on them. The Master Chief fights his way to the center of "High Charity", freeing Cortana and destroying the city, but Gravemind attempts to rebuild itself on a Halo under construction at the Ark. Realizing that activating the ring will destroy only the local Flood infestation due to the Ark's location outside of the Milky Way, the Master Chief, Arbiter, and Cortana proceed to Halo's control room, activate the ring, and escape. The Gravemind warns them that his defeat will only delay the Flood, not stop it.


title: Flood (Halo)

text: The Flood also makes an appearance in the video game spinoffs "Halo Wars" and "Halo Wars 2". In "Halo Wars", they are encountered infesting a Forerunner installation and ultimately annihilated by the actions of the human ship "Spirit of Fire"s crew. In the "Halo Wars 2" expansion "Awakening the Nightmare", the surviving Flood were accidentally released by the Banished while salvaging the wreck of "High Charity". The Flood also serves as an enemy in the game's cooperative "Firefight" mode. The Flood also appear in cooperative play in "".


title: Flood (Halo)

text: With "Halo 3", the developers added a multiplayer gametype called "Infection", a last man standing mode based on a fan-created scenario where human players defend against Flood-infected players, with each slain human adding to the infected's ranks. The game mode returned in "" (2010), "Halo 4" (2012), renamed "Flood", "The Master Chief Collection" (2014), and "Halo 5".


title: Flood (Halo)

text: The 2006 anthology "The Halo Graphic Novel" expands upon the Flood's release during the events of "Halo: Combat Evolved" in two stories, "Last Voyage of the Infinite Succor" and "Breaking Quarantine". Whereas the Flood is only hinted at being intelligent in the game, the "Halo Graphic Novel" shows the Flood has a hive mind, assimilating the knowledge of their hosts rapidly. Lee Hammock, writer of "The Last Voyage of the Infinite Succor", described the basis of the story as a way to showcase the true danger of the Flood as an intelligent menace, rather than something the player encounters and shoots. Hammock also stated that the story would prove the intelligent nature of the Flood, and "hopefully euthanize the idea that they are just space zombies". The threat of the Flood is also highlighted in a short story from the "Halo Evolutions" anthology, "The Mona Lisa," which was later adapted into a motion comic.


title: Flood (Halo)

text: The Flood also features heavily in Greg Bear's trilogy of novels, the "Forerunner Saga", which takes place thousands of years before the events of the main games. The novel "Halo: Silentium" reveals that the Flood is what remains of the Precursors, an ancient race that was said to accelerate the evolution of a species and shape galaxies. The Forerunners overthrew the Precursors; on the verge of extinction, some Precursors reduced themselves to a biological powder that would regenerate into their past selves. Time rendered the powder defective, and it became mutagenic, reacting with other living organisms to produce what would eventually mutate into the Flood. The Flood would threaten ancient humanity and then the Forerunners, who ultimately build and activate the Halo Array to stop the parasite's spread.


title: Flood (Halo)

text: The name of the Flood is one of many names taken from religious stories in the "Halo" franchise. The Flood and especially the Gravemind serve as demonic or satanic figures, and the Master Chief's descent into the bowels of Halo to encounter the Flood can be likened to a journey to hell. Academic P.C. Paulissen notes that the name 'Flood' suggests a reference to the biblical deluge, with the Forerunner Ark being shelter from the Flood's destructive and cleansing power akin to the Bible.


title: Flood (Halo)

text: The lifecycle and parasitic nature of the Flood has similarities to the behaviors of real-world parasites. The Flood's induced physiological changes recall the modified eyestalks of hosts infected by "Leucochloridium paradoxum", or malformed limbs of Ribeiroia-infected amphibians. The Flood's habit of altering its surroundings has parallels to the parasitoid wasp "Hymenoepimecis argyraphaga"s use of spider's webs for protection.


title: Flood (Halo)

text: The Flood have been featured in four series of "Halo" action figures, produced by Joyride Studios. For "Halo: Combat Evolved", Joyride produced a Carrier Form and Infection form bundle. "Halo 2"s series contains both a human combat form and infection form (bundled with the Master Chief), which were released after the video game. Armchair Empire's review of the figure expressed the sentiment that Joyride's models could not totally capture the ghoulishness texture and detail of the Flood. McFarlane Toys produced action figures for "Halo 3", and the third released series featured a human combat form. Other merchandise includes an Xbox 360 Avatar prop, and a limited edition silver-plated statue of Master Chief fighting a Flood form.


title: Flood (Halo)

text: The surprise appearance of the Flood during "Halo: Combat Evolved" was seen as an important plot twist and a scary moment even after repeat playthroughs of the game. "Gamasutra", writing about video game plots, gives the example of the Flood not only as an important reversal to the story of "Halo", but an example of how games are made more interesting by twists in the plot. "Rolling Stone" and "Kotaku" credited the appearance of the Flood as an excellent way the game kept players on their toes, forcing them to adjust their strategies; "Rolling Stone" called the twist as shocking "as if, several levels into a game of Pac-Man, the dots suddenly began to attack you". "IGN" described Flood as one of their favorite video game monsters of all time, stating that "We like the Flood, but we hate them so very much."


title: Flood (Halo)

text: Despite the positive acclaim in "Halo", the response to the presence of the Flood in "Halo 2" and "Halo 3" was mixed. A panel of online reviewers noted that the Flood appeared in "Halo 2" for no obvious reasons, and was simply described as "aggravating" to play against. Similarly, reviewers including Victor Godinez of "The Dallas Morning News" felt that the Flood was too derivative of other sci-fi stereotypes, and functioned as "space zombies". Daniel Weissenberger of Gamecritics.com noted in his review of "Halo 3" that even though the Flood looked better than ever, its single strategy of rushing the player proved tedious over time. GamesRadar's Charlie Barratt listed the Flood as the worst part of "Halo", contrasting what he considered fun, vibrant and open levels before the Flood's appearance with confined spaces and predictable enemies.


title: Flood (Halo)

text: The Flood has been recognized as one of the greatest game villains, making lists of greatest villains and enemies from "Wizard Magazine", "GameDaily", "Guinness World Records Gamer's Edition", "PC World", and "Electronic Gaming Monthly". MTV considered Flood possession in "Halo 3" as a "great gaming moment" of 2007, stating that "with the power of the Xbox 360's graphics, this reanimation comes to vivid, distressing life, more memorably than it had in the earlier games. Here are the zombies of gaming doing what they do worst. [...] It's grisly and unforgettable." IGN listed the Flood as the 45th best video game villain, describing it as one of the most hated video game villains.


title: MAS-36 rifle

text: The MAS Modèle 36 (also known as the "Fusil à répétition 7 mm 5 M. 36") is a military bolt-action rifle. First adopted in 1936 by France and intended to replace the Berthier and Lebel series of service rifles, it saw service long past the World War II period. It was manufactured from late 1937 onward by Manufacture d'Armes de Saint-Étienne (MAS), one of several government-owned arms factories in France. Only 250,000 MAS-36 rifles were available to equip the French infantry during the Battle of France in 1940. Mass production finally caught up after World War II and MAS-36 rifles became widely used in service during the First Indochina War, the Algerian War and the Suez Crisis. Altogether, about 1.1 million MAS-36 rifles had been manufactured when production ceased in 1952.


title: MAS-36 rifle

text: The MAS-36 is a short carbine-style rifle with a two-piece stock and slab-sided receiver. It is chambered for the modern rimless 7.5×54mm French cartridge; a shortened version of the 7.5×57mm MAS mod. 1924 cartridge that had been introduced in 1924 (then modified in 1929), for France's FM 24/29 light machine gun. The rifle was developed based on French experience in World War I and combines various features of other rifles like the two rear locking lugs of the British SMLE rifle (easy to clean and resistant to dirt), the "dog leg" shaped bolt handle of the British P14/U.S. M1917 Enfield rifle that places the bolt knob at a favorable ergonomic position in relation to the trigger and peep sight, bolt disassembly similar to the Japanese Arisaka Type 38, and the five-round box magazine (claw extractor) of the German Gewehr 98 which stored 5 rounds in a staggered column and fed by 5-round stripper clips), to produce an "ugly, roughly made, but immensely strong and reliable" service rifle.


title: MAS-36 rifle

text: There are just five user removable parts: a Lebel-type cruciform bayonet inserted into a guard tube under the barrel (taken out by the stopper and turned by snap-fastening the stopper in the tube to fix), the bolt body, the bolt rear cap, the firing pin and the spring of the firing pin. The metal parts of the rifle were black baked in an oven.


title: MAS-36 rifle

text: The MAS-36 bolt handle was bent forward in an "awkward fashion" to bring it into a convenient position for the soldier's hand. Some have since been found bent backwards into a facing-downwards position like that of many other bolt-action rifles. The MAS-36 had a relatively short barrel and was fitted with large aperture (rear) and post (front) sights designed for typical combat ranges. Typical for French rifles of the period, the MAS-36 had no manual safety.


title: MAS-36 rifle

text: The rifle was designed with an iron sight line consisting of a rear tangent-type aperture sight element that was calibrated for 7.5×54mm French mle1929 C ammunition for in increments. The original front sighting element was milled and consisted of a front post that was protected by two open 'ears'.


title: MAS-36 rifle

text: There were 25 rear aperture elements available for the sight line to optimize it horizontally and laterally in 2.32 MOA increments during assembly at the arsenal. These arsenal mounted rear aperture elements shifted to point of aim left or right or up or down at a range of .


title: MAS-36 rifle

text: It is worth noting that the front stock fittings are a major component of setting the sights on a MAS-36. To discourage disassembling the front stock non-standard screws with a spanner head were used on the barrel band and nose caps. Only armorers were issued with the appropriate screw drivers to remove the front stock. If removed the front stock will probably face quite a bit of trial and error in getting the screws set back to their exact positions again.


title: MAS-36 rifle

text: It was normally carried with a loaded magazine and empty chamber until the soldier was engaged in combat, though the rifle's firing mechanism could be blocked by raising the bolt handle. The MAS-36 carried a 17-inch spike bayonet, reversed in a tube below the barrel. To use the bayonet, a spring plunger was pressed to release the bayonet. It was then free to be pulled out, turned around, and fitted back into its receptacle. The initial implementation of this bayonet design has a distinct (although, uncommonly encountered) disadvantage: with a bayonet stored in one rifle and the other empty, the top of the stored bayonet could be locked into the empty bayonet tube of the second rifle. This obscures the release button on the bayonet and results in permanently (at least up to destructive disassembly) mated rifles. In post-war use the French updated the bayonet storage design by drilling a hole in the bayonet, which allowed the locking catch to be depressed through an already-drilled hole in the bayonet cap. Like the Lebel model 1886 rifle, the MAS-36 featured a stacking hook offset to the right side of the barrel for standing a number of the rifles (usually a trio) upright.


title: MAS-36 rifle

text: The MAS-36 was intended as an economical, simple bolt-action rifle to serve with rear-echelon, colonial and reserve troops and meant to share machining and pave the way for a new standard semi-automatic rifle before the next big conflict. The first French semi-automatic rifle evolved from the prototype MAS-38/39. A limited number of MAS-40 semi-automatic rifles entered trial service in March 1940. The Battle of France and following German occupation of France prevented large scale introduction of semi-automatic service rifles amongst French front line troops. During the 1950s the French military adopted the semi-automatic MAS-49 rifle as their standard service rifle.


title: MAS-36 rifle

text: Though intended to replace the Lebel Model 1886 and Berthier rifles as well as Berthier carbines, budget constraints limited MAS-36 production and it was used with the former rifles in many French army and colonial units. During World War II, the MAS-36 was used alongside the Lebel 1886 and Berthiers during the Battle of France. After the Battle of France, the Germans took over a large number of MAS-36s, which were given the designation "Gewehr 242(f)" and put into service with their own garrison units based in occupied France and later the Volkssturm.


title: MAS-36 rifle

text: Post World War II produced rifles feature production simplifications like stamped nose caps with a hooded front sight element, stamped magazine floor plates, a stamped front sling attachment featuring a ring, a protective measure to prevent dirt ingress in the trigger area and a side-mounted cam track and button to dial and lock the selected firing range on the rear sight element. The hooded front sight element reduced glare under unfavorable light conditions and added extra protection for the post. The bolt of post World War II produced rifles can not be closed on an empty chamber, indicating the rifle needs to be reloaded. Later post war batches feature phosphating/Parkerizing introduced as a more effective metal surface treatment against rust. The "second model" is the most produced version with its derivative, the MAS 36/51.


title: MAS-36 rifle

text: The MAS-36 was extensively used by French Army and colonial defense forces during France's postwar counter-insurgency operations in the First Indochina War and the Algerian War, as well as in the Suez Crisis. During the Suez Crisis, French paratroop marksmen of the "2ème RPC" ("Régiment de Parachutistes Coloniaux"), employed telescope-sighted MAS-36 rifles to eliminate enemy snipers. The MAS-36 remained in service into the early 1960s as an infantry rifle, often serving with indigenous colonial units. It was officially a substitute-standard rifle after France adopted the semi-automatic MAS-49 rifle series in 1949, though its bolt design lives on in a dedicated sniper version of the rifle, the FR F1 (now chambered in 7.62×51mm NATO) and its successor the FR F2 sniper rifle.


title: MAS-36 rifle

text: Gabon and Côte d'Ivoire continued to use the MAS-36 post independence; In 1968 and 1969 they supplied Biafra with MAS-36 rifles during the Nigerian Civil War. Haiti presented Biafra with 300 rifles as a gift late in the conflict.


title: MAS-36 rifle

text: After the Second World War, civilian hunting rifle versions were made by MAS and by the gunsmith Jean Fournier. These half-stocked rifles were chambered for the 7×54mm Fournier (common, 7.5x54mm necked down to 7mm), 7×57mm Mauser (very rare), 8×60mm S (less common), and 10.75×68mm (rare). Hunting rifles in the two latter calibers had integral muzzle brakes. Also imported into the United States were a few military surplus MAS-36 rifles, converted to 7.62×51mm NATO from 7.5×54mm. These rifles were modified to chamber the NATO round and also had an SKS type trigger safety fitted to them.


title: MAS-36 rifle

text: In Comoros, the French had a decent amount of MAS-36 rifles in storage during WWII and the Post-war era. When Comoros became in independent nation in 1975, the rifles were given to the new Comoros Army. The MAS-36 was widely used during many of the coups and attempted coups that took place on the island nation from 1975 to 1989. After a reformation of the Comoros Army in 1990, the MAS-36 was replaced with newer assault weapons such as the AK-47.


title: MAS-36 rifle

text: In 1941, Britain and Free France occupied Syria, bringing thousands of MAS-36 rifles with them. When French forces departed from Syria in 1946, the rifles were given to the Syrian Armed Forces in order to arm their own army and militias, as the Syrian government at the time was perceived as pro-western. The MAS-36 was widely used by Syrian forces in the 1948 Arab–Israeli War. The Israeli victory and later, a coup in Syria led to Syria's loyalty shifting towards the Soviet Union instead of western countries. After purchasing large quantities of Soviet weapons in the 1950s and 1960s, the MAS-36 became obsolete with thousands of units being sent into government storage facilities. In 2011 during the Syrian Civil War, Syrian opposition forces captured thousands of the stored rifles. With nearly all of the rifles being still operational, the Free Syrian Army widely used the MAS-36 from 2011 to 2015. From 2015 onward, the Free Syrian Army is decreasing the use of the MAS-36 due to scarcity of the rifle's needed 7.5mm ammunition.


title: MAS-36 rifle

text: The French FR F1 and FR F2 sniper rifles utilize the same basic bolt design as the MAS-36 infantry rifle. The MAS-36 bolt action was however extensively modified and strengthened to reduce accuracy inhibiting flex in these sniper rifles.


title: Selfie (2022 film)

text: Selfie is a 2022 Indian Tamil-language action thriller film directed by debutant Mathi Maran and produced by DG Film Company. The film stars G. V. Prakash Kumar and Gautham Vasudev Menon with a supporting cast including Varsha Bollamma, Vidya Pradeep, Vagai Chandrasekhar, Sangili Murugan and Subramaniam Siva. The film's music is composed by G. V. Prakash Kumar himself, with cinematography handled by Vishnu Rangasamy and editing done by S. Elayaraja. The film was released in theatres on 1 April 2022. The film received generally positive reviews from critics and audience and became a commercial success with praise for story, dialogues and GV Prakash Kumar and Gautham Vasudev Menon's performance.


title: Selfie (2022 film)

text: Kanal (G. V. Prakash Kumar) is a hot-headed engineering student at a low-level college. He holds a grudge against his overbearing father who forced him to study engineering just for the sake of prestige when he actually wanted to pursue something business related. When he finds out that his father paid a bribe through a college admission brocket to get him a place at the college, he becomes determined to investigate it further. He quickly finds out that the underground college admissions racket in Chennai is both a thriving business and an open secret. When a distant relative of a close friend approaches Kanal and his gang for help to get his son a place at a prestigious medical college in the city, they go all out to prove themselves worthy. However, after securing the place, the client pulls out and demands his money back. When Nazir, Kanal's best friend refuses to cooperate, things get out of hand. The client approaches Ravi Varma (Gautham Vasudev Menon), the most powerful college admission broker in the city whose name Kanal's gang used to secure the position in the first place. Consequently, gangsters and loan sharks start harassing not only Kanal and his friends, but even their families. Nazir eventually makes a decision that will change Kanal and all their friends' lives forever.


title: Selfie (2022 film)

text: DG Film Company began a new film venture directed by Mathi Maran, a former associate of Vetrimaaran and featuring G. V. Prakash Kumar in the lead role during May 2020. The film was titled as "Selfie".


title: Selfie (2022 film)

text: There were reports which were suggesting that Gautham Vasudev Menon would be a part of the film as antagonist.


title: Selfie (2022 film)

text: G. V. Prakash Kumar composed the soundtrack and background score. The first single "Oorkaran" was released on 11 February 2022. The second single "Imaikkariye" was released on 8 March 2022. The third single "Badass Bossman" was released on 18 March 2022. The full album jukebox was released on 21 March 2022.


title: Selfie (2022 film)

text: The trailer of the film was released on 2 December 2021. The film was released in theaters on 1 April 2022.


title: Selfie (2022 film)

text: The post-theatricial digital rights of the film were sold to Aha.The film was digitally released on 15th April 2022 via Aha


title: Selfie (2022 film)

text: Sruthi Raman of The Times of India who gave 3 out of 5 stars after reviewing the film stated that "As much as the film tries to explore an unexplored topic, it sometimes falters to keep up with the pace it starts off with—this is apparent especially in the climax, where the much-awaited loose ends are tied up with rushed sequences". Bhuvanesh Chandar of Cinema Express who gave 3.5 out of 5 stars after reviewing the film stated that "Debutant Mathi Maran has clearly made the most of his resources and a largely new cast to deliver a serious, self-aware film that depends largely on its good writing". Bharathy Singaravel of The News Minute who gave 3 out of 5 stars after reviewing the film stated that "On the whole Selfie is a laudable first attempt by Mathi Maran, who has previously been associated with director Vetrimaaran". Thamizhill Padikka of Indiaglitz who gave 3.5 out of 5 stars after reviewing the film stated that "Go for this realistic take on the education mafia which is highly engaging and educative at the same time". Haricharan Pudipeddi of Hindustan Times wrote that "Despite the initial lag, the film picks up after Kanal’s character gets involved in the chaos. The film has a heavy hangover of Vetrimaaran’s Pollathavan, especially in its style and some action scenes. Two action sequences which take place inside a room stand out and serve as the talking points of the movie. The climax does feel rushed but the fact that the film doesn’t try and glorify Kanal’s character by the end deserves some praise." Behindwoods gave 2.75 out of 5 and stated "GV Prakash's Selfie is an engaging never seen before premise. Try not to miss!"


title: Inca mythology

text: Inca mythology or religion includes many stories and legends that attempt to explain or symbolize Inca beliefs.


title: Inca mythology

text: Scholarly research demonstrates that Runa (Quechua speakers) belief systems were integrated with their view of the cosmos, especially in regard to the way that the Runa observed the motions of the Milky Way and the solar system as seen from Cusco, the capital of Tawantinsuyu whose name means "rock of the owl". From this perspective, their stories depict the movements of constellations, planets, and planetary formations, which are all connected to their agricultural cycles. This was especially important for the Runa, as they relied on cyclical agricultural seasons, which were not only connected to annual cycles, but to a much wider cycle of time (every 800 years at a time). This way of keeping time was deployed in order to ensure the cultural transmission of key information, in spite of regime change or social catastrophes.


title: Inca mythology

text: After the Spanish conquest of Peru by Francisco Pizarro, colonial officials burned the records kept by the Runa. There is currently a theory put forward by Gary Urton that the Quipus could have been a binary system capable of recording phonological or logographic data. Still, to date, all that is known is based on what was recorded by priests, from the iconography on Inca pottery and architecture, and from the myths and legends that have survived among the native peoples of the Andes.


title: Inca mythology

text: Manco Cápac was the legendary founder of the Inca Dynasty in Peru and the Cusco Dynasty at Cusco. The legends and history surrounding him are very contradictory, especially those concerning his rule at Cuzco and his origins. In one legend, he was the son of Viracocha. In another, he was brought up from the depths of Lake Titicaca by the sun god Inti. However, commoners were not allowed to speak the name of Viracocha, which is possibly an explanation for the need for three foundation legends rather than just one.


title: Inca mythology

text: There were also many myths about Manco Cápac and his coming to power. In one myth, Manco Cápac and his brother Pacha Kamaq were sons of the sun god Inti. Manco Cápac was worshiped as the fire and sun god. In another myth, Manco Cápac was sent with Mama Ocllo (others even mention numerous siblings) to Lake Titicaca where they resurfaced and settled on the Isla Del Sol. According to this legend, Manco Cápac and his siblings were sent up to the earth by the sun god and emerged from the cave of Puma Orco at Paqariq Tampu carrying a golden staff called ‘tapac-yauri’. They were instructed to create a Temple of the Sun in the spot where the staff sank into the earth to honor the sun god Inti, their father. During the journey, one of Manco's brothers (Ayar Cachi) was tricked into returning to Puma Urqu and sealed inside or alternatively was turned to ice, because his reckless and cruel behavior angered the tribes that they were attempting to rule. ("huaca").


title: Inca mythology

text: Pedro Sarmiento de Gamboa wrote that there was a hill referred to as Tambotoco, about 33 kilometers from Cuzco, where eight men and women emerged as the original Inca's. The men were Manco Capac, Ayar Auca, Ayar Cachi and Ayar Uchu. The women were Mama Ocllo, Mama Huaco, Mama Ipacura, and Mama Raua.


title: Inca mythology

text: In another version of this legend, instead of emerging from a cave in Cuzco, the siblings emerged from the waters of Lake Titicaca. Since this was a later origin myth than that of Pacaritambo it may have been created as a ploy to bring the powerful Aymara tribes into the fold of the Tawantinsuyo.


title: Inca mythology

text: In the Inca Virachocha legend, Manco Cápac was the son of Inca Viracocha of Paqariq Tampu which is 25 km (16 mi) south of Cuzco. He and his brothers ("Ayar Auca", "Ayar Cachi", and "Ayar Uchu"); and sisters (Mama Ocllo, "Mama Huaco", "Mama Raua", and "Mama Cura") lived near Cusco at Paqariq Tampu, and uniting their people and the ten ayllu they encountered in their travels to conquer the tribes of the Cusco Valley. This legend also incorporates the golden staff, which is thought to have been given to Manco Cápac by his father. Accounts vary, but according to some versions of the legend, the young Manco jealously betrayed his older brothers, killed them, and then became Cusco.


title: Inca mythology

text: Like the Romans, the Incas permitted the cultures they integrated into their empire to keep their individual religions. Below are some of the various gods worshiped by the peoples of the Incan empire, many of which have overlapping responsibilities and domains. Unless otherwise noted, it can safely be assumed these were worshipped by different ayllus or worshipped in particular former states.


title: Inca mythology

text: The environment and geography were integral part of Inca mythology as well. Many prominent natural features within the Inca Empire were tied to important myths and legends amongst the Inca. For example, Lake Titicaca, an important body of water on the Altiplano, was incorporated into Inca myths, as the lake of origins from which the world began. Similarly, many of prominent Andean peaks played special roles within the mythology of the Incas. This is reflected in myths about the Paxil mountain, from which people were alleged to have been created from corn kernels that were scattered by the gods. Terrestrial environments were not the only type of environment that was important to mythology. The Incas often incorporated the stars into legends and myths. For example, many constellations were given names and were incorporated into stories, such as the star formations of the Great Llama and the Fox. While perhaps not relating to a single physical feature per se, environmental sound was extremely important in Incan mythology. For example, in the creation myth of Viracocha the sound of the god's voice is particularly important. Additionally, myths were transmitted orally, so the acoustics and sound of a location were important for Incan mythology. These examples demonstrate the power that environment held in creating and experiencing Incan myths.


title: Inca mythology

text: Mythology served many purposes within the Incan Empire. Mythology could often be used to explain natural phenomena or to give the many denizens of the empire a way of thinking about the world. For example, there is a well-known origin myth that describes how the Incan Empire began at its center in Cusco. In this origin myth, four men and women emerged from a cave near Cusco, and began to settle within the Valley of Cusco, much to the chagrin of the Hualla people who had already been inhabiting the land. The Hualla subsided by growing coca and chili peppers, which the Incans associated with the peoples of the Amazon and who were perceived to be inferior and wild. The Inca engaged in battle with the Hualla, fighting quite viciously, and eventually the Inca emerged victorious. The myth alleges these first Inca people would plant corn, a mainstay of the Inca diet, on the location where they viciously defeated the Hualla. Thus, the myth continues, the Inca came to rule over the entire Cusco Valley, before eventually going on to conquer much of the Andean world.


title: Inca mythology

text: In creating this myth, the Incans reinforced their authority over the empire. Firstly, by associating the Hualla with plants from the jungle, the Inca's origin myth would have likely caused the listener to think that the Hualla were primitive compared to the superior Inca. Thus, the Inca's defeat of the Hualla and their supposed development of maize based agriculture, supported the notion that the Inca were the rightful stewards of the land, as they were able to make the land productive and tame. These myths were reinforced in the many festivals and rites that were celebrated throughout the Incan Empire. For example, there were corn festivals that were celebrated annually during the harvest. During these festivals the Inca elite were celebrated alongside the corn and the main deity of the Inca, Inti. As such, the myth of original Inca's planting of the corn crop was utilized to associate the ruling Inca elite with the gods, as well as portraying them as being the bringers of the harvest. In this way, the origin myths of the Inca were used to justify the elite position of the Inca within their vast, multiethnic empire. Within the Inca Empire, the Inca held a special status of "Inca by Blood", that granted them significant privileges over non-Inca peoples. The ability of the Inca to support their elite position was no small feat, given that less than fifty thousand Inca were able to rule over millions of non-Inca peoples. Mythology was an important way by which the Inca were able to justify both the legitimacy of the Inca state, as well as their privileged position with the state.


title: Inca mythology

text: The strategic deployment of Incan mythology did not end after the Incan empire was colonized by the Spanish. In fact, Incan mythology was utilized in order to resist and challenge the authority of the Spanish colonial authorities. Many Incan myths were utilized to criticize the wanton greed of European imperialism. There was widespread killing and rape of women and children in Peru by the European soldiers. For example, there are myths among the indigenous people of the former Inca empire that tell the stories of foreigners who come into the Andes and destroy valuable objects. One such myth is the tale of Atoqhuarco amongst the Quechua, which describes how an indigenous woman is destroyed in an act of rebellion against a lascivious foreigner who in turn is eventually transformed into a predatory fox. Powerful colonial institutions are also critiqued in some of these myths, with the Catholic Church being frequently lambasted. For example, the story of the Priest and Sexton highlights the hypocrisy and abusive nature of a Catholic Priest and his callous treatment of his indigenous parishioners. As such, these myths show that Inca mythology was strategically deployed to subvert and rebel against Spanish rule in the former Incan Empire.


title: Inca mythology

text: Incan mythology continues to be a powerful force in contemporary Andean communities. After the nations that were once a part of the Incan Empire gained their independence from Spain, many of these nations struggled to find a suitable origin myth to support the legitimacy of their state. In the early twentieth century, there was a resurgence of interest about the indigenous heritage of these new nations. While these references to Inca mythology can be more overt, such as the presence of Inti on the Argentine flag, other references to the Inca mythology can be subtler. For example, in the late twentieth century the Peruvian Revolutionary government made reference to Inca myths about Pachamama, an Inca Mother Earth figure, in order to justify their land distribution programs. Additionally, modern governments continue to make reference to the former Inca Empire in order to support their claims of legitimacy, to the point that there are municipally funded observances of rituals referencing Inca mythology, especially in and around Cusco. The power of Incan mythology resonates in contemporary politics, with politicians like Alejandro Toledo making references to Inca mythology and imagery during their candidacies and tenures. While the Inca Empire may have ceased to exist hundreds of years ago, its vibrant mythology continues to influence life throughout Peru today.


title: Inca mythology

text: Like other Native American cultures, the Inca society was heavily influenced by the local animal populations, both as food, textile, and transportational sources as well as religious and cultural cornerstones. Many myths and legends of the Inca include or are solely about an animal or a mix of animals and their interactions with the gods, humans, and or natural surroundings.


title: Inca mythology

text: The Inca bred dogs for hunting and scavenging but rarely for religious purposes. The Huanca people, however, had a much more religious basis for their consumption of dog meat as in Inca mythology Paria Caca, their god, was pictured as feeding solely on dog after he defeated another god, Huallallo Carhuincho, in a skirmish. In some parts of South America the Huanca are referred to as "the dog-eating Huanca". This behaviour of eating dog was looked down upon in other parts of the empire.


title: Inca mythology

text: There also exists a city named Alqollacta, or "Dog town", which contains statues of dogs and are thought to represent the souls of dogs that have died. The people would often save up bones and leave them at the statues so that it would give them a better standing in the afterlife.


title: Inca mythology

text: Dogs were sometimes believed to be able of moving between life and death and also see the soul of the dead. In addition, the Inca believed that unhappy dead souls could visit people in the form of black dogs. The Aymara people of Bolivia were reported to believe that dogs were associated with death and incest. They believed that those who die must cross an ocean to the afterlife in the ear of, or on the nose of, a black dog. Additionally, some sources report that women who sleep alone at night were capable of being impregnated by ghosts which would yield a baby with dog feet.


title: Inca mythology

text: Despite there only being one bear species in South America (the spectacled bear, "Tremarctus ornatus"), the story of The Bear's Wife and Children is a prominent story among the Inca. The Andean people believed that bears represented the sexual habits of men and women and the girls were warned of "bear-rape". This story details a bear who disguises himself as a man who subdues a girl and takes her to his cave where he feeds her and takes care of her. Soon after, she bares two half bear half human children. With the help of the children the three are able to escape the cave and return to human society. The bear children are given to the town's priest who attempts to kill the cubs several times (by throwing them off buildings, sending them into the wild, sending them to fight officers) but is only capable of getting the younger bear-child killed. The older bear beats the trials and is sent to fight a damned soul, which he defeats and saves from damnation. The soul gives the bear his estate and wealth and the now fully grown bear man leaves human society as a white dove. This tale could be interpreted as a Native American's plight story against the Hispanic society in which they find them in, which becomes more believable as this folklore become more prominent after the Spanish Conquest.


title: Inca mythology

text: In addition to this story, half bear half human beings called Ukuku are thought to be the only being that are able to bring ice from the top of mountains as they have the intelligence of men but the strength of bears. Ukuku clowns can be seen in the Corpus Christi celebrations of Cuzco where they undergo pilgrimage to a nearby glacier and spend the night on the ice as an initiation of manhood.


title: Inca mythology

text: The fox did not generally have a good reputation among the Inca or people of the Andes and was seen as an omen. Sacrifices to the gods included a variety of goods and animals, including humans, but were never seen to ever include foxes. Inca mythology contains references to gods being deceived by foxes. In one encounter, the deity Cuniraya Viracocha was angered by a fox and stated that "As for you, even when you skulk around keeping your distance, people will thoroughly despise you and say ‘That fox is a thief!’. When they kill you they'll carelessly throw you away and your skin too". In other narratives, the fox is said to have tried to steal the moon but the moon hugged the fox close which resulted in the spots on the moon. Finally, the fox still plays a role in current Andean society where the howling of a fox in the month of August is perceived as a sign of good luck.


title: Inca mythology

text: The Inca had indigenous names for constellations as well as interstellar clouds (dark nebulae) visible from the Southern hemisphere. The fox (Atoq in quechua) is the name for one dark nebulae in the milky way, and Andean narratives, including Inca ones, may refer to the dark nebulae rather than the animal.


title: Inca mythology

text: Prior to the founding of the Inca Empire, there were several other cultures in various areas of Peru with their own beliefs, including cultures of the Chavín, Paracas, Moche, and Nazca. Additional pre-Inca beliefs can be found in the Huarochirí Manuscript, a 17th-century text that records the myths, culture, and beliefs of people in the Huarochirí Province of the Western Andes.


title: Julie Payne (actress, born 1940)

text: Julie Anne Payne (July 10, 1940 – June 7, 2019) was an American actress who appeared in television and films from 1959 to 1967.


title: Julie Payne (actress, born 1940)

text: A native of Los Angeles, Julie Anne Payne was the daughter of John Payne, film and television leading man of the 1930s, 1940s, and 1950s, and Anne Shirley, who started as a child actress in the late silent-early talkie period and became an ingenue and, later, leading lady of the late 1930s and early 1940s. They were married from 1937 to 1943; Julie was their only child together.


title: Julie Payne (actress, born 1940)

text: Starting an eight-year television and film career, she made her debut at the age of 18 as the sole female in "The Pawn", the April 6, 1959 installment of her father's 1957–59 NBC western series, "The Restless Gun", and subsequently appeared in episodes of "" ("Premonition", seen on March 10, 1959, one month before the broadcast of her "Restless Gun" performance), "Alfred Hitchcock Presents" ("Graduating Class", December 27, 1959), "The Tab Hunter Show" ("I Love a Marine", October 30, 1960) and "Dobie Gillis" ("Goodbye, Mr. Pomfritt, Hello, Mr. Chips", June 13, 1961).


title: Julie Payne (actress, born 1940)

text: Her film appearances consisted of uncredited bits in the 1962 classic, "The Manchurian Candidate", and Elvis Presley's 1965 musical, "Girl Happy", as well as small credited supporting roles in 1964's "Island of the Blue Dolphins" and 1967's "Don't Make Waves".


title: Julie Payne (actress, born 1940)

text: Her final two television performances were broadcast two days apart in 1965. On October 6 she was seen in "The Young Marauders", the fourth episode of ABC's new color western series, "The Big Valley", playing the Southern-accented companion of the handsome head marauder, and, on October 8, in "The Night of Sudden Death", the fourth episode of CBS' new black-and-white (in color, starting with the 1966–67 season) western/spy/fantasy series, "The Wild Wild West". Playing a fiery and seductive member of a mysterious troupe of traveling circus performers, she was prominently featured amidst the supporting cast and left the small screen on a high note.


title: Julie Payne (actress, born 1940)

text: Following a two-year break from acting, her one remaining credit, "Don't Make Waves", a comedic satire on southern California beach lifestyle, which starred Tony Curtis, Claudia Cardinale, and Sharon Tate, spotlighted her in a brief bit as a beach beauty.


title: Julie Payne (actress, born 1940)

text: Payne married actor Skip Ward in 1964 and they divorced the following year. In 1969, Payne met Academy Award-winning screenwriter Robert Towne; they married in 1977 and divorced in 1982. Their daughter, Katharine Towne (born 1978), began a career as an actress in 1998 and has appeared in numerous films and TV series. In 1999, she reconnected with her high school sweetheart, Steve Luckman, and they were together until her death.