document_title: Mickey Mouse

question_text: who was mickey mouse's voice for the first 20 years

question_tokens: who was mickey mouse 's voice for the first 20 years

text: Mickey Mouse

text: Origin

text: "I only hope that we never lose sight of one thing – that it was all started by a mouse."

text: Mickey Mouse was created as a replacement for Oswald the Lucky Rabbit, an earlier cartoon character created by the Disney studio for Charles Mintz, a film producer who distributed product through Universal Studios.[4] In the spring of 1928, with the series going strong, Disney asked Mintz for an increase in the budget. But Mintz instead demanded that Walt take a 20 percent budget cut, and as leverage, he reminded Disney that Universal owned the character, and revealed that he had already signed most of Disney's current employees to his new contract. Angrily, Disney refused the deal and returned to produce the final Oswald cartoons he contractually owed Mintz. Disney was dismayed at the betrayal by his staff but determined to restart from scratch. The new Disney Studio initially consisted of animator Ub Iwerks and a loyal apprentice artist, Les Clark, who together with Wilfred Jackson were among the few who remained loyal to Walt. One lesson Disney learned from the experience was to thereafter always make sure that he owned all rights to the characters produced by his company.

text: In the spring of 1928, Disney asked Ub Iwerks to start drawing up new character ideas. Iwerks tried sketches of various animals, such as dogs and cats, but none of these appealed to Disney. A female cow and male horse were also rejected. They would later turn up as Clarabelle Cow and Horace Horsecollar. A male frog was also rejected. It would later show up in Iwerks' own Flip the Frog series.[5] Walt Disney got the inspiration for Mickey Mouse from a tame mouse at his desk at Laugh-O-Gram Studio in Kansas City, Missouri.[6] In 1925, Hugh Harman drew some sketches of mice around a photograph of Walt Disney. These inspired Ub Iwerks to create a new mouse character for Disney.[5] "Mortimer Mouse" had been Disney's original name for the character before his wife, Lillian, convinced him to change it, and ultimately Mickey Mouse came to be.[7][8] The actor Mickey Rooney claimed that, during his Mickey McGuire days, he met cartoonist Walt Disney at the Warner Brothers studio, and that Disney was inspired to name Mickey Mouse after him.[9] This claim, however, has been debunked by Disney historian Jim Korkis, since at the time of Mickey Mouse's development, Disney Studios had been located on Hyperion Avenue for several years, and Walt Disney never kept an office or other working space at Warner Brothers, having no professional relationship with Warner Brothers, as the Alice Comedies and Oswald cartoons were distributed by Universal.[10][11]

text: Design

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text: Throughout the earlier years, Mickey's design bore heavy resemblance to Oswald, save for the ears, nose, and tail.[12][13][14] Ub Iwerks designed Mickey's body out of circles in order to make the character simple to animate. Disney employees John Hench and Marc Davis believed that this design was part of Mickey's success as it made him more dynamic and appealing to audiences.

text: Mickey's circular design is most noticeable in his ears. In animation in the 1940s, Mickey's ears were animated in a more realistic perspective. Later, they were drawn to always appear circular no matter which way Mickey was facing. This made Mickey easily recognizable to audiences and made his ears an unofficial personal trademark. The circular rule later created a dilemma for toy creators who had to recreate a three-dimensional Mickey.

text: In 1938, animator Fred Moore redesigned Mickey's body away from its circular design to a pear-shaped design. Colleague Ward Kimball praised Moore for being the first animator to break from Mickey's "rubber hose, round circle" design. Although Moore himself was nervous at first about changing Mickey, Walt Disney liked the new design and told Moore "that's the way I want Mickey to be drawn from now on."

text: Each of Mickey's hands has only three fingers and a thumb. Disney said that this was both an artistic and financial decision, explaining "Artistically five digits are too many for a mouse. His hand would look like a bunch of bananas. Financially, not having an extra finger in each of 45,000 drawings that make up a six and one-half minute short has saved the Studio millions." In the film The Opry House (1929), Mickey was first given white gloves as a way of contrasting his naturally black hands against his black body. The use of white gloves would prove to be an influential design for cartoon characters, particularly with later Disney characters, but also with non-Disney characters such as Bugs Bunny, Woody Woodpecker, Mighty Mouse, and Mario.

text: Mickey's eyes, as drawn in Plane Crazy and The Gallopin' Gaucho, were large and white with black outlines. In Steamboat Willie, the bottom portion of the black outlines was removed, although the upper edges still contrasted with his head. Mickey's eyes were later re-imagined as only consisting of the small black dots which were originally his pupils, while what were the upper edges of his eyes became a hairline. This is evident only when Mickey blinks. Fred Moore later redesigned the eyes to be small white eyes with pupils and gave his face a Caucasian skin tone instead of plain white. This new Mickey first appeared in 1938 on the cover of a party program, and in animation the following year with the release of The Pointer.[15] Mickey is sometimes given eyebrows as seen in The Simple Things (1953) and in the comic strip, although he does not have eyebrows in his most recent appearances.

text: Some of Mickey's early appearance, particularly the gloves, and facial characteristics, evolved from blackface caricatures used in minstrel shows.[16][17][18][19][20]

text: Besides Mickey's gloves and shoes, he typically wears only a pair of shorts with two large buttons in the front. Before Mickey was seen regularly in color animation, Mickey's shorts were either red or a dull blue-green. With the advent of Mickey's color films, the shorts were always red. When Mickey is not wearing his red shorts, he is often still wearing red clothing such as a red bandmaster coat (The Band Concert, The Mickey Mouse Club), red overalls (Clock Cleaners, Boat Builders), a red cloak (Fantasia, Fun and Fancy Free), a red coat (Squatter's Rights, Mickey's Christmas Carol), or a red shirt (Mickey Down Under, The Simple Things).

text: Animation history

text: Debut (1928)

text: Disney had Ub Iwerks secretly begin animating a new cartoon while still under contract with Universal. The cartoon was co-directed by Walt Disney and Ub Iwerks. Iwerks was the main animator for the short and reportedly spent six weeks working on it. In fact, Iwerks was the main animator for every Disney short released in 1928 and 1929. Hugh Harman and Rudolf Ising also assisted Disney during those years. They had already signed their contracts with Charles Mintz, but he was still in the process of forming his new studio and so for the time being they were still employed by Disney. This short would be the last they animated under this somewhat awkward situation.[21]

text: Mickey was first seen in a test screening of the cartoon short Plane Crazy, on May 15, 1928, but it failed to impress the audience and to add insult to injury, Walt could not find a distributor. Though understandably disappointed, Walt went on to produce a second Mickey short, The Gallopin' Gaucho, which was also not released for lack of a distributor.[22]

text: Steamboat Willie was first released on November 18, 1928, in New York. It was co-directed by Walt Disney and Ub Iwerks. Iwerks again served as the head animator, assisted by Johnny Cannon, Les Clark, Wilfred Jackson and Dick Lundy. This short was intended as a parody of Buster Keaton's Steamboat Bill, Jr., first released on May 12 of the same year. Although it was the third Mickey cartoon produced, it was the first to find a distributor, and thus is considered by The Disney Company as Mickey's debut. Willie featured changes to Mickey's appearance (in particular, simplifying his eyes to large dots) that established his look for later cartoons and in numerous Walt Disney films.[23][24]

text: The cartoon was not the first cartoon to feature a soundtrack connected to the action. Fleischer Studios, headed by brothers Dave and Max Fleischer, had already released a number of sound cartoons using the DeForest system in the mid-1920s. However, these cartoons did not keep the sound synchronized throughout the film. For Willie, Disney had the sound recorded with a click track that kept the musicians on the beat. This precise timing is apparent during the "Turkey in the Straw" sequence when Mickey's actions exactly match the accompanying instruments. Animation historians have long debated who had served as the composer for the film's original music. This role has been variously attributed to Wilfred Jackson, Carl Stalling and Bert Lewis, but identification remains uncertain. Walt Disney himself was voice actor for both Mickey and Minnie and would remain the source of Mickey's voice through 1946 for theatrical cartoons. Jimmy MacDonald took over the role in 1946, but Walt provided Mickey's voice again from 1955 to 1959 for The Mickey Mouse Club television series on ABC.

text: Audiences at the time of Steamboat Willie's release were reportedly impressed by the use of sound for comedic purposes. Sound films or "talkies" were still considered innovative. The first feature-length movie with dialogue sequences, The Jazz Singer starring Al Jolson, was released on October 6, 1927. Within a year of its success, most United States movie theaters had installed sound film equipment. Walt Disney apparently intended to take advantage of this new trend and, arguably, managed to succeed. Most other cartoon studios were still producing silent products and so were unable to effectively act as competition to Disney. As a result, Mickey would soon become the most prominent animated character of the time. Walt Disney soon worked on adding sound to both Plane Crazy and The Gallopin' Gaucho (which had originally been silent releases) and their new release added to Mickey's success and popularity. A fourth Mickey short, The Barn Dance, was also put into production; however, Mickey does not actually speak until The Karnival Kid in 1929 when his first spoken words were "Hot dogs, Hot dogs!" After Steamboat Willie was released, Mickey became a close competitor to Felix the Cat, and his popularity would grow as he was continuously featured in sound cartoons. By 1929, Felix would lose popularity among theater audiences, and Pat Sullivan decided to produce all future Felix cartoons in sound as a result.[25] Unfortunately, audiences did not respond well to Felix's transition to sound and by 1930, Felix had faded from the screen.[26]

text: Black and white films (1929–1935)

text: In Mickey's early films he was often characterized not as a hero, but as an ineffective young suitor to Minnie Mouse. The Barn Dance (March 14, 1929) is the first time in which Mickey is turned down by Minnie in favor of Pete.

text: The Opry House (March 28, 1929) was the first time in which Mickey wore his white gloves. Mickey wears them in almost all of his subsequent appearances and many other characters followed suit. The three lines on the back of Mickey's gloves represent darts in the gloves' fabric extending from between the digits of the hand, typical of glove design of the era.

text: When the Cat's Away (April 18, 1929), essentially a remake of the Alice Comedy, "Alice Rattled by Rats", was an unusual appearance for Mickey. Although Mickey and Minnie still maintained their anthropomorphic characteristics, they were depicted as the size of regular mice and living with a community many other mice as pests in a home. Mickey and Minnie would later appear the size of regular humans in their own setting. In appearances with real humans, Mickey has been shown to be about two to three feet high.[27] The next Mickey short was also unusual. The Barnyard Battle (April 25, 1929) was the only film to depict Mickey as a soldier and also the first to place him in combat. The Karnival Kid (1929) was the first time Mickey spoke. Before this he had only whistled, laughed, and grunted. His first words were "Hot dogs! Hot dogs!" said while trying to sell hot dogs at a carnival. Mickey's Follies (1929) introduced the song "Minnie's Yoo-Hoo" which would become the theme song for Mickey Mouse films for the next several years. The "Minnie's Yoo-Hoo" song sequence was also later reused with different background animation as its own special short shown only at the commencement of 1930s theater-based Mickey Mouse Clubs.[28][29] Mickey's dog Pluto first appeared as Mickey's pet in The Moose Hunt (1931) after previously appearing as Minnie's dog "Rover" in The Picnic (1930).

text: The Cactus Kid (April 11, 1930) was the last film to be animated by Ub Iwerks at Disney. Shortly before the release of the film, Iwerks left to start his own studio, bankrolled by Disney's then-distributor Pat Powers. Powers and Disney had a falling out over money due Disney from the distribution deal. It was in response to losing the right to distribute Disney's cartoons that Powers made the deal with Iwerks, who had long harbored a desire to head his own studio. The departure is considered a turning point in Mickey's career, as well as that of Walt Disney. Walt lost the man who served as his closest colleague and confidant since 1919. Mickey lost the man responsible for his original design and for the direction or animation of several of the shorts released till this point. Advertising for the early Mickey Mouse cartoons credited them as "A Walt Disney Comic, drawn by Ub Iwerks". Later Disney Company reissues of the early cartoons tend to credit Walt Disney alone.

text: Disney and his remaining staff continued the production of the Mickey series, and he was able to eventually find a number of animators to replace Iwerks. As the Great Depression progressed and Felix the Cat faded from the movie screen, Mickey's popularity would rise, and by 1932 The Mickey Mouse Club would have one million members.[30] At the 5th Academy Awards in 1932, Mickey received his first Academy Award nomination, received for Mickey's Orphans (1931). Walt Disney also received an honorary Academy Award for the creation of Mickey Mouse. Despite being eclipsed by the Silly Symphonies short the Three Little Pigs in 1933, Mickey still maintained great popularity among theater audiences too, until 1935, when polls showed that Popeye was more popular than Mickey.[31][32][33] By 1934, Mickey merchandise had earned $600,000.00 a year.[34] In 1935, Disney began to phase out the Mickey Mouse Clubs, due to administration problems.[35]

text: About this time, story artists at Disney were finding it increasingly difficult to write material for Mickey. As he had developed into a role model for children, they were limited in the types of gags they could make. This led to Mickey taking more of a secondary role in some of his next films allowing for more emphasis on other characters. In Orphan's Benefit (August 11, 1934) Mickey first appeared with Donald Duck who had been introduced earlier that year in the Silly Symphonies series. The tempestuous duck would provide Disney with seemingly endless story ideas and would remain a recurring character in Mickey's cartoons.

text: Color films (1935–1953)

text: Mickey first appeared animated in color in Parade of the Award Nominees in 1932, however, the film strip was created for the 5th Academy Awards ceremony and was not released to the public. Mickey's official first color film came in 1935 with The Band Concert. The Technicolor film process was used in the film production. Here Mickey conducted the William Tell Overture, but the band is swept up by a tornado. It is said that conductor Arturo Toscanini so loved this short that, upon first seeing it, he asked the projectionist to run it again. In 1994, The Band Concert was voted the third-greatest cartoon of all time in a poll of animation professionals. By colorizing and partially redesigning Mickey, Walt would put Mickey back on top once again, and Mickey would reach popularity he never reached before as audiences now gave him more appeal.[36] Also in 1935, Walt would receive a special award from the League of Nations for creating Mickey.

text: However, by 1938, the more manic Donald Duck would surpass the passive Mickey, resulting in a redesign of the mouse between 1938 and 1940 that put Mickey at the peak of his popularity.[36] The second half of the 1930s saw the character Goofy reintroduced as a series regular. Together, Mickey, Donald Duck, and Goofy would go on several adventures together. Several of the films by the comic trio are some of Mickey's most critically acclaimed films, including Mickey's Fire Brigade (1935), Moose Hunters (1937), Clock Cleaners (1937), Lonesome Ghosts (1937), Boat Builders (1938), and Mickey's Trailer (1938). Also during this era, Mickey would star in Brave Little Tailor (1938), an adaptation of The Valiant Little Tailor, which was nominated for an Academy Award.

text: Mickey was redesigned by animator Fred Moore which was first seen in The Pointer (1939). Instead of having solid black eyes, Mickey was given white eyes with pupils, a Caucasian skin colored face, and a pear-shaped body. In the 40's, he changed once more in The Little Whirlwind, where he used his trademark pants for the last time in decades, lost his tail, got more realistic ears that changed with perspective and a different body anatomy. But this change would only last for a short period of time before returning to the one in "The Pointer", with the exception of his pants. In his final theatrical cartoons in the 1950s, he was given eyebrows, which were removed in the more recent cartoons.

text: In 1940 Mickey appeared in his first feature-length film, Fantasia. His screen role as The Sorcerer's Apprentice, set to the symphonic poem of the same name by Paul Dukas, is perhaps the most famous segment of the film and one of Mickey's most iconic roles. The segment features no dialogue at all, only the music. The apprentice (Mickey), not willing to do his chores, puts on the sorcerer's magic hat after the sorcerer goes to bed and casts a spell on a broom, which causes the broom to come to life and perform the most tiring chore—filling up a deep well using two buckets of water. When the well eventually overflows, Mickey finds himself unable to control the broom, leading to a near-flood. After the segment ends, Mickey is seen in silhouette shaking hands with Leopold Stokowski, who conducts all the music heard in Fantasia. Mickey has often been pictured in the red robe and blue sorcerer's hat in merchandising. It was also featured into the climax of Fantasmic!, an attraction at the Disney theme parks.

text: After 1940, Mickey's popularity would decline until his 1955 re-emergence as a daily children's television personality.[37] Despite this, the character continued to appear regularly in animated shorts until 1943 (winning his only competitive Academy Award—with canine companion Pluto—for a short subject, Lend a Paw) and again from 1946 to 1952.

text: The last regular installment of the Mickey Mouse film series came in 1953 with The Simple Things in which Mickey and Pluto go fishing and are pestered by a flock of seagulls.

text: Television and later films

text: In the 1950s, Mickey became more known for his appearances on television, particularly with The Mickey Mouse Club. Many of his theatrical cartoon shorts were rereleased on television series such as Ink & Paint Club, various forms of the Walt Disney anthology television series, and on home video. Mickey returned to theatrical animation in 1983 with Mickey's Christmas Carol, an adaptation of Charles Dickens' A Christmas Carol in which Mickey played Bob Cratchit. This was followed up in 1990 with The Prince and the Pauper.

text: Throughout the decades, Mickey Mouse competed with Warner Bros.' Bugs Bunny for animated popularity. But in 1988, the two rivals finally shared screen time in the Robert Zemeckis Disney/Amblin film Who Framed Roger Rabbit. Disney and Warner signed an agreement stating that each character had the same amount of screen time in the scene.

text: Similar to his animated inclusion into a live-action film on Roger Rabbit, Mickey made a featured cameo appearance in the 1990 television special The Muppets at Walt Disney World where he met Kermit the Frog. The two are established in the story as having been old friends. The Muppets have otherwise spoofed and referenced Mickey over a dozen times since the 1970s. Eventually, The Muppets were purchased by the Walt Disney Company in 2004.

text: His most recent theatrical cartoon short was 2013's Get a Horse! which was preceded by 1995's Runaway Brain, while from 1999 to 2004, he appeared in direct-to-video features like Mickey's Once Upon a Christmas, Mickey, Donald, Goofy: The Three Musketeers and the computer-animated Mickey's Twice Upon a Christmas.

text: Many television series have centered on Mickey, such as the ABC shows Mickey Mouse Works (1999–2000), Disney's House of Mouse (2001–2003), Disney Channel's Mickey Mouse Clubhouse (2006–2016), and Mickey and the Roadster Racers (2017–). Prior to all these, Mickey was also featured as an unseen character in the Bonkers episode "You Oughta Be In Toons".

text: Mickey has recently been announced to star in two films. One is being based on the Magic Kingdom theme park at the Walt Disney World Resort, while the other is a film idea pitched by Walt Disney Animation Studios veteran Burny Mattinson centering on Mickey, Donald, and Goofy.[38]

text: Since June 28, 2013, Disney Channel has been airing new 3-minute Mickey Mouse shorts, with animator Paul Rudish at the helm, incorporating elements of Mickey's late twenties-early thirties look with a contemporary twist.[39]

text: Voice actors

text: A large part of Mickey's screen persona is his famously shy, falsetto voice. From 1928 onward, Mickey was voiced by Walt Disney himself, a task in which Disney took great personal pride. However, by 1946, Disney was becoming too busy with running the studio to do regular voice work which meant he could not do Mickey's voice anymore. It is also speculated that his cigarette habit had damaged his voice over the years. After recording the Mickey and the Beanstalk section of Fun and Fancy Free, Mickey's voice was handed over to veteran Disney musician and actor Jimmy MacDonald. MacDonald voiced Mickey in the remainder of the theatrical shorts, and for various television and publicity projects up until his retirement in the mid-1970s, although Walt voiced Mickey again for the introductions to the original 1955–1959 run of The Mickey Mouse Club TV series, the "Fourth Anniversary Show" episode of the Disneyland TV series that aired on September 11, 1958, and the Disneyland USA at Radio City Music Hall show from 1962.[40] Composer Carl W. Stalling was the very first person to provide lines for Mickey in the 1929 short The Karnival Kid. Clarence Nash voiced Mickey in the 1934 Disney short, The Dognapper; around the time when it was filmed, Walt was traveling in Europe and was unavailable to record his lines for Mickey for the short. Along with Disney, J. Donald Wilson, Joe Twerp, and John Hiestand provided the voice in 1938 broadcasts of The Mickey Mouse Theater of the Air.[41] Stan Freberg voiced Mickey in the Freberg-produced record Mickey Mouse's Birthday Party. Alan Young voiced Mickey in the Disneyland record album An Adaptation of Dickens' Christmas Carol, Performed by The Walt Disney Players in 1974, which it would be the first and only time that Alan Young voices him.[42][43]

text: The 1983 short film Mickey's Christmas Carol marked the theatrical debut of Wayne Allwine as Mickey Mouse, who was the official voice of Mickey from 1977 until his death in 2009.[44] Allwine once recounted something MacDonald had told him about voicing Mickey: "The main piece of advice that Jim gave me about Mickey helped me keep things in perspective. He said, 'Just remember kid, you're only filling in for the boss.' And that's the way he treated doing Mickey for years and years. From Walt, and now from Jimmy."[45] In 1991, Allwine married Russi Taylor, the voice of Minnie Mouse since 1986. Les Perkins did the voice of Mickey in two TV specials, "Down and Out with Donald Duck" and "DTV Valentine" in the mid-1980s. Peter Renaday voiced Mickey in the 1980s Disney albums Yankee Doodle Mickey and Mickey Mouse Splashdance.[46][47] He also provided his voice for The Talking Mickey Mouse toy in 1986.[48][49] Quinton Flynn briefly filled in for Allwine as the voice of Mickey in a few episodes of the first season of Mickey Mouse Works whenever Allwine was unavailable to record.[50]

text: Bret Iwan, a former Hallmark greeting card artist, is the current voice of Mickey. Iwan was originally cast as an understudy for Allwine due to the latter’s declining health; however, Allwine died before Iwan could meet him, and Iwan became the new official voice for Mickey. Iwan’s early recordings in 2009 included work for the Disney Cruise Line, Mickey toys, theme parks, and also the Disney on Ice: Celebrations! ice show.[51] He directly replaced Allwine as Mickey for the Kingdom Hearts video game series and the series Mickey Mouse Clubhouse. His first video game voice-over of Mickey Mouse can be found on Kingdom Hearts: Birth by Sleep, a video game for PlayStation Portable. Iwan also became the first voice actor to portray Mickey during Disney’s rebranding of the character, providing the vocal effects of Mickey in the games Epic Mickey as well as his voice in Epic Mickey 2: The Power of Two and the remake of Castle of Illusion. Despite Iwan being Mickey's primary voice actor, the character's voice is provided by Chris Diamantopoulos in the 2013 animated series,[52] as the producers were looking for a voice closer to Walt Disney’s portrayal of the character in order to match the vintage look of the series.[53]

text: Mickey in comics

text: Mickey first appeared in comics after he had appeared in 15 commercially successful animated shorts and was easily recognized by the public. Walt Disney was approached by King Features Syndicate with the offer to license Mickey and his supporting characters for use in a comic strip. Disney accepted and Mickey made his first comic strip appearance on January 13, 1930. The comical plot was credited to Disney himself, art to Ub Iwerks and inking to Win Smith. The first week or so of the strip featured a loose adaptation of "Plane Crazy". Minnie soon became the first addition to the cast. The strips first released between January 13, 1930, and March 31, 1930, has been occasionally reprinted in comic book form under the collective title "Lost on a Desert Island". Animation historian Jim Korkis notes "After the eighteenth strip, Iwerks left and his inker, Win Smith, continued drawing the gag-a-day format..."[54]

text: In early 1930, after Iwerks' departure, Disney was at first content to continue scripting the Mickey Mouse comic strip, assigning the art to Win Smith. However, Disney's focus had always been in animation and Smith was soon assigned with the scripting as well. Smith was apparently discontent at the prospect of having to script, draw, and ink a series by himself as evidenced by his sudden resignation.

text: Disney then searched for a replacement among the remaining staff of the Studio. He selected Floyd Gottfredson, a recently hired employee. At the time Gottfredson was reportedly eager to work in animation and somewhat reluctant to accept his new assignment. Disney had to assure him the assignment was only temporary and that he would eventually return to animation. Gottfredson accepted and ended up holding this "temporary" assignment from May 5, 1930, to November 15, 1975.

text: Walt Disney's last script for the strip appeared May 17, 1930.[54] Gottfredson's first task was to finish the storyline Disney had started on April 1, 1930. The storyline was completed on September 20, 1930, and later reprinted in comic book form as Mickey Mouse in Death Valley. This early adventure expanded the cast of the strip which to this point only included Mickey and Minnie. Among the characters who had their first comic strip appearances in this story were Clarabelle Cow, Horace Horsecollar, and Black Pete as well as the debuts of corrupted lawyer Sylvester Shyster and Minnie's uncle Mortimer Mouse. The Death Valley narrative was followed by Mr. Slicker and the Egg Robbers, first printed between September 22 and December 26, 1930, which introduced Marcus Mouse and his wife as Minnie's parents.

text: Starting with these two early comic strip stories, Mickey's versions in animation and comics are considered to have diverged from each other. While Disney and his cartoon shorts would continue to focus on comedy, the comic strip effectively combined comedy and adventure. This adventurous version of Mickey would continue to appear in comic strips and later comic books throughout the 20th and into the 21st century.

text: Floyd Gottfredson left his mark with stories such as Mickey Mouse Joins the Foreign Legion (1936) and The Gleam (1942). He also created the Phantom Blot, Eega Beeva, Morty and Ferdie, Captain Churchmouse, and Butch. Besides Gottfredson artists for the strip over the years included Roman Arambula, Rick Hoover, Manuel Gonzales, Carson Van Osten, Jim Engel, Bill Wright, Ted Thwailes and Daan Jippes; writers included Ted Osborne, Merrill De Maris, Bill Walsh, Dick Shaw, Roy Williams, Del Connell, and Floyd Norman.

text: The next artist to leave his mark on the character was Paul Murry in Dell Comics. His first Mickey tale appeared in 1950 but Mickey did not become a specialty until Murry's first serial for Walt Disney's Comics and Stories in 1953 ("The Last Resort"). In the same period, Romano Scarpa in Italy for the magazine Topolino began to revitalize Mickey in stories that brought back the Phantom Blot and Eega Beeva along with new creations such as the Atomo Bleep-Bleep. While the stories at Western Publishing during the Silver Age emphasized Mickey as a detective in the style of Sherlock Holmes, in the modern era several editors and creators have consciously undertaken to depict a more vigorous Mickey in the mold of the classic Gottfredson adventures. This renaissance has been spearheaded by Byron Erickson, David Gerstein, Noel Van Horn, Michael T. Gilbert and César Ferioli.

text: In Europe, Mickey Mouse became the main attraction of a number of comics magazines, the most famous being Topolino in Italy from 1932 on, Le Journal de Mickey in France from 1934 on, Don Miki in Spain and the Greek Miky Maous.

text: Mickey was the main character for the series MM Mickey Mouse Mystery Magazine, published in Italy from 1999 to 2001.

text: In 2006, he appeared in the Italian fantasy comic saga Wizards of Mickey.

text: In 1958, Mickey Mouse was introduced to the Arab world through another comic book called “Sameer”. He became very popular in Egypt and got a comic book with his name. Mickey’s comics in Egypt are licensed by Disney and were published since 1959 by “Dar Al-Hilal” and they were success, however Dar Al-Hilal stopped the publication in 2003 because of problems with Disney. The comics were re-released by "Nahdat Masr" in 2004 and the first issues were sold out in less than 8 hours.[55]

text: Merchandising

text: Since his early years, Mickey Mouse has been licensed by Disney to appear on many different kinds of merchandise. Mickey was produced as plush toys and figurines, and Mickey's image has graced almost everything from T-shirts to lunchboxes. Largely responsible for Disney merchandising in the 1930s was Kay Kamen (1892–1949) who was called a "stickler for quality." Kamen was recognized by The Walt Disney Company as having a significant part in Mickey's rise to stardom and was named a Disney Legend in 1998.[56] At the time of his 80th-anniversary celebration in 2008, Time declared Mickey Mouse one of the world's most recognized characters, even when compared against Santa Claus.[57] Disney officials have stated that 98% of children aged 3–11 around the world are at least aware of the character.[57]

text: Mickey was most famously featured on wrist watches and alarm clocks, typically utilizing his hands as the actual hands on the face of the clock. The first Mickey Mouse watches were manufactured in 1933 by the Ingersoll Watch Company. The seconds were indicated by a turning disk below Mickey. The first Mickey watch was sold at the Century of Progress in Chicago, 1933 for $3.75. Mickey Mouse watches have been sold by other companies and designers throughout the years, including Timex, Elgin, Helbros, Bradley, Lorus, and Gérald Genta[58] The fictional character Robert Langdon from Dan Brown's novels was said to wear a Mickey Mouse watch as a reminder "to stay young at heart."[59]

text: In 1989, Milton Bradley released the electronic talking game titled Mickey Says, with three modes featuring Mickey Mouse as its host. Mickey also appeared in other toys and games, including the Worlds of Wonder released The Talking Mickey Mouse.

text: Fisher-Price has recently produced a line of talking animatronic Mickey dolls including "Dance Star Mickey" (2010)[60] and "Rock Star Mickey" (2011).[61]

text: In total, approximately 40% of Disney's revenues for consumer products are derived from Mickey Mouse merchandise, with revenues peaking in 1997.[57]

text: Mickey at the Disney parks

text: As the official Walt Disney mascot, Mickey has played a central role in the Disney parks since the opening of Disneyland in 1955. As with other characters, Mickey is often portrayed by a non-speaking costumed actor. In this form, he has participated in ceremonies and countless parades. A popular activity with guests is getting to meet and pose for photographs with the mouse. As of the presidency of Barack Obama (who jokingly referred to him as "a world leader who has bigger ears than me")[62] Mickey has met every U.S. President since Harry Truman, with the exception of Lyndon B. Johnson.[14]

text: Mickey also features in several specific attractions at the Disney parks. Mickey's Toontown (Disneyland and Tokyo Disneyland) is a themed land which is a recreation of Mickey's neighborhood. Buildings are built in a cartoon style and guests can visit Mickey or Minnie's houses, Donald Duck's boat, or Goofy's garage. This is a common place to meet the characters.[63]

text: Mickey's PhilharMagic (Magic Kingdom, Tokyo Disneyland, Hong Kong Disneyland) is a 4D film which features Mickey in the familiar role of symphony conductor. At Main Street Cinema several of Mickey's short films are shown on a rotating basis; the sixth film is always Steamboat Willie. Mickey plays a central role in Fantasmic! (Disneyland Resort, Disney's Hollywood Studios) a live nighttime show which famously features Mickey in his role as the Sorcerer's Apprentice. Mickey was also a central character in the now-defunct Mickey Mouse Revue (Magic Kingdom, Tokyo Disneyland) which was an indoor show featuring animatronic characters. Mickey's face currently graces the Mickey's Fun Wheel at Disney California Adventure Park, where a figure of him also stands on top of Silly Symphony Swings.

text: In addition to Mickey's overt presence in the parks, numerous images of him are also subtly included in sometimes unexpected places. This phenomenon is known as "Hidden Mickey", involving hidden images in Disney films, theme parks, and merchandise.

text: Mickey in video games

text: Like many popular characters, Mickey has starred in many video games, including Mickey Mousecapade on the Nintendo Entertainment System, Mickey Mania: The Timeless Adventures of Mickey Mouse, Mickey's Ultimate Challenge, and Disney's Magical Quest on the Super Nintendo Entertainment System, Castle of Illusion Starring Mickey Mouse on the Mega Drive/Genesis, Mickey Mouse: Magic Wands! on the Game Boy, and many others. In the 2000s, the Disney's Magical Quest series were ported to the Game Boy Advance, while Mickey made his sixth generation era debut in Disney's Magical Mirror Starring Mickey Mouse, a Nintendo GameCube title aimed at younger audiences. Mickey plays a major role in the Kingdom Hearts series, as the king of Disney Castle and aide to the protagonist, Sora. King Mickey wields the Keyblade, a weapon in the form of a key that has the power to open any lock and combat darkness. Epic Mickey, featuring a darker version of the Disney universe, was released in 2010 for the Wii. The game is part of an effort by The Walt Disney Company to re-brand the Mickey Mouse character by moving away from his current squeaky clean image and reintroducing the mischievous side of his personality.[3]

text: Awards and honors

text: Mickey Mouse has received ten nominations for the Academy Award for Best Animated Short Film. These are Mickey's Orphans (1931), Building a Building (1933), Brave Little Tailor (1938), The Pointer (1939), Lend a Paw (1941), Squatter's Rights (1946), Mickey and the Seal (1948), Mickey's Christmas Carol (1983), Runaway Brain (1995), and Get a Horse! (2013). Among these, Lend a Paw was the only film to actually win the award. Additionally, in 1932 Walt Disney received an honorary Academy Award in recognition of Mickey's creation and popularity.

text: In 1994, four of Mickey's cartoons were included in the book The 50 Greatest Cartoons which listed the greatest cartoons of all time as voted by members of the animation field. The films were The Band Concert (#3), Steamboat Willie (#13), Brave Little Tailor (#26), and Clock Cleaners (#27).

text: On November 18, 1978, in honor of his 50th anniversary, Mickey became the first cartoon character to have a star on the Hollywood Walk of Fame. The star is located on 6925 Hollywood Blvd.

text: Melbourne (Australia) runs the annual Moomba festival street procession and appointed Mickey Mouse as their King of Moomba (1977).[64]:17–22 Although immensely popular with children, there was controversy with the appointment: some Melburnians wanted a 'home-grown' choice, e.g. Blinky Bill; when it was revealed that Patricia O'Carroll (from Disneyland's Disney on Parade show) was performing the mouse, Australian newspapers reported "Mickey Mouse is really a girl!"[64]:19–20

text: Mickey was the Grand Marshal of the Tournament of Roses Parade on New Year's Day 2005. He was the first cartoon character to receive the honor and only the second fictional character after Kermit the Frog in 1996.

text: Social impact

text: Use in politics

text: In the United States, protest votes are often made in order to indicate dissatisfaction with the slate of candidates presented on a particular ballot or to highlight the inadequacies of a particular voting procedure. Since most states' electoral systems do not provide for blank balloting or a choice of "None of the Above", most protest votes take the form of a clearly non-serious candidate's name entered as a write-in vote. Mickey Mouse is often selected for this purpose.[65][66] As an election supervisor in Georgia observed, "If [Mickey Mouse] doesn’t get votes in our election, it’s a bad election."[67] The earliest known mention of Mickey Mouse as a write-in candidate dates back to the 1932 New York City mayoral elections.[68]

text: Mickey Mouse's name has also been known to appear fraudulently on voter registration lists, such as in the 2008 U.S. Presidential Election.[69][70]

text: Pejorative use of Mickey's name

text: "Mickey Mouse" is a slang expression meaning small-time, amateurish or trivial. In the United Kingdom and Ireland, it also means poor quality or counterfeit. However, in parts of Australia it can mean excellent or very good (rhyming slang for "grouse").[71] Examples of the former two of the three usages include the following:

text:
In The Godfather Part II, Fredo's justification of betraying Michael is that his orders in the family usually were "Send Fredo off to do this, send Fredo off to do that! Let Fredo take care of some Mickey Mouse nightclub somewhere!" as opposed to more meaningful tasks.
In an early episode of the 1978–82 sitcom Mork & Mindy, Mork stated that Pluto was "a Mickey Mouse planet", referring to the future dwarf planet having the same name as Mickey's pet dog Pluto. Actually, the planet was named shortly before the dog was.
In 1984, just after an ice hockey game in which Wayne Gretzky's Edmonton Oilers beat the New Jersey Devils 13–4, Gretzky was quoted as saying to a reporter, "Well, it's time they got their act together, they're ruining the whole league. They had better stop running a Mickey Mouse organization and put somebody on the ice". Reacting to Gretzky's comment, Devils fans wore Mickey Mouse apparel when the Oilers returned to New Jersey.[72]
In the 1993 Warner Bros. film Demolition Man, as Sylvester Stallone's character is fighting the malfunctioning AI of his out-of-control police car, he shouts for the system to "Brake! Brake! Brake now, you Mickey Mouse piece of shit!"[73]
In the 1996 Warner Bros. film Space Jam, Bugs Bunny derogatorily comments on Daffy Duck's idea for the name of their basketball team, asking: "What kind of Mickey Mouse organization would name a team 'The Ducks?'" (This also referenced the Mighty Ducks of Anaheim, an NHL team that was then owned by Disney, as well as the Disney-made "The Mighty Ducks" movie franchise. This was referencing the Disney/Warner Brothers rivalry.)
In the United States armed forces, actions that look good but have little or no practical use (such as the specific manner of making beds in basic training or the polishing of brass fittings on board ship) are commonly referred to as "Mickey Mouse work."[citation needed]
In schools a "Mickey Mouse course", "Mickey Mouse major", or "Mickey Mouse degree" is a class, college major, or degree where very little effort is necessary in order to attain a good grade (especially an A) or one where the subject matter of such a class is not of any importance in the labor market.[74]
Musicians often refer to a film score that directly follows each action on screen as Mickey Mousing (also mickey-mousing and mickeymousing).[75]
Software company Microsoft has been derogatorily called "Mickeysoft".[76]
In the beginning of the 1980s, then-British Prime Minister Margaret Thatcher once called the European Parliament a "Mickey Mouse parliament", meaning a discussion club without influence.[77]
In the British sitcom Red Dwarf, in the episode "Quarantine", after the team's substandard equipment nearly cost them their lives, Lister pointed out, "We're a real Mickey Mouse operation, aren't we?" The Cat replied, "Mickey Mouse? We ain't even Betty Boop!"
The combined road course at the Indianapolis Motor Speedway used for the F1 U.S. Grand Prix has been described by Jacques Villeneuve and other competitors as "Mickey Mouse"[78] due to its slow uninteresting corners, and lack of challenging corners.

text: Parodies and criticism

text: Mickey Mouse's global fame has made him both a symbol of The Walt Disney Company and of the United States itself. For this reason, Mickey has been used frequently in anti-American satire, such as the infamous underground cartoon "Mickey Mouse in Vietnam" (1969). There have been numerous parodies of Mickey Mouse, such as the 2-page parody "Mickey Rodent" by Will Elder (published in Mad #19, 1955) in which the mouse walks around unshaven and jails Donald Duck out of jealousy over the duck's larger popularity.[79] The grotesque Rat Fink character was created by Ed "Big Daddy" Roth over his hatred of Mickey Mouse. In The Simpsons Movie, Bart Simpson puts a black bra on his head to mimic Mickey Mouse and says: "I'm the mascot of an evil corporation!"[80] On the Comedy Central series South Park, Mickey is depicted as the sadistic, greedy, foul-mouthed boss of The Walt Disney Company, only interested in money. He also appears briefly with Donald Duck in the comic Squeak the Mouse by the Italian cartoonist Massimo Mattioli.

text: In the 1969 parody novel Bored of the Rings, Mickey Mouse is satirized as Dickey Dragon.

text: Legal issues

text: Like all major Disney characters, Mickey Mouse is not only copyrighted but also trademarked, which lasts in perpetuity as long as it continues to be used commercially by its owner. So, whether or not a particular Disney cartoon goes into the public domain, the characters themselves may not be used as trademarks without authorization.

text: Because of the Copyright Term Extension Act of the United States (sometimes called the 'Mickey Mouse Protection Act' because of extensive lobbying by the Disney corporation) and similar legislation within the European Union and other jurisdictions where copyright terms have been extended, works such as the early Mickey Mouse cartoons will remain under copyright until at least 2023. However, some copyright scholars argue that Disney's copyright on the earliest version of the character may be invalid due to ambiguity in the copyright notice for Steamboat Willie.[81]

text: The Walt Disney Company has become well known for protecting its trademark on the Mickey Mouse character—whose likeness is closely associated with the company—with particular zeal. In 1989, Disney threatened legal action against three daycare centers in Florida for having Mickey Mouse and other Disney characters painted on their walls. The characters were removed, and rival Universal Studios replaced them with Universal cartoon characters.[82]

text: Walt Disney Productions v. Air Pirates

text: In 1971, a group of underground cartoonists calling themselves the Air Pirates, after a group of villains from early Mickey Mouse films, produced a comic called Air Pirates Funnies. In the first issue, cartoonist Dan O'Neill depicted Mickey and Minnie Mouse engaging in explicit sexual behavior and consuming drugs. As O'Neill explained, "The air pirates were…some sort of bizarre concept to steal the air, pirate the air, steal the media….Since we were cartoonists, the logical thing was Disney."[83] Rather than change the appearance or name of the character, which O'Neill felt would dilute the parody, the mouse depicted in Air Pirates Funnies looks like and is named "Mickey Mouse". Disney sued for copyright infringement, and after a series of appeals, O'Neill eventually lost and was ordered to pay Disney $1.9 million. The outcome of the case remains controversial among free-speech advocates. New York Law School professor Edward Samuels said, "[The Air Pirates] set parody back twenty years."[84][better source needed]

text: Censorship

text: In 1930, The German Board of Film Censors prohibited any presentations of the Mickey Mouse cartoon The Barnyard Battle (1929). The animated short, which features the mouse as a kepi-wearing soldier fighting cat enemies in German-style helmets, was viewed by censors as a negative portrayal of Germany.[85] It was claimed by the board that the film would "reawaken the latest anti-German feeling existing abroad since the War".[86] The Barnyard Battle incident did not incite wider anti-Mickey sentiment in Germany in 1930; however, after Adolf Hitler came to power several years later, the Nazi regime unambiguously propagandized against Disney. A mid-1930s German newspaper article read:

text: "Mickey Mouse is the most miserable ideal ever revealed...Healthy emotions tell every independent young man and every honorable youth that the dirty and filth-covered vermin, the greatest bacteria carrier in the animal kingdom, cannot be the ideal type of animal...Away with Jewish brutalization of the people! Down with Mickey Mouse! Wear the Swastika Cross!"[87][88][89]

text: American cartoonist and writer Art Spiegelman would later use this quote on the opening page of the second volume of his graphic novel Maus.

text: In 1935 Romanian authorities also banned Mickey Mouse films from cinemas, purportedly fearing that children would be "scared to see a ten-foot mouse in the movie theatre".[90] In 1938, based on the Ministry of Popular Culture's recommendation that a reform was necessary "to raise children in the firm and imperialist spirit of the Fascist revolution," the Italian Government banned foreign children's literature[91] except Mickey; Disney characters were exempted from the decree for the "acknowledged artistic merit" of Disney's work.[92] Actually, Mussolini's children were fond of Mickey Mouse, so they managed to delay his ban as long as possible.[93] In 1942, after Italy declared war on the United States, fascism immediately forced Italian publishers to stop printing any Disney stories. Mickey's stories were replaced by the adventures of Tuffolino, a new human character created by Federico Pedrocchi (script) and Pier Lorenzo De Vita (art). After the downfall of Italy's fascist government in 1945, the ban was removed.

text: Filmography

text: Mickey has been announced to star in two films. One is a live-action/CGI hybrid film based on the Magic Kingdom theme park at the Walt Disney World Resort,[94] while the other is a film idea pitched by Walt Disney Animation Studios veteran Burny Mattinson centering on Mickey, Donald, and Goofy.[38]

text: Selected short films

text:
Steamboat Willie (1928)
Plane Crazy (1929)
The Karnival Kid (1929)
Mickey's Orphans (1931)
Building a Building (1933)
The Mad Doctor (1933)
The Band Concert (1935)

Thru the Mirror (1936)
Moving Day (1936)
Clock Cleaners (1937)
Lonesome Ghosts (1937)
Brave Little Tailor (1938)
The Pointer (1939)
The Nifty Nineties (1941)
Lend a Paw (1941)

Symphony Hour (1942)
Squatter's Rights (1946)
Mickey and the Seal (1948)
The Simple Things (1953)
Mickey's Christmas Carol (1983)
Runaway Brain (1995)
Get a Horse! (2013)

text: Full-length films

text:
Hollywood Party (cameo, 1934)
Fantasia (1940)
Fun and Fancy Free (1947)
Who Framed Roger Rabbit (cameo, 1988)
A Goofy Movie (cameo, 1995)
Mickey's Once Upon a Christmas (1999)
Fantasia 2000 (1999)
Mickey's House of Villains (2002)
Mickey, Donald, Goofy: The Three Musketeers (2004)
Mickey's Twice Upon a Christmas (2004)

text: Television series

text:
The Mickey Mouse Club (1955–1959; 1977–1979; 1989–1994)
Mickey Mouse Works (1999–2000)
Disney's House of Mouse (2001–2003)
Mickey Mouse Clubhouse (2006–2016)
Mickey Mouse (2013–present)
Mickey and the Roadster Racers (2017–present)[95]


document_title: Olympic-size swimming pool

question_text: how many lanes are in a olympic swimming pool

root

text: Olympic-size swimming pool

text: An Olympic-size swimming pool conforms to regulated dimensions, large enough for international competition.  This type of swimming pool is used in the Olympic Games, where the race course is 50 metres (164.0 ft) in length, typically referred to as "long course", distinguishing it from "short course" which applies to competitions in pools that are 25 metres (82.0 ft) in length.  If touch panels are used in competition, then the distance between touch panels should be either 25 or 50 metres to qualify for FINA recognition.  This means that Olympic pools are generally oversized, to accommodate touch panels used in competition.

tag: p

text: An Olympic-size swimming pool is used as a colloquial unit of volume, to make approximate comparisons to similarly sized objects or volumes. It is not a specific definition, as there is no official limit on the depth of an Olympic pool. The value has an order of magnitude of 1 megaliter (ML).[1]

text: Specifications[edit]

text: FINA specifications for an Olympic-size pool are as follows:

text:
Physical property
Specified value

Length
7001500000000000000♠50.000+0.030−0.000 m[2]

Width
7001250000000000000♠25.0 m[2]

Depth
2.0 m (6 ft 7 in) minimum, 3.0 m (9 ft 10 in) recommended.[2]

Number of lanes
10

Lane width
2.5 m (8 ft 2 in)

Water temperature
25–28 °C (77–82 °F)

Light intensity
minimum 1500 lux (140 footcandles)

Volume
2,500,000 L (550,000 imp gal; 660,000 US gal), assuming a nominal depth of 7000200000000000000♠2 m.
2,500 m3 (88,000 cu ft) in cubic units.
About 2 acre-feet.

tag: table

text: There must be two spaces 2.5 m (8 ft 2 in) wide outside lanes 1 and 8 (in effect, two empty lanes).[2] The length of 50 metres (164 ft) must be between the touch pads at the end of each lane, if they are used.[2] If starting blocks are used, then there must be a minimum depth of 1.35 metres (4.4 ft) from between 1.0 metre (3 ft) from the end of the pool to at least 6.0 metres (20 ft) from the end of the pool.  At all other points, the minimum depth is 1.0 metre (3 ft).[2] If the pool is used for Olympic Games or World Championships, then the minimum depth is increased to 2.0 metres (7 ft).[2]

text: At FINA's 2009 Congress, rules were approved for 10-lane courses for competition, as an alternative to the more traditional 8-lane course.


document_title: History of the World Wide Web

question_text: when did the world wide web became popular

text: History of the World Wide Web

text: Precursors[edit]

text: The hypertext portion of the Web in particular has an intricate intellectual history; notable influences and precursors include Vannevar Bush's Memex,[3] IBM's Generalized Markup Language,[4] and Ted Nelson's Project Xanadu.[3]

text: Paul Otlet's Mundaneum project has also been named as an early 20th century precursor of the Web.[5]

text: The concept of a global information system connecting homes is prefigured in "A Logic Named Joe", a 1946 short story by Murray Leinster, in which computer terminals, called "logics," are present in every home. Although the computer system in the story is centralized, the story anticipates a ubiquitous information environment similar to the Web. The cultural impact of the web was imagined even further back in a short story by E. M. Forster, "The Machine Stops," first published in 1909.

text: 1980–1991: Invention and implementation of the Web[edit]

text: In 1980, Tim Berners-Lee, an English independent contractor at the European Organization for Nuclear Research (CERN) in Switzerland, built ENQUIRE, as a personal database of people and software models, but also as a way to play with hypertext; each new page of information in ENQUIRE had to be linked to an existing page.[3]

text: Berners-Lee's contract in 1980 was from June to December, but in 1984 he returned to CERN in a permanent role, and considered its problems of information management: physicists from around the world needed to share data, yet they lacked common machines and any shared presentation software.

text: Shortly after Berners-Lee's return to CERN, TCP/IP protocols were installed on some key non-Unix machines at the institution, turning it into the largest Internet site in Europe within a few years. As a result, CERN's infrastructure was ready for Berners-Lee to create the Web.[6]

text: Berners-Lee wrote a proposal on March 13, 1989 for "a large hypertext database with typed links".[7] Although the proposal attracted little interest, Berners-Lee was encouraged by his boss, Mike Sendall, to begin implementing his system on a newly acquired NeXT workstation.[8] He considered several names, including Information Mesh,[7] The Information Mine or Mine of Information, but settled on World Wide Web.[9]

text: Berners-Lee found an enthusiastic supporter in Robert Cailliau. Berners-Lee and Cailliau pitched Berners-Lee's ideas to the European Conference on Hypertext Technology in September 1990, but found no vendors who could appreciate his vision of marrying hypertext with the Internet.[10]

text: By Christmas 1990, Berners-Lee had built all the tools necessary for a working Web: the HyperText Transfer Protocol (HTTP) 0.9,[11] the HyperText Markup Language (HTML), the first Web browser (named WorldWideWeb, which was also a Web editor), the first HTTP server software (later known as CERN httpd), the first web server (http://info.cern.ch), and the first Web pages that described the project itself. The browser could access Usenet newsgroups and FTP files as well. However, it could run only on the NeXT; Nicola Pellow therefore created a simple text browser, called the Line Mode Browser, that could run on almost any computer.[12] To encourage use within CERN, Bernd Pollermann put the CERN telephone directory on the web — previously users had to log onto the mainframe in order to look up phone numbers.[12]

text: While inventing and working on setting up the Web, Berners-Lee spent most of his working hours in Building 31 (second floor) at CERN (46°13′57″N 6°02′42″E / 46.2325°N 6.0450°E / 46.2325; 6.0450 (CERN Building 31, Birthplace of the World Wide Web)), but also at his two homes, one in France, one in Switzerland.[13] In January 1991 the first Web servers outside CERN itself were switched on.[14]

text: The first web page may be lost, but Paul Jones of UNC-Chapel Hill in North Carolina revealed in May 2013 that he has a copy of a page sent to him in 1991 by Berners-Lee which is the oldest known web page. Jones stored the plain-text page, with hyperlinks, on a floppy disk and on his NeXT computer.[15] CERN put the oldest known web page back online in 2014, complete with hyperlinks that helped users get started and helped them navigate what was then a very small web.[16][17]

text: On August 6, 1991,[18] Berners-Lee posted a short summary of the World Wide Web project on the alt.hypertext newsgroup, inviting collaborators.[19] This date is sometimes confused with the public availability of the first web servers, which had occurred months earlier.

text: Paul Kunz from the Stanford Linear Accelerator Center visited CERN in September 1991, and was captivated by the Web. He brought the NeXT software back to SLAC, where librarian Louise Addis adapted it for the VM/CMS operating system on the IBM mainframe as a way to display SLAC's catalog of online documents;[12] this was the first Web server outside of Europe and the first in North America.[20] The www-talk mailing list was started in the same month.[14]

text: In 1992 the Computing and Networking Department of CERN, headed by David Williams, did not support Berners-Lee's work. A two-page email sent by Williams stated that the work of Berners-Lee, with the goal of creating a facility to exchange information such as results and comments from CERN experiments to the scientific community, was not the core activity of CERN and was a misallocation of CERN's IT resources. Following this decision, Tim Berners-Lee left CERN despite many of his peers in the IT center advocating for his support, in particular, M. Ben Segal from the distributed computing SHIFT project. He left for the Massachusetts Institute of Technology (MIT), where he continued to develop the HTTP protocol.

text: An early CERN-related contribution to the Web was the parody band Les Horribles Cernettes, whose promotional image is believed to be among the Web's first five pictures.[21]

text: 1992–1995: Growth of the Web[edit]

text: In keeping with its birth at CERN and the first page opened, early adopters of the World Wide Web were primarily university-based scientific departments or physics laboratories such as Fermilab and SLAC. By January 1993 there were fifty Web servers across the world. In April 1993 CERN made the World Wide Web available on a royalty-free basis.[22] By October 1993 there were over five hundred servers online.[14] Two of the earliest webcomics started on the World Wide Web in 1993: Doctor Fun and NetBoy.[23][24]

text: Early websites intermingled links for both the HTTP web protocol and the then-popular Gopher protocol, which provided access to content through hypertext menus presented as a file system rather than through HTML files. Early Web users would navigate either by bookmarking popular directory pages, such as Berners-Lee's first site at http://info.cern.ch/, or by consulting updated lists such as the NCSA "What's New" page. Some sites were also indexed by WAIS, enabling users to submit full-text searches similar to the capability later provided by search engines.

text: By the end of 1994, the total number of websites was still minute compared to present figures, but quite a number of notable websites were already active, many of which are the precursors or inspiring examples of today's most popular services.

text: Early browsers[edit]

text: Initially, a web browser was available only for the NeXT operating system. This shortcoming was discussed in January 1992,[14] and alleviated in April 1992 by the release of Erwise, an application developed at the Helsinki University of Technology, and in May by ViolaWWW, created by Pei-Yuan Wei, which included advanced features such as embedded graphics, scripting, and animation.[12] ViolaWWW was originally an application for HyperCard. Both programs ran on the X Window System for Unix.[12] In 1992, the first tests between browsers on different platforms were concluded successfully between buildings 513 and 31 in CERN, between browsers on the NexT station and the X11-ported Mosaic browser.

text: Students at the University of Kansas adapted an existing text-only hypertext browser, Lynx, to access the web. Lynx was available on Unix and DOS, and some web designers, unimpressed with glossy graphical websites, held that a website not accessible through Lynx wasn’t worth visiting.

text: The first Microsoft Windows browser was Cello, written by Thomas R. Bruce for the Legal Information Institute at Cornell Law School to provide legal information, since access to Windows was more widespread amongst lawyers than access to Unix. Cello was released in June 1993.[12]

text:
The Web was first popularized by Mosaic,[25] a graphical browser launched in 1993 by Marc Andreessen's team at the National Center for Supercomputing Applications (NCSA) at the University of Illinois at Urbana-Champaign (UIUC).[26]
The origins of Mosaic date to 1992. In November 1992, the NCSA at the University of Illinois (UIUC) established a website. In December 1992, Andreessen and Eric Bina, students attending UIUC and working at the NCSA, began work on Mosaic with funding from the High-Performance Computing and Communications Initiative, a US-federal research and development program.[27] Andreessen and Bina released a Unix version of the browser in February 1993; Mac and Windows versions followed in August 1993.[14] The browser gained popularity due to its strong support of integrated multimedia, and the authors’ rapid response to user bug reports and recommendations for new features.

text: After graduation from UIUC, Andreessen and James H. Clark, former CEO of Silicon Graphics, met and formed Mosaic Communications Corporation in April 1994, to develop the Mosaic Netscape browser commercially. The company later changed its name to Netscape, and the browser was developed further as Netscape Navigator.

text: Web governance[edit]

text: In May 1994, the first International WWW Conference, organized by Robert Cailliau,[28][10] was held at CERN;[29] the conference has been held every year since. In April 1993, CERN had agreed that anyone could use the Web protocol and code royalty-free; this was in part a reaction to the perturbation caused by the University of Minnesota's announcement that it would begin charging license fees for its implementation of the Gopher protocol.

text: In September 1994, Berners-Lee founded the World Wide Web Consortium (W3C) at the Massachusetts Institute of Technology with support from the Defense Advanced Research Projects Agency (DARPA) and the European Commission. It comprised various companies that were willing to create standards and recommendations to improve the quality of the Web. Berners-Lee made the Web available freely, with no patent and no royalties due. The W3C decided that its standards must be based on royalty-free technology, so they can be easily adopted by anyone.

text: 1996–1998: Commercialization of the Web[edit]

text:
By 1996 it became obvious to most publicly traded companies that a public Web presence was no longer optional.[citation needed] Though at first people saw mainly[citation needed] the possibilities of free publishing and instant worldwide information, increasing familiarity with two-way communication over the "Web" led to the possibility of direct Web-based commerce (e-commerce) and instantaneous group communications worldwide.
More dotcoms, displaying products on hypertext webpages, were added into the Web.

text: 1999–2001: "Dot-com" boom and bust[edit]

text: Low interest rates in 1998–99 facilitated an increase in start-up companies. Although a number of these new entrepreneurs had realistic plans and administrative ability, most of them lacked these characteristics but were able to sell their ideas to investors because of the novelty of the dot-com concept.

text: Historically, the dot-com boom can be seen as similar to a number of other technology-inspired booms of the past including railroads in the 1840s, automobiles in the early 20th century, radio in the 1920s, television in the 1940s, transistor electronics in the 1950s, computer time-sharing in the 1960s, and home computers and biotechnology in the 1980s.

text: In 2001 the bubble burst, and many dot-com startups went out of business after burning through their venture capital and failing to become profitable. Many others, however, did survive and thrive in the early 21st century. Many companies which began as online retailers blossomed and became highly profitable. More conventional retailers found online merchandising to be a profitable additional source of revenue. While some online entertainment and news outlets failed when their seed capital ran out, others persisted and eventually became economically self-sufficient. Traditional media outlets (newspaper publishers, broadcasters and cablecasters in particular) also found the Web to be a useful and profitable additional channel for content distribution, and an additional means to generate advertising revenue. The sites that survived and eventually prospered after the bubble burst had two things in common; a sound business plan, and a niche in the marketplace that was, if not unique, particularly well-defined and well-served.

text: 2002–present: The Web becomes ubiquitous[edit]

text: In the aftermath of the dot-com bubble, telecommunications companies had a great deal of overcapacity as many Internet business clients went bust. That, plus ongoing investment in local cell infrastructure kept connectivity charges low, helped to make high-speed Internet connectivity more affordable. During this time, a handful of companies found success developing business models that helped make the World Wide Web a more compelling experience. These include airline booking sites, Google's search engine and its profitable approach to keyword-based advertising, as well as eBay's auction site and Amazon.com's online department store.

text: This new era also begot social networking websites, such as MySpace and Facebook, which gained acceptance rapidly and became a central part of youth culture. The 2010s also saw the emergence of various controversial trends, such as the expansion of cybercrime  and of internet censorship.[30]

text: Web 2.0[edit]

text: Beginning in 2002, new ideas for sharing and exchanging content ad hoc, such as Weblogs and RSS, rapidly gained acceptance on the Web. This new model for information exchange, primarily featuring user-generated and user-edited websites, was dubbed Web 2.0. The Web 2.0 boom saw many new service-oriented startups catering to a newly democratized Web.

text: As the Web became easier to query, it attained a greater ease of use overall and gained a sense of organization which ushered in a period of rapid popularization. Many new sites such as Wikipedia and its Wikimedia Foundation sister projects were based on the concept of user-edited content. In 2005, three former PayPal employees created a video viewing website called YouTube, which quickly became popular and introduced a new concept of user-submitted content in major events.

text: The popularity of YouTube, Facebook, etc., combined with the increasing availability and affordability of high-speed connections has made video content far more common on all kinds of websites. Many video-content hosting and creation sites provide an easy means for their videos to be embedded on third party websites without payment or permission.

text: This combination of more user-created or edited content, and easy means of sharing content, such as via RSS widgets and video embedding, has led to many sites with a typical "Web 2.0" feel. They have articles with embedded video, user-submitted comments below the article, and RSS boxes to the side, listing some of the latest articles from other sites.

text: Continued extension of the Web has focused on connecting devices to the Internet, coined Intelligent Device Management. As Internet connectivity becomes ubiquitous, manufacturers have started to leverage the expanded computing power of their devices to enhance their usability and capability. Through Internet connectivity, manufacturers are now able to interact with the devices they have sold and shipped to their customers, and customers are able to interact with the manufacturer (and other providers) to access new content.

text: "Web 2.0" has found a place in the English lexicon.[31]

text: The semantic web[edit]

text: Popularized by Berners-Lee's book Weaving the Web[32] and a Scientific American article by Berners-Lee, James Hendler, and Ora Lassila,[33] the term Semantic Web describes an evolution of the existing Web in which the network of hyperlinked human-readable web pages is extended by machine-readable metadata about documents and how they are related to each other, enabling automated agents to access the Web more intelligently and perform tasks on behalf of users. This has yet to happen. In 2006, Berners-Lee and colleagues stated that the idea "remains largely unrealized".[34]


document_title: Epidermis

question_text: which layer of the epidermis is not found in all types of human skin

text: Epidermis

text: Structure[edit]

text: Cellular components[edit]

text: The epidermis has no blood supply and is nourished almost exclusively by diffused oxygen from the surrounding air.[6] It is 95% keratinocytes[4] (proliferating basal and differentiated suprabasal) but also contains melanocytes, Langerhans cells, Merkel cells,[1] and inflammatory cells. Rete ridges (or rete pegs) are epidermal thickenings that extend downward between dermal papillae.[7] Blood capillaries are found beneath the epidermis, and are linked to an arteriole and a venule.

text: Cell junctions[edit]

text: In the epidermis, the cells are tightly interconnected to serve as a tight barrier. The junctions between the epidermal cells is adherens junction type. These junctions are formed by transmembrane proteins called cadherins. Inside the cell, the cadherins are linked to actin filaments. In immunofluorescence microscopy, the actin filament network appears as a thick border surrounding the cells.[5] Yet, as noted, the actin filaments are located inside the cell and run parallel to the cell membrane. Because of the proximity of the neighboring cells and tightness of the junctions, the actin immunofluorescence appears as a border between cells.[5]

text: Layers[edit]

text: The epidermis is composed of 4 or 5 layers depending on the region of skin being considered.[8] Those layers in descending order are:[2]

text: cornified layer (stratum corneum)

tag: ul

text: clear/translucent layer (stratum lucidum, only in palms and soles)

text: granular layer (stratum granulosum)

text: spinous layer (stratum spinosum)

text: basal/germinal layer (stratum basale/germinativum).

text: The Malpighian layer (stratum malpighi) is both the stratum basale and stratum spinosum.[4]

text: The epidermis is separated from the dermis, its underlying tissue, by a basement membrane.

text: Cellular kinetics[edit]

text: Cell division[edit]

text: The stratified squamous epithelium is maintained by cell division within the stratum basale. Differentiating cell delaminate from the basement membrane and are displaced outwards through the epidermal layers, undergoing multiple stages of differentiation until, in the stratum corneum, losing their nucleus and fusing to squamous sheets, which are eventually shed from the surface (desquamation). Differentiated keratinocytes secrete keratin proteins which contribute to the formation of an extracellular matrix and is an integral part of the skin barrier function. In normal skin, the rate of keratinocyte production equals the rate of loss,[4] taking about two weeks for a cell to journey from the stratum basale to the top of the stratum granulosum, and an additional four weeks to cross the stratum corneum.[2] The entire epidermis is replaced by new cell growth over a period of about 48 days.[11]

text: Calcium concentration[edit]

text: Keratinocyte differentiation throughout the epidermis is in part mediated by a calcium gradient, increasing from the stratum basale until the outer stratum granulosum, where it reaches its maximum, and decreasing in the stratum corneum. Calcium concentration in the stratum corneum is very low in part because those relatively dry cells are not able to dissolve the ions. This calcium gradient parallels keratinocyte differentiation and as such is considered a key regulator in the formation of the epidermal layers.[3]

text: Elevation of extracellular calcium concentrations induces an increase in intracellular free calcium concentrations.[12] Part of that intracellular increase comes from calcium released from intracellular stores[13] and another part comes from transmembrane calcium influx,[14] through both calcium-sensitive chloride channels[15] and voltage-independent cation channels permeable to calcium.[16] Moreover, it has been suggested that an extracellular calcium-sensing receptor (CaSR) also contributes to the rise in intracellular calcium concentration.[17]

text: Development[edit]

text: Epidermal organogenesis, the formation of the epidermis, begins in the cells covering the embryo after neurulation, the formation of the central nervous system. In most vertebrates, this original one-layered structure quickly transforms into a two-layered tissue; a temporary outer layer, the periderm, which is disposed once the inner basal layer or stratum germinativum has formed.[18]

text: This inner layer is a germinal epithelium that give rise to all epidermal cells. It divides to form the outer spinous layer (stratum spinosum). The cells of these two layers, together called the Malpighian layer(s) after Marcello Malpighi, divide to form the superficial granular layer (Stratum granulosum) of the epidermis.[18]

text: The cells in the stratum granulosum do not divide, but instead form skin cells called keratinocytes from the granules of keratin. These skin cells finally become the cornified layer (stratum corneum), the outermost epidermal layer, where the cells become flattened sacks with their nuclei located at one end of the cell. After birth these outermost cells are replaced by new cells from the stratum granulosum and throughout life they are shed at a rate of 0.001 - 0.003 ounces of skin flakes every hour, or 0.024-0.072 ounces per day.[19]

text: Epidermal development is a product of several growth factors, two of which are:[18]

text:
Transforming growth factor Alpha (TGFα) is an autocrine growth factor by which basal cells stimulate their own division.
Keratinocyte growth factor (KGF or FGF7) is a paracrine growth factor produced by the underlying dermal fibroblasts in which the proliferation of basal cells is regulated.

text: Function[edit]

text: Barrier[edit]

text: The epidermis serves as a barrier to protect the body against microbial pathogens, oxidant stress (UV light) and chemical compounds and provides mechanical resistance. Most of that function is played by the stratum corneum.[10]

text: Characteristics of the barrier[edit]

text:
Physical barrier through keratinocytes attached together via cell–cell junctions and associated to cytoskeletal proteins, which gives the epidermis its mechanical strength.[3]
Chemical barrier through the presence of highly organized lipids, acids, hydrolytic enzymes and antimicrobial peptides.[3]
Immunologically active barrier through humoral and cellular constituents of the immune system.[3]
Water content of the stratum corneum drops towards the surface, creating hostile conditions for pathogenic microorganism growth.[10]
An acidic pH (around 5.0) and low amounts of water make it hostile to many microorganic pathogens.[10]
The presence of non-pathogenic microorganism on the epidermis surface help defend against pathogenic one by limiting food availability and through chemical secretions.[10]

text: Factors that alter the barrier[edit]

text:
Psychological stress, through an increase in glucocorticoids, compromises the stratum corneum and thus the barrier function.[20]
Sudden and large shifts in humidity alter stratum corneum hydration in a way that could allow entry of pathogenic microorganisms.[21]

text: Skin hydration[edit]

text: The ability of the skin to hold water is primarily due to the stratum corneum and is critical for maintaining healthy skin.[22] Lipids arranged through a gradient and in an organized manner between the cells of the stratum corneum form a barrier to transepidermal water loss.[23][24]

text: Skin color[edit]

text: The amount and distribution of melanin pigment in the epidermis is the main reason for variation in skin color in Homo sapiens. Melanin is found in the small melanosomes, particles formed in melanocytes from where they are transferred to the surrounding keratinocytes. The size, number, and arrangement of the melanosomes varies between racial groups, but while the number of melanocytes can vary between different body regions, their numbers remain the same in individual body regions in all human beings. In white and Asian skin the melanosomes are packed in "aggregates", but in black skin they are larger and distributed more evenly. The number of melanosomes in the keratinocytes increases with UV radiation exposure, while their distribution remain largely unaffected.[25]

text: Clinical significance[edit]

text: Laboratory culture of keratinocytes to form a 3D structure (artificial skin) recapitulating most of the properties of the epidermis is routinely used as a tool for drug development and testing.

text: Additional images[edit]

text:
Epidermis and dermis of human skin

Cross-section of all skin layers

Illustration of epidermal layers

Optical coherence tomography of fingertip