document_title: Fastest animals

question_text: what is faster a gazelle or a cheetah

question_tokens: what is faster a gazelle or a cheetah

text: Fastest animals

text: Fastest organism[edit]

text: The fastest land animal is the cheetah, which has a recorded speed of 109.4–120.7 km/h (68.0–75.0 mph).[1] The peregrine falcon is the fastest bird and the fastest member of the animal kingdom with a diving speed of 389 km/h (242 mph).[2] The fastest animal in the sea is the black marlin, which has a recorded speed of 129 km/h (80 mph).[3] (New studies show the top speed is only 58 mph, and that the accepted top speed of 70 + mph were in error)[citation needed]

text: While comparing between various classes of animals, a different unit is used, body length per second for organisms. The fastest organism on earth, relative to body length, is the South Californian mite Paratarsotomus macropalpis, which has a speed of 322 body lengths per second.[4] The equivalent speed for a human running as fast as this mite would be 1,300 mph (2,092 km/h).[5] This is far in excess of the previous record holder, the Australian tiger beetle, Cicindela eburneola, the fastest insect in the world relative to body size, which has been recorded at 1.86 metres per second (6.7 km/h; 4.2 mph) or 171 body lengths per second.[6] The cheetah, the fastest land mammal, scores at only 16 body lengths per second [4] while Anna's hummingbird has the highest known length-specific velocity attained by any vertebrate.

text:
List of animals by speed

Rank
Animal
Maximum speed
Class
Notes

1
Peregrine falcon
389 km/h (242 mph)[2][7]
Bird
The peregrine falcon is the fastest aerial animal, fastest animal in flight, fastest bird, and the overall fastest member of the animal kingdom. The peregrine achieves its highest velocity not in horizontal level flight, but during its characteristic hunting stoop. While stooping, the peregrine falcon soars to a great height, then dives steeply at speeds of over 200 mph (320 km/h).[2]

2
Golden eagle
240–320 km/h (150–200 mph)
Bird

3
White-throated needletail swift
169 km/h (105 mph)[8][9][10]
Bird

4
Eurasian hobby
160 km/h (100 mph)[11]
Bird
Can sometimes outfly the swift

5
Mexican free-tailed bat
160 km/h (99 mph)[12]
Mammal

6
Frigatebird
153 km/h (95 mph)[13]
Bird
The frigatebird's high speed is helped by its having the largest wing-area-to-body-weight ratio of any bird.

7
Rock dove (pigeon)
148.9 km/h (92.5 mph)[14]
Bird
Pigeons have been clocked flying 92.5 mph (148.9 km/h) average speed on a 400-mile (640 km) race.

8
Horsefly
145.0 km/h (90.1 mph)
Insect

9
Spur-winged goose
142 km/h (88 mph)[15]
Bird

10
Red-breasted merganser
129 km/h (80 mph)[16]
Bird

11
Black marlin
129 km/h (80 mph)[3]
Fish
A hooked black marlin has been recorded stripping line off a fishing reel at 120 feet per second (82 mph; 132 km/h).[3]

12
Gyrfalcon
128 km/h (80 mph)
Bird

13
Grey-headed albatross
127 km/h (79 mph)[17][18][note 1]
Bird

14
Cheetah
109.4–120.7 km/h (68.0–75.0 mph)[a]
Mammal
Fastest land-animal, fastest feline, the cheetah can accelerate from 0 to 96.6 km/h (60.0 mph) in under three seconds, though endurance is limited.[1]

15
Sailfish
109.19 km/h (67.85 mph)
Fish

16
Anna's hummingbird
98.27 km/h (61.06 mph)[24]
Bird

17[note 2]
Swordfish
97 km/h (60 mph)[25]
Fish

18[note 2]
Ostrich
96.6 km/h (60 mph)[26]
Bird

19
Pronghorn
7001245833333333333♠88.5 km/h (55.0 mph)[b]
Mammal

20
Springbok
7001244444444444444♠88 km/h (55 mph)[31][32]
Mammal

21[note 3]
Blue wildebeest
7001223611111111111♠80.5 km/h (50.0 mph)[c]
Mammal

22[note 3]
Lion
7001223611111111111♠80.5 km/h (50.0 mph)[36]
Mammal

23
Blackbuck
7001222222222222222♠80 km/h (50 mph)[31][37]
Mammal

text:
Jump up ^ Sustained ground speed for approximately nine hours with no rest on high tailwinds during an Antarctic storm.
^ Jump up to: a b Swordfish and ostrich have approximately equal average recorded speeds.
^ Jump up to: a b The average recorded speeds of both blue wildebeest and lion are approximately equal.

tag: ol

text: Birds[edit]

text:
Animal
Maximum recorded speed
Notes

Peregrine falcon
389 km/h (242 mph)[2][7]
The peregrine falcon is the fastest bird, and the fastest member of the animal kingdom. When in its hunting dive, the stoop, it soars to a great height, then dives steeply at speeds of over 200 mph (320 km/h). However, it does not hold first place when travelling in level flight.

Golden eagle

240–320 km/h (150–200 mph)

In full stoop, a golden eagle can reach spectacular speeds of up to 240 to 320 kilometers per hour (150 to 200 mph) when diving after prey. Although less agile and maneuverable, the golden eagle is apparently quite the equal and possibly even the superior of the peregrine falcon’s stooping and gliding speeds.

White-throated needletail
169 km/h (105 mph)[8][9][10]
The fastest-flying bird in flapping flight.

Eurasian hobby
160 km/h (100 mph)[11]
It can sometimes even outfly birds such as the swift when hunting.

Frigatebird
153 km/h (95 mph)[13]
The frigatebird's high speed is helped by its having the largest wing-area-to-body-weight ratio of any bird.

Rock dove (pigeon)
148.9 km/h (92.5 mph)[14]
Pigeons have been clocked flying 92.5 mph (148.9 km/h) average speed on a 400-mile (640 km) race.

Spur-winged goose
142 km/h (88 mph)[15]

Red-breasted merganser
129 km/h (80 mph)[16]

Gyrfalcon
128 km/h (80 mph)

Grey-headed albatross
127 km/h (79 mph)[17][18][note 1]

Anna's hummingbird
98.27 km/h (61.06 mph)[24]
The stated speed equals 276 body lengths per second, the highest known length-specific velocity attained by any vertebrate.

Ostrich
96.6 km/h (60 mph)[26]
The ostrich is the tallest and heaviest species of all living birds. Although its bulky body means that flying is out of the question, the ostrich has adapted to life on the ground with impressive agility. Ostriches are superb runners that can sprint at speeds of up to 45 mph (72 km/h)[38] on average, with a peak 60 mph (96.6 km/h) during short periods, with 12 foot strides. This also makes the ostrich the fastest animal on two legs. The ostrich is also an endurance runner and can jog at 30 mph (48 km/h) for as long as half an hour.

text: Reptiles[edit]

text:
Animal
Maximum recorded speed
Notes

Central bearded dragon
40 km/h (25 mph)[39]
Bearded dragons are not dragons at all, but lizards.

Green Iguana
35 km/h (22 mph)[40]
Green Iguanas are the largest lizards to dwell in trees, and are faster than the fastest snake can move along the ground.

Leatherback sea turtle
35.28 km/h (21.92 mph)[41]
Leatherback turtles have the most hydrodynamic body design of any sea turtle, with a large, teardrop-shaped body.

Black mamba
23 km/h (14 mph)[42]

Komodo dragon
21 km/h (13 mph)[43]
Komodo dragons are also speedy reptiles. They can run briefly up to 13 mph (21 km/h) but prefer to hunt by stealth.[43]

text: Fish[edit]

text:
Animal
Maximum recorded speed
Notes

Black marlin
129 km/h (80 mph)[3]
A hooked black marlin has been recorded stripping line off a fishing reel at 120 feet per second (82 mph; 132 km/h).[3]

Sailfish
109.19 km/h (67.85 mph)[44]
In a series of tests carried out in a fishing cam at Long Key, Florida, United States, sailfish swam and leapt 91 meters (300 feet) in 3 seconds, equivalent to a speed of 109 km/h (68 mph), although this speed includes leaps out of the water, which do not strictly qualify as swimming speed.[45]

Swordfish
97 km/h (60 mph)[25]
The 60 mph (97 km/h) figure listed for the swordfish is based on a corrupted version of calculations made by Sir James Gray to estimate the impact speed necessary for a hypothetical 600-pound (270 kg) swordfish to embed its sword 3 feet in the timbers of ships, as has been known to occur; the figure seems to have entered the literature without question as though someone had actually timed a swordfish at that speed.[46]

Shortfin mako shark
72 km/h (45 mph)[47]
Underwater and unimpeded by a fishing line, the Shortfin Mako has been reliably clocked at 31 miles (50 kilometres) per hour, and there is a claim that one individual of this species achieved a burst speed of 46 miles (74 kilometres) per hour. But it is extremely difficult to get a fish in the wild to swim in a straight line over a measured course. Laboratory measurements of numerous kinds of fishes — representing a wide range of body sizes — swimming against an artificial current have revealed a surprisingly uniform maximum burst speed of about 10 times the body length per second. Thus, for an average-sized, 6.5-foot (2-metre) Shortfin, its theoretical maximum speed might be something on the order of 45 miles (72 kilometres) per hour. Yet some estimates of the top-speed of a Shortfin Mako are considerably higher.[48]

text: Mammals[edit]

text:
Animal
Maximum speed
Notes

Mexican free-tailed bat
(in flight)
7001444444444444444♠160 km/h (99 mph)[12]

Cheetah
109.4–120.7 km/h (68.0–75.0 mph)[d]
The cheetah can accelerate from 0 to 96.6 km/h (60.0 mph) in under three seconds, though endurance is limited: most cheetahs run for only 60 seconds at a time.[1] When sprinting, cheetahs spend more time in the air than on the ground.[49] See Sarah, the fastest cheetah.

Pronghorn
7001245833333333333♠88.5 km/h (55.0 mph)[e]
The pronghorn (American antelope) is the fastest animal over long distances; it can run 56 km/h for 6 km (35 mph for 4 mi), 67 km/h for 1.6 km (42 mph for 1 mi), and 88.5 km/h for 0.8 km (55 mph for 0.5 mi).[1]

Springbok
7001244444444444444♠88 km/h (55 mph)[31][32]
The springbok, an antelope of the gazelle tribe in southern Africa,[32] can make long jumps and sharp turns while running. Unlike pronghorns, springboks are poor long-distance runners.[1]

Wildebeest
7001223611111111111♠80.5 km/h (50.0 mph)[f]
The wildebeest, an antelope, exists as two species: the blue wildebeest and the black wildebeest. Both are extremely fast runners, which allows them to flee from predators.[35] They are better at endurance running than at sprinting.[34]

Lion
80.5 km/h (50.0 mph)[36]
The lion (Panthera leo) It is the second fastest wild cat with a top running speed of 80.5 km/h though it lasts only for very short bursts and can be highly exhausting, hence they have to be close to their prey before starting the attack.[36]

Blackbuck
7001222222222222222♠80 km/h (50 mph)[31][37]
The blackbuck antelope can sustain speeds of 80 km/h (50 mph) for over 1.5 km (0.93 mi) at a time.[37] Each of its strides (i.e., the distance between its hoofprints) is 5.8–6.7 m (19–22 ft).[31]

Hare
7001223520000000000♠80 km/h (50 mph)
Hares can reach maximum speeds of 35 mph (56 km/h)[50] in short distances of approximately 90 meters, and a top speed of 50 mph (80 km/h) for about 20 meters.

Greyhound
7001205555555555555♠74 km/h (46 mph)[g]
Greyhounds are the fastest dogs, and have primarily been bred for coursing game and racing.

Jackrabbit
7001200000000000000♠72 km/h (45 mph)[h]
The jackrabbit's strong hind legs allow it to leap 3 m (9.8 ft) in one bound; some can even reach 6 m (20 ft).[61] Jackrabbits use a combination of leaps and zig-zags to outrun predators.[54]

African wild dog
7001197222222222222♠71 km/h (44 mph)[i]
When hunting, African wild dogs can sprint at 66 km/h (41 mph) in bursts, and they can maintain speeds of 56–60 km/h (35–37 mph) for up to 4.8 km (3 mi).[65][66] Their targeted prey rarely escapes.[63]

Kangaroo
7001197222222222222♠71 km/h (44 mph)[j]
The comfortable hopping speed for a kangaroo is about 21–26 km/h (13–16 mph), but speeds of up to 71 km/h (44 mph) can be attained over short distances, while it can sustain a speed of 40 km/h (25 mph) for nearly 2 km (1.2 mi).[68] The faster a kangaroo hops, the less energy it consumes (up to its cruising speed).[67]

Horse
7001196555555555555♠70.76 km/h (43.97 mph)[69]
The fastest horse speed was achieved by a thoroughbred . It reached 70.76 km/h (43.97 mph).

Onager
7001194444444444444♠70 km/h (43 mph)[k]
The onager consists of several subspecies, which most likely share the same ability to run at high speeds.[72]

Thomson's gazelle
7001194444444444444♠70 km/h (43 mph)[l]
Thomson's gazelles, being long-distance runners, can escape cheetahs by sheer endurance.[74] Their speed is partially due to their "stotting", or bounding leaps.[73]

Coyote
7001180555555555555♠65 km/h (40 mph)[m]
Coyotes can easily reach 48 km/h (30 mph), and can sprint at 65 km/h (40 mph) when hunting.[76] Even when lacking a front foot, a coyote can still run at around 32 km/h (20 mph).[75]

Common dolphin
7001180555555555555♠65 km/h (40 mph)[n]
Common dolphins are the fastest marine mammal. When reaching their top speed, they take very short breaths. As an example, fin whales, which are much larger, can empty and refill their lungs in 2 seconds

Zebra
7001177777777777777♠64 km/h (40 mph)[o]
Zebras have a home range anywhere between 11 and 232 sq mi (28 and 601 km2) and they can travel 10 mi (16 km) a day while grazing.[81]

Tiger
7001177777777777777♠64 km/h (40 mph)[p]
They live in jungles, and have been recorded going anywhere from 30 mph (48 km/h) to 40 mph (64 km/h), although only in short bursts.

Hyena
7001166666666666666♠60 km/h (37 mph)[q]
The hyena can run up to 60 km/h (37 mph); some attribute this performance specifically to the spotted hyena.[85] They use their speed to chase their prey, sometimes traveling 15 mi (24 km) in a single chase.

Human
Instantaneous max. 7001132100320000000♠47.56 km/h (29.55 mph)
Avg max over fastest 10 to 20m was 45 kmh/28 mph[86] Compared to other land animals, humans are exceptionally capable of endurance, but exceptionally incapable of great speed.

*Usain Bolt set the 100 m world record at 9.58 seconds. His absolute fastest recorded speeds (between individual strides) during that sprint were 13.2 meters/second (29.55 mph / 47.52 km/h) between strides during the 50m to 70m intervals. Average overall maximum speeds over this 20m section of the race (where max speed is reached during approx. the middle) to 75m were 44–45 km/h (28 mph) before tapering from 75m onwards.[87]

Hicham El Guerrouj set the current men's mile run (5,280 feet/1,609.344 metres) world record of 3:43.13.
Svetlana Masterkova set the current women's mile run (5,280 feet/1,609.344 metres) world record of 4:12.56.[88]

In the absence of significant external factors, non-athletic humans tend to walk at about 1.4 m/s (5.0 km/h; 3.1 mph) and run at about 5.1 m/s (18 km/h; 11 mph).[89][90][91] Although humans are capable of walking at speeds from nearly 0 m/s to upwards of 2.5 m/s (9.0 km/h; 5.6 mph) and running 1 mile (1.6 kilometers) in 6.5 minutes, humans typically choose to use only a small range within these speeds.[92]

African elephant
7000692912000000000♠24.9 km/h (15.5 mph)[93]

text: Invertebrates[edit]

text:
Animal
Maximum recorded speed
Notes

Horsefly
140 km/h (90 mph)[citation needed]

Members of Loliginidae and Ommastrephidae
36 km/h (22 mph)
Many of these species "fly" out of the water to escape danger. The Japanese flying squid can glide for 3 seconds over 30 metres.

Paratarsotomus macropalpis
~22 cm/s or 800 m/h
(8.7 in/s or 0.51 mph)
0.7 mm long mite endemic to Southern California, tracked running up to 322 body lengths per second, equivalent to a human running at around 2,092 km/h (1,300 mph). It can withstand temperatures of 60 °C (140 °F), which are lethal to many animals.[5][94]

Tiger beetle
6.8 km/h (4.2 mph)[6]
The Australian tiger beetle Cicindela eburneola, is one of the fastest running insects in the world relative to body size, which has been recorded at 6.8 km/h (4.2 mph) or 171 body lengths per second.


document_title: List of South Park cast members

question_text: who does the voice of token on south park

root

text: List of South Park cast members

text: Current cast[edit]

text: Parker and Stone voice most of the male South Park characters.[2][14][15] Mary Kay Bergman voiced the majority of the female characters until her suicide on November 11, 1999. Mona Marshall and Eliza Schneider succeeded Bergman in 2000, with Schneider leaving the show after its seventh season (2003). She was replaced by April Stewart, who, along with Marshall, continues to voice most of the female characters. Bergman was originally listed in the credits under the alias Shannen Cassidy to protect her reputation as the voice of several Disney and other kid-friendly characters.[16] Stewart was originally credited under the name Gracie Lazar,[17] while Schneider was sometimes credited under her rock opera performance pseudonym Blue Girl.[18]

tag: p

text: Other voice actors and members of South Park's production staff have voiced minor characters for various episodes, while a few staff members voice recurring characters; supervising producer Jennifer Howell voices student Bebe Stevens,[15] co-producer and storyboard artist Adrien Beard voices the school's only black student, Token Black,[19] writing consultant Vernon Chatman voices an anthropomorphic towel named Towelie,[15] and production supervisor John Hansen voices Mr. Slave, the former gay lover of Mr. Garrison.[20] Throughout the show's run, the voices for toddler and kindergarten characters have been provided by various small children of the show's production staff.[21]

text: When voicing child characters, the voice actors speak within their normal vocal range while adding a childlike inflection. The recorded audio is then edited with Pro Tools, and the pitch is altered to make the voice sound more like that of a fourth grader.[22][23][24]

text: Isaac Hayes voiced the character of Chef, a black, soul-singing cafeteria worker who was one of the few adults the boys consistently trusted.[25][26] Hayes agreed to voice the character after being among Parker and Stone's ideal candidates which also included Lou Rawls and Barry White.[27] Hayes, who lived and hosted a radio show in New York during his tenure with South Park, would record his dialogue on a digital audio tape while a respective episode's director would give directions over the phone, then the tape would be shipped to the show's production studio in California.[28] After Hayes left the show in early 2006, the character of Chef was killed off in the season 10 (2006) premiere "The Return of Chef".

text: Guest stars[edit]

text: Celebrities who appear on the show are usually impersonated, though some celebrities lend their voice to their characters. Celebrities who have voiced themselves include Michael Buffer,[29][30] Brent Musburger,[31] Jay Leno,[32] Robert Smith,[33] and the bands Radiohead and Korn.[34][35] Comedy team Cheech & Chong voiced characters representing their likenesses for the season four (2000) episode "Cherokee Hair Tampons", which was the duo's first collaborative effort in 20 years.[4] Malcolm McDowell appears in live-action sequences as the narrator of the season four episode "Pip".[36]

text: Jennifer Aniston,[37] Richard Belzer,[38] Natasha Henstridge,[33] Norman Lear,[39] and Peter Serafinowicz[40] have guest starred as other speaking characters. During South Park's earliest seasons, several high-profile celebrities inquired about guest-starring on the show. As a joke, Parker and Stone responded by offering low-profile, non-speaking roles, most of which were accepted; George Clooney provided the barks for Stan's dog Sparky in the season one (1997) episode "Big Gay Al's Big Gay Boat Ride",[41] Leno provided the meows for Cartman's cat in the season one finale "Cartman's Mom Is a Dirty Slut",[41] and Henry Winkler voiced the various growls and grunts of a kid-eating monster in the season two (1998) episode "City on the Edge of Forever".[42] Jerry Seinfeld offered to lend his voice for the Thanksgiving episode "Starvin' Marvin", but declined to appear when he was only offered a role as "Turkey #2".[43]

text: Trey Parker[edit]

text: Trey Parker voices four of the main characters: Stan Marsh, Eric Cartman, Randy Marsh and Mr. Garrison. He also provides the voices of several recurring characters, such as Clyde Donovan, Mr. Hankey, Mr. Mackey, Stephen Stotch, Jimmy Valmer, Timmy Burch, Tuong Lu Kim and Phillip.

text: Matt Stone[edit]

text: Matt Stone voices three of the main characters: Kyle Broflovski, Kenny McCormick and Butters Stotch. He also provides the voices of several recurring characters, such as Gerald Broflovski, Stuart McCormick, Craig Tucker, Jimbo Kern, Terrance, Saddam Hussein, Tweek Tweak, Mr. Adler and Jesus.

text: Mona Marshall[edit]

text: Mona Marshall voices Sheila Broflovski and Linda Stotch.

text: April Stewart[edit]

text: April Stewart voices Liane Cartman, Sharon Marsh, Carol McCormick, Shelley Marsh, Mayor McDaniels, Principal Victoria and Wendy Testaburger.

text: List[edit]

text:
Actor
Character(s)

Trey Parker
Stan Marsh
Eric Cartman

Randy Marsh
Mr. Garrison

Grampa Marsh
Clyde Donovan

Ned Gerblansky
Dr. Alphonse Mephesto and Kevin

Mr. Hankey
Santa Claus

Mr. Mackey
Stephen Stotch

Officer Barbrady
Ms. Choksondik (2000–2002)

Timmy
Jimmy Valmer

Tuong Lu Kim
Phillip

PC Principal
Skeeter

Satan
Richard Tweak

Matt Stone
Kyle Broflovski
Kenny McCormick

Butters Stotch
Craig Tucker

Stuart McCormick
Gerald Broflovski

Jimbo Kern
Pip Pirrup (1997–2010)

Terrance
Saddam Hussein (1998–2003)

Kevin Stoley
Father Maxi

Tweek Tweak
Mr. Adler

Jesus
David

Mona Marshall
Sheila Broflovski
Linda Stotch

April Stewart
Liane Cartman
Sharon Marsh

Carol McCormick
Shelley Marsh

Mayor McDaniels
Principal Victoria

Wendy Testaburger
Mrs. Tweak

tag: table

text: Recurring guest voices[edit]

text: The recurring guest voices include John Hansen, Vernon Chatman, Adrien Beard and Jennifer Howell.

text:
Actor
Character(s)
Notes

John Hansen
Mr. Slave[20]
Guest starred in several episodes during the series

Vernon Chatman
Towelie
Guest starred as Towelie in "Towelie" and "Crippled Summer"[15]

Adrien Beard
Token Black[19][44]
Guest starred in several episodes during the series

Jennifer Howell
Bebe Stevens
Guest starred in several episodes during the series[15]

text: Casting changes[edit]

text: Mary Kay Bergman voiced the majority of the female characters until her suicide on November 11, 1999. Mona Marshall and Eliza Schneider succeeded Bergman in 2000, with Schneider leaving the show after its seventh season (2003). She was replaced by April Stewart, who, along with Marshall, continues to voice most of the female characters. Isaac Hayes, who voiced the character Chef, left the show after Parker and Stone's depiction of his religion Scientology in the episode "Trapped in the Closet".

text:
Actor
Character(s)
Notes

Mary Kay Bergman
Liane Cartman, Sheila Broflovski, Shelly Marsh, Sharon Marsh, Mayor McDaniels, Mrs. McCormick, Wendy Testaburger and Principal Victoria
Replaced after her suicide in 1999. The last episode to feature her voice was Mr. Hankey's Christmas Classics.

Eliza Schneider
Liane Cartman, Shelly Marsh, Sharon Marsh, Mayor McDaniels, Mrs. McCormick, Wendy Testaburger and Principal Victoria
Schneider and Mona Marshall replaced Mary Kay Bergman after her suicide in 1999. Schneider left after the show's seventh season.[45]

Isaac Hayes
Chef
Left after the episode "Trapped in the Closet", which mocked his religion Scientology.[13] The character appeared again in the first episode of Season 10, but only through archived recordings of Hayes' voice.


document_title: National Artist of the Philippines

question_text: philippine national artist in film and broadcast arts

text: National Artist of the Philippines

text: Conferment[edit]

text: The Order is the highest state honor conferred on individuals deemed as having done much for their artistic field. Deserving individuals must have been recommended by both the Cultural Center and the National Commission on Culture and the Arts prior to receiving the award. Such people are then titled, by virtue of a Presidential Proclamation, as National Artist (Filipino: Gawad Pambansang Alagad ng Sining, "National Servant of the Arts Award"), and are inducted into the Order.

text: Recipients attend a conferment ceremony at Malacañang Palace, where the President bestows on them the insignia of the Order: an ornate, gilt collar and a small pin, both depicting the Order's emblem. In addition to the collar, each new Member is given a citation that is presented during the conferment ceremony. The Cultural Center of the Philippines then presents a Memorabilia Exhibit of the recipients' works, and holds a Gabi ng Parangal (Night of Tributes) for the National Artists at the Tanghalang Pambansa.

text: Categories[edit]

text: Categories under which National Artists can be recognized originally included:[2]

text:
Music - singing, composition, direction, and/or performance;
Dance - choreography, direction and/or performance;
Theater – direction, performance and/or production design;
Visual Arts – painting, sculpture, printmaking, photography, installation art, mixed media works, illustration, graphic arts, performance art and/or imaging;
Literature – poetry, fiction, essay, playwriting, journalism and/or literary criticism;
Film and Broadcasting|Broadcast Arts – direction, writing, production design, cinematography, editing, camera work, and/or performance; and
Architecture, Design and Allied Arts– architecture design, interior design, industrial arts design, landscape architecture and fashion design.

tag: ul

text: However, national artists have since been honored under new categories. The NCCA 'created' the category of National Artist for Fashion Design when it nominated Ramon Valera, but subsumed that category under "Architecture and Allied Arts". President Fidel V. Ramos issued an executive order creating the category of National Artist for Historical Literature before conferring the honor to Carlos Quirino.

text: Criteria[edit]

text: Nominations for National Artist of the Philippines are based on a broad criteria, as set forth by the Cultural Center of the Philippines and the National Commission on Culture and the Arts:[2]

text:
Living artists who have been Filipino citizens for the last ten years prior to nomination as well as those who have died after the establishment of the award in 1972 but were Filipino citizens at the time of their death;
Artists who have helped build a Filipino sense of nationhood through the content and form of their works;
Artists who have distinguished themselves by pioneering in a mode of creative expression or style, making an impact on succeeding generations of artists;
Artists who have created a significant body of works and/or have consistently displayed excellence in the practice of their art form, enriching artistic expression or style; and
Artists who enjoy broad acceptance through prestigious national and/or international recognition, awards in prestigious national and/or international events, critical acclaim and/or reviews of their works, and/or respect and esteem from peers within an artistic discipline.

text: Nominations are then submitted to the National Artist Secretariat that is created by the National Artist Award Committee; experts from the different art fields then sit on a First Deliberation to prepare the short list of nominees. A Second Deliberation, which is a joint meeting of the Commissioners of the NCCA and the Board of Trustees of the CCP, decides on the final nominees. The list is then forwarded to the President of the Philippines, who, by Presidential Proclamation, proclaims the final nominees as members of the Order of National Artists.[3]

text: Benefits[edit]

text:
The rank and title of National Artist, as proclaimed by the President of the Philippines;[4]
The insignia of a National Artist and a citation;
A lifetime emolument and material and physical benefits comparable in value to those received by the highest officers of the land such as:

text:
a cash award of One-Hundred Thousand Pesos (₱100,000.00) net of taxes, for living awardees;
a cash award of Seventy-Five Thousand Pesos (₱75,000.00) net of taxes, for posthumous awardees, payable to legal heir/s;
a monthly life pension, medical and hospitalization benefits;
life insurance coverage for Awardees who are still insurable;
a state funeral and burial at the Libingan ng mga Bayani;
a place of honor, in line with protocolar precedence, at national state functions, and recognition at cultural events;

text: The Roster of National Artists[edit]

text:
Year
Awardee
Category
Notes

1972
Fernando C. Amorsolo
Visual Arts - Painting
posthumous conferment

1973
Francisca Reyes Aquino
Dance

Carlos "Botong" V. Francisco
Visual Arts - Painting
posthumous conferment

Amado V. Hernandez
Literature

Antonio J. Molina
Music

Juan Nakpíl
Architecture

Guillermo E. Tolentino
Visual Arts - Sculpture

Jose Garcia Villa
Literature

1976
Napoleón V. Abueva
Visual Arts - Sculpture

Leonor Orosa-Goquingco
Dance

Lamberto V. Avellana
Film and Theater

Nick Joaquín
Literature

Jovita Fuentes
Music

Victorio C. Edades
Visual Arts - Painting

Pablo Antonio
Architecture
posthumous conferment

1981
Vicente S. Manansala
Visual Arts - Painting

1982
Gerardo de León
Film

Carlos P. Rómulo
Literature

1987
Honorata "Atang" de la Rama
Theater and Music

1988
Antonino R. Buenaventura
Music

Lucrecia Reyes Úrtula
Dance

1989
Lucrecia R. Kasilag
Music

1990
Francisco Arcellana
Literature

César Legaspi
Visual Arts - Painting

Leandro V. Locsin
Architecture

1991
Hernándo R. Ocampo
Visual Arts - Painting

Lucio D. San Pedro
Music

1997
Lino Brocka
Film
posthumous conferment

Felipe P. de León
Music

Wilfrido Ma. Guerrero
Theater

Rolando S. Tínio
Theater and Literature

N. V. M. González
Literature

Levi Celério
Music & Literature

Arturo R. Luz
Visual Arts - Painting

José Maceda
Music

Carlos Quirino
Historical Literature

1999
J. Navarro Elizalde
Visual Arts - Painting
posthumous conferment

Ernani Joson Cuenco
Music

Andrea O. Veneración

Edith L. Tiempo
Literature

Daisy Avellana
Theater

2001
Ishmael Bernál
Film
posthumous conferment

Severino Montano
Theater

F. Sioníl José
Literature

Ang Kiukok
Visual Arts - Painting

2003
José T. Joya
posthumous conferment

Virgilio S. Almario
Literature

Alejándro R. Roces

Eddie S. Romero
Film and Broadcast Arts

Salvador F. Bernál
Theater and Design

2006
BenCab
Visual Arts - Painting

Abdulmari Asia Imao
Visual Arts - Sculpture

Bienvenido Lumbera
Literature

Ramón Obusan
Dance

I.P. Santos
Architecture - Landscape

Fernando Poe, Jr.
Film
posthumous conferment

Ramón Valera
Architecture, Design and Allied Arts - Fashion Design

2009*
Manuel Conde
Film and Broadcast Arts
posthumous conferment

Lázaro Francisco
Literature

Federico Aguilar Alcuáz
Visual Arts - Painting, Sculpture and Mixed Media

2014[5]
Alice Reyes
Dance

Francisco Coching
Visual Arts
posthumous conferment

Cirilo F. Bautista
Literature

Francisco Feliciano
Music

Ramón Santos
Music

José María Zaragoza
Architecture
posthumous conferment

text: Proclaimed in 2009 but conferment delayed due to a controversy. Order was later bestowed to candidate in a ceremony at Malacañang Palace in November 2013.[6]

text:
Music

Levi Celério
Ernani Joson Cuenco
Felipe Padilla de León
Francisco Feliciano
Lucrecia R. Kasilag
José Maceda
Antonio J. Molina
Lucio D. San Pedro
Ramón Santos
Andrea O. Veneración
Antonio R. Buenaventura
Jovita Fuentes

Dance

Francisca Reyes Aquino
Leonor Orosa-Goquingco
Ramón Obusan
Alice Reyes
Lucrecia Reyes Úrtula

Theater

Daisy Avellana
Honorata "Atang" de la Rama
Rolando S. Tínio
Salvador F. Bernál (Set Design)
Lamberto V. Avellana
Wilfrido Ma. Guerrero
Severino Montano

Architecture

Pablo Antonio
Juan Nakpíl
Leandro V. Locsín
I. P. Santos
José María Zaragoza

Architecture, Design and Allied Arts - Fashion Design

Ramón Valera

Historical Literature

Carlos Quirino

Visual Arts

Napoleón V. Abueva (Sculpture)
Fernando C. Amorsolo (Painting)
BenCab (Painting)
Francisco Coching
Victorio C. Edades (Painting)
Carlos "Botong" V. Francisco (Painting)
Abdulmari Asia Imao (Sculpture)
José T. Joya (Painting)
Ang Kiukok (Painting)
César Legaspi (Painting)
Arturo R. Luz (Painting)
Vicente S. Manansala (Painting)
J. Elizalde Navarro (Painting)
Hernándo R. Ocampo (Painting)
Guillermo E. Tolentino (Sculpture)
Federico Aguilar Alcuáz (Painting, Sculpture, and Mixed Media)

Literature

Francisco Baltazar
Virgilio S. Almario
Cirilo F. Bautista
N. V. M. Gonzalez
Amado V. Hernández
Nick Joaquín
F. Sioníl José
Bienvenido Lumbera
Alejándro R. Roces
Carlos P. Rómulo
Edith L. Tiempo
José García Villa
Lázaro Francisco

Cinema

Lino Brocka
Ishmael Bernál
Gerardo de León
Eddie S. Romero
Fernando Poe, Jr.
Manuel Conde

text: Controversies[edit]

text: Over the years there have been several controversies involving the awarding of National Artist or involving awardees.

text: 2009 National Artist of the Philippines controversy[edit]

text: In August 2009, the conferment of the Order of National Artists on seven individuals by President Gloria Macapagal Arroyo[7] became controversial when it was revealed that musician Ramon Santos had been dropped from the list of nominees short-listed in May that year by the selection committee, and that four other individuals had been nominated via "President’s prerogative": Cecilla Guidote-Alvarez (Theater), Magno José "Carlo” Caparás (Visual Arts and Film), Francisco Mañosa (Architecture), and José “Pitoy” Moreno (Fashion Design).[4][8]

text: Members of the Philippine art community–including a number of living members of the Order–protested that the proclamation politicised the title of National Artist, and made it "a way for President Gloria Macapagal-Arroyo to accommodate her allies." Specific protests were raised regarding the nomination of Guidote-Alvarez, who was also Executive Director of the National Commission for Culture and the Arts, because it was purportedly a breach of protocol and delicadeza (propriety), and of Caparás, on the grounds that he was unqualified for nomination under both the Visual Arts and the Film categories.[8][9] On July 16, 2013, the controversy finally ended after the Supreme Court of the Philippines voted 12-1-2 that voided the four proclamations.[10]

text: On June 20, 2014, five years after he was originally shortlisted in 2009, Dr. Ramon Santos was finally conferred National Artist for Music by President Benigno S. Aquino III.[5]


document_title: List of Spider-Man enemies

question_text: who was the first villain spider man fought

text: List of Spider-Man enemies

text: Debuting in Spider-Man titles[edit]

text: The majority of supervillains depicted in Spider-Man comics first appeared in The Amazing Spider-Man, while some first appeared in spinoff comics such as The Spectacular Spider-Man and Marvel Team-Up and other titles.

text: The Amazing Spider-Man debuts[edit]

text: Most of the supervillains of Spider-Man would be introduced in The Amazing Spider-Man comic book starting with the Chameleon.[3] The early villains would be introduced in the 1960s in the Silver Age of Comic Books,[3] and created by Stan Lee and Steve Ditko.[3] John Romita, Sr. replaced Ditko starting with the Rhino.[4] Gerry Conway later replaced Stan Lee and helped create new adversaries for the web-slinger and also helped pave the way to the Bronze Age of Comic Books with the death of Spider-Man's long time romantic interest, Gwen Stacy.[5][6][7] Many collaborators would soon take over The Amazing Spider-Man title. One of the more popular examples included Todd McFarlane's Venom in the Modern Age of Comic Books.[8]

text: Note: Alter ego characters who are the most high profile in the supervillain alias but have shared that alias with others are in bold. Alter egos listed having N/A use their real name as the supervillain name. In chronological order.

text:
Supervillain name
Notable alter ego
First appearance issue #
Creator

Chameleon1
Dmitri Anatoly Nikolayevich
#1 (March 1963)[3][9]
Stan Lee[3][9]
Steve Ditko[3][9]

Vulture
Adrian Toomes
Blackie Drago
#2 (May 1963)[10][11]
Stan Lee[10][12]
Steve Ditko[10]

Tinkerer
Phineas Mason
#2 (May 1963)[13]
Stan Lee
[14] Steve Ditko[14]

Doctor OctopusArch
Doctor Otto Gunther Octavius
#3 (July 1963)[9]
Stan Lee[15][16]
Steve Ditko[15][16]

Sandman3
William Baker / Flint Marko
#4 (September 1963)[17][18]
Stan Lee[17][18]
Steve Ditko[17][18]

Lizard
Doctor Curt Connors
#6 (November 1963)[19][20][21]
Stan Lee[19][20][21]
Steve Ditko[19][20][21]

Living Brain[22]
N/A
#8 (January 1964)[23]
Stan Lee[23]
Steve Ditko[23]

Electro4
Maxwell Dillon
#9 (February 1964)[24][25]
Stan Lee[26]
Steve Ditko[26]

Big Man
Frederick Foswell
Janice Foswell
#10 (March 1964) [27]
Stan Lee[27]
Steve Ditko[27]

Mysterio5
Quentin Beck
#13 (June 1964)[28][29]
Stan Lee[28][30]
Steve Ditko[28][30]

Green Goblin[31]Arch
Norman OsbornArch
Harry Osborn[32][33]
#14 (July 1964)[31]
Stan Lee[31][34]
Steve Ditko[31][34]

Kraven the Hunter7
Sergei Kravinoff
Alyosha Kravinoff (son)
Ana Kravinoff (daughter)
#15 (August 1964)[35]
Stan Lee
Steve Ditko

Scorpion8
Mac Gargan8
#20 (January 1965)
Stan Lee[36]
Steve Ditko[36]

Spencer Smythe / Spider-Slayers

Spencer Smythe: N/A
Spider-Slayer: Multiple names

#25 (June 1965)[27]
Stan Lee
Steve Ditko

Crime Master[37]
Various
#26 (July 1965)[27]
Stan Lee
Steve Ditko

Molten Man[38]
Mark Raxton[38]
#28 (September 1965)[39]
Stan Lee
Steve Ditko

Looter[40][41]
Norton G. Fester
#36 (May 1966)[39]
Stan Lee
Steve Ditko

Robot Master / Gaunt
Mendel Stromm
#37 (June 1966)[27][42]
Stan Lee
Steve Ditko

Rhino9
Aleksei Mikhailovich Sytsevich
#41 (October 1966)[43]
Stan Lee[4]
John Romita, Sr.[4]

Shocker
Herman Schultz
#46 (March 1967)[44][45]
Stan Lee[46]
John Romita, Sr.[46]

Kingpin10
Wilson Fisk
#50(July 1967) ("Spider-Man No More!")[47][48]
Stan Lee[49]
John Romita, Sr.[49]

The Finisher
Karl Fiers
Annual #5 (November 1968)[50]
Stan Lee[50]
Larry Lieber[50]

Man Mountain Marko[51]
Michael Marko
#73 (June 1969)[27]
Stan Lee
John Romita, Sr.

Silvermane[52]
Silvio Manfredi
#73 (June 1969)[53]
Stan Lee
John Buscema[27]

Kangaroo[40][54]
Frank Oliver[55]
Brian Hibbs
#81 (February 1970)[27]
Stan Lee
John Buscama
Jim Mooney
John Romita, Sr.[54]

Schemer[27]
Richard Fisk
#83 (April 1970)
Stan Lee
John Romita, Sr.

Morbius[56][57]
Michael Morbius
#101 (January 1971)11[58]
Roy Thomas[58]
Gil Kane[27]

Gog
N/A
#103 (December 1971)[27]
Roy Thomas
Gil Kane

Gibbon[59]
Martin Blank
#110 (July 1972)[27]
Stan Lee
John Romita, Sr.[59]

Hammerhead[56][60][61]
Joseph (full name unknown)[62]
#113 (October 1972)[63]
Gerry Conway
John Romita, Sr.[64]

Man-Wolf[65]
John Jameson
#124 (September 1973).[27]
Gerry Conway[64]

Jackal[66]
Miles Warren
#129 (February 1974)12[66]
Gerry Conway[66]10
Ross Andru[66]10

Tarantula
Various
#134 (July 1974)[27][53]
Gerry Conway
Ross Andru

Mindworm[67]
William Turner
#138 (November 1974)
Gerry Conway[27]
Ross Andru [27]

Grizzly[68]
Maxwell Markham
#139 (December 1974)[69]
Gerry Conway
Ross Andru

Human Fly[55]
Richard Deacon
Annual #10[70] (1976)
Len Wein
Bill Mantlo
Gil Kane

Will o' the Wisp[27]
Jackson Arvad
#167 (April 1977)
Len Wein
Ross Andru

Big Wheel[40]
Jackson Wheele[55]
#182 (July 1978)[27]
Marv Wolfman
Ross Andru
Mike Esposito

Black Cat13
Felicia Hardy
#194 (July 1979)[71]
Marv Wolfman
Keith Pollard[71]

Calypso
Calypso Ezili
#209 (October 1980)[72]
Dennis O'Neil
Alan Weiss

Hydro-Man[1]
Morris Bench
#212 (January 10, 1981)[73][74]
Denny O'Neil
John Romita, Jr.

Hobgoblin
Roderick Kingsley
Jason Macendale
Phil Urich[57][75]
#238 (March 1983)
Roger Stern[76][77]
John Romita Sr.[77][78]

Rose[79][80]
Richard Fisk
#253 (June 1984)[72]
Tom DeFalco

Alistair Smythe
N/A[81]
Annual #19 (November 1985)[82][83]
Louise Simonson
Mary Wilshire[42]

Slyde[55]
Jalome Beacher
#272 (January 1986)[84]
Tom DeFalco
Sal Buscema

VenomArch
Eddie BrockArch
Mac Gargan
#30015[8][85]
Todd McFarlane[86]

Styx and Stone[40]
Jacob Eishorn and Gerald Stone
#309 (November 1988)[87]
David Michelinie
Todd McFarlane

Carnage
Cletus Kasady
#361 (April 1992)[88]16
David Michelinie[89][90]
Erik Larsen[91]
Mark Bagley[89]

Black Tarantula
Carlos LaMuerto
#419 (January 1997)[42]
Tom DeFalco
Steve Skroce

Morlun[56][57]
N/A
vol. 2 #30 (June 2001)[67]
J. Michael Straczynski
John Romita, Jr.

Shathra
N/A
vol. 2 #46 (December 2006
J. Michael Straczynski
John Romita, Jr.
Scott Hanna

Grey Goblin
Gabriel Stacy
Lily Hollister (Menace)[61]
#509 (August 2004)
#550 (April 2008) (Menace)[92]
J. Michael Straczynski
Mike Deodato

Mister Negative[57]
Martin Li
#546 (January 2008)(full appearance)[93]
Dan Slott
Phil Jimenez

Overdrive[61]
N/A
Swing Shift (May 2007)[94]
Dan Slott
Phil Jimenez

Screwball
N/A
#559 (May 2008)
Dan Slott
Marcos Martin

Massacre[95][96]
Marcus Lyman
#655 (April 2011)[97][98][99]
Dan Slott
Marcos Martín

text: The Spectacular Spider-Man debuts[edit]

text: Note: In chronological order.

text:
Supervillain
alter ego
First appearance

Carrion
Various
The Spectacular Spider-Man #25 (December 1978)[27][67]

Spot[40][100]
Jonathan Ohnn
#98 (January 1985)[101]

Foreigner[67]
Kris Keating
#115 (June 1986)[102]

Demogoblin
N/A
#147 (February 1989) (as Hobgoblin)[27]
Web of Spider-Man #86 (March 1992)[42]

text: Marvel Team-Up debuts[edit]

text: Note: In chronological order.

text:
Supervillain
alter ego
First appearance
creator

Stegron[40]
Vincent Stegron
Marvel Team-Up (1st series) #19 (March 1974)[53]
Len Wein
Gil Kane

White Rabbit[27]
Doctor Lorina Dodson
Marvel Team-Up #131 (July 1983)[103]
J. M. DeMatteis[103]
Kerry Gammill[103]
Mike Esposito[103]

text: Debuting in other Spider-Man titles[edit]

text: Note: In chronological order.

text:
Supervillain
alter ego
First appearance
creator

Tombstone
Lonnie Thompson Lincoln
Web of Spider-Man #36 (March 1988)[42]
Gerry Conway
Alex Saviuk

Shriek
Frances Louise Barrison
Spider-Man Unlimited #1 (May 1993)[67]
Ron Lim
Mark Bagley
Mike W. Barr
Tom DeFalco
Jerry Bingham
Terry Kavanagh

text: Debuting outside Spider-Man titles[edit]

text:
Supervillain
alter ego
First appearance

Beetle
Abner Jenkins
Strange Tales #123 (August 10, 1964)[42]

Boomerang[55]
Fred Myers
Tales to Astonish #81 (July 10, 1966)[42]

Speed Demon
James Sanders
Avengers #70 (November 1969) (as the Whizzer)
The Amazing Spider-Man #222 (November 1981)[42]

Ringer[104][105]
Anthony Davis
Defenders #51 (June 1977)[72]|}

Swarm[40]
Fritz von Meyer
Champions #14 (July 1977)[27]

Jack O'Lantern[57]
Jason Macendale
Machine Man #19 (February 1981)[42]

Vermin
Edward Whelan
Captain America #272 (August 1982)[27]

Doppelganger
N/A
The Infinity War #1 (July 1992)[27]

text: Reformed supervillain / anti-hero opponents[edit]

text: Almost all the characters listed first appeared in The Amazing Spider-Man with the exception of Kaine and Humbug first appearing in Web of Spider-Man. The Prowler is the oldest character appearing in The Amazing Spider-Man in the 1960s in the Silver Age. Many other anti-heroes were introduced in the 1970s in between the Silver Age and the Bronze Age while Humbug was introduced in the 1980s right around the start of the Modern Age. Kaine is the youngest debuted character while Cardiac is the second youngest. Both Kaine and Cardiac appeared around the 1990s.

text:
Anti-hero
alter-ego
First appearance

Black Cat13
Felicia Hardy
The Amazing Spider-Man #194 (July 1979)[71]

Cardiac
Elias Wirtham
The Amazing Spider-Man #344 (December 1990)[42]

Humbug[55]
Buck Mitty
Web of Spider-Man #19 (October 1986)[42]

Kaine
Kaine Parker
Web of Spider-Man #119 (December 1994)[42]

Prowler
Hobie Brown
The Amazing Spider-Man #78 (November 1969)[53]

Puma
Thomas Fireheart
The Amazing Spider-Man #256 (September 1984)[27]

Punisher17
Frank Castle
The Amazing Spider-Man #129 (February 1974)[66]

Rocket Racer
Robert Farrell
The Amazing Spider-Man #172 (September 1977)[42]

text: Non-supervillain enemies[edit]

text: The Burglar and Flash Thompson both appeared in the first comic book starring Spider-Man appearing in the anthology series Amazing Fantasy. The certain comic book story inspired a comic book series entitled The Amazing Spider-Man which J. Jonah Jameson would appear in the first issue. All three of the characters listed appeared in the 1960s around the Silver Age of Comics.

text:
Human
First appearance
Detail

Burglar
Amazing Fantasy #15 (August 1962)
The man who killed Peter's uncle which would inspire Peter Parker to use his powers responsibly and become the superhero known as Spider-Man.[106]

Flash Thompson[106]
Amazing Fantasy #15 (August 1962)
A sometimes enemy of Peter Parker instead of Spider-Man. Flash's most common depiction is a high school bully of Parker commonly dubbing him "Puny Parker". Despite how he treats Parker he happens to be one of Spider-Man's biggest fans. Later on Flash would be depicted as being good friends to Peter instead. In The Amazing Spider-Man #654, Flash Thompson becomes "Agent Venom"[107]

J. Jonah Jameson
The Amazing Spider-Man #1 (March 1963)
The editor in chief of The Daily Bugle. He has a strong hatred of Spider-Man so he helps turn the city against the superhero with the publishing of The Daily Bugle newspapers. He was also responsible for the funding of the creation of Scorpion, the Spider-Slayers,[1] and the human fly.

text: Lesser foes[edit]

text:
Answer (Aaron Nicholson)[42]
Basilisk (Basil Elks)[27]
Black Fox (Raul Chalmbers)[108]
Chance (Nicholas Powell)[109]
Coldheart (Kateri Deseronto)[110]
Cyclone (André Gerard)[27]

text: Delilah[edit]

text:
First appearance
The Spectacular Spider-Man #414 (August 1996)

Created by
Tom DeFalco and Mark Bagley

Species
Human

Abilities
Skilled at being an assassin.

Further reading[show]

Delilah at the Comic Book DB
Delilah at the Grand Comics Database

text: Delilah first appeared in The Amazing Spider-Man #414 by Tom DeFalco and Mark Bagley.[27] The Rose's confidante as well as his chief enforcer, Delilah helped battle to maintain control of part of the New York crime scene against the threat of the Black Tarantula.[111][112]

text: During her career, she had a role in the rebirth of two of Spider-Man's old foes during the Rose's efforts to gain extra muscle: she was the one who threw the switch of the electric chair which gave Electro his powers back, and helped set up the theft of Doctor Octopus' corpse for re-animation from the Hand. She also appears in Loners as an assassin smuggling MGH.[113][114][115][116]

text: Spidercide[edit]

text:
First appearance
The Spectacular Spider-Man #22 (March 1995)

Created by
Tom DeFalco and Sal Buscema

Species
Clone

Abilities
shapeshifting, molecular manipulation, same abilities of Spider-Man

Aliases
Peter Parker
Spider-Man
Freakface

Further reading[show]

Spidercide at the Comic Book DB
Spidercide at the Grand Comics Database

text: Spidercide was a major antagonist in the "Maximum Clonage" story arc. He first appeared in The Spectacular Spider-Man #222 by Tom DeFalco and Sal Buscema.[67] He is depicted as an evil foil of Spider-Man, Ben Reilly, and Kaine. Introduced as a red herring to suggest the possibility of a third individual that was the original Peter Parker, he is one of the Spider-Man clones created by Jackal, to be Jackal's enforcer and protector. However, Spidercide is actually a clone to Ben Reilly, who is a direct genetic duplicate of Spider-Man.[40]

text: He first appeared as a Peter Parker double emerging from one of the Jackal's pods that initially an amnesiac but later believed himself to be the real Peter Parker, having been kept in stasis since the first Clone Saga. He claimed that both Peter Parker and Ben Reilly were his clones. However, upon meeting Parker, Reilly and Kaine, the Jackal's programming kicked in and he went insane before shapeshifting into a freakish giant, therefore revealing his true status as a clone. In denial of the truth, he tried to kill the "clones" and to claim Peter Parker's life as his own. He was even infatuated with Parker's wife Mary Jane Watson and seeks to have her as his bride. Since their first encounter, Reilly realizes that Spidercide is twisted from the start and expresses disgust of his corrupted doppelgänger's immorality, tauntingly refers him as "Freakface" once the villainous clone's shapeshifting powers manifest. However, this also causes Reilly to be afraid of his and Parker's capabilities for wicked if they allow themselves demoralize as Spidercide.

text: The Jackal later modified Spidercide's powers, granting him the unique ability to control his physical make-up on a molecular level; he can alter his mass, density, shape and state at will similar to the symbiotes. He was killed off in Spider-Man: Maximum Clonage: Omega #404 by being thrown off in the Daily Bugle.[40][117]

text: After Ben Reilly's resurrection from his death, he briefly adapts a costume similar to Spidercide's after he steal it from a cosplayer before returning to his own costume style.

text: Group villains[edit]

text: Note: The common leader of the group is in bold.

text:
group name
Original members

Enforcers[118]
Montana
Ox
Fancy Dan

Inheritors[119]
Solus
Unnamed Matriarch
Daemos
Verna
Karn
Morlun
Brix
Bora

Sinister Six[120]
Doctor Octopus
Vulture
Electro
Sandman
Mysterio
Kraven the Hunter

Spider-Man Revenge Squad[121]
Spot
Grizzly
Kangaroo II
Gibbon

Sinister Syndicate[122]
Beetle
Hydro-Man
Rhino
Boomerang
Speed Demon

text: Archenemies[edit]

text: Unlike well known rivalries in comics book depictions where heroes always still have more than one enemy but usually one archenemy (e.g., Joker, to Batman in DC Comics, Red Skull to Captain America, Doctor Doom to the Fantastic Four and the Brotherhood of Mutants to the X-Men in Marvel Comics etc.), Spider-Man is known to have three archenemies and it can be debated or disputed as to which one is worse:[123]

text:
^ Doctor Octopus is regarded as one of Spider-Man's worst enemies. He has been cited as the man Peter might have become if he hadn't been raised with a sense of responsibility.[15][124][125] He is infamous for defeating him the first time in battle and for almost marrying Peter's Aunt May. He is the core leader of the Sinister Six and has also referred himself as the "Master Planner". ("If This Be My Destiny...!")[124][126] Later depictions revealed him in Peter Parker's body where he was the titular character for a while.[125]
^ Norman Osborn using the alias as Green Goblin is Spider-Man's archenemy.[123][127][128] Mostly after he is responsible for setting up the death of Spider-Man's girlfriend in one of the most famous Spider-Man stories of all time which helped end the Silver Age of Comic Books and begin the Bronze Age of Comic Books.[123] He was thought to be dead after that but writers help bring him back from the 1990s and he returned to plague Spider-Man once more in the comic books (such as being involved of the killing of Aunt May) and other heroes (such as the Avengers[129]). He is also an enemy of Spider-Man sometimes just as Norman and not just only as the Green Goblin.[130]
^ Another character commonly described as archenemy is Venom. Eddie Brock as Venom is commonly described as the mirror version or the evil version of Spider-Man in many ways.[8][9][123] Venom's goals are usually depicted as ruining Spider-Man's life and messing with Spider-Man's head.[86] Venom is also one of the most popular Spider-Man villains.[131] This popularity has led him to be an established iconic character of his own with own comic book stories.[8][132]

text: In other media[edit]

text: Reception[edit]

text: Reaction to Spider-Man's rogues gallery has been overwhelmingly positive with many journalists citing it as one of the greatest comic book rogues galleries of all time,[133][134][135] with Batman's rogues gallery being its most rivaled contender.[136][137] Although editors such as The Hollywood Reporter's Graeme McMillan felt that only Flash's rogues gallery can compete with Spider-Man's rogues.[134] Kyle Schmidlin of What Culture! described the superhero's rogues gallery as "one of the most colorful in comics" explaining that Batman could only be debated as having a great number of enemies as good as Spider-Man.[138] IGN staff editors, Joshua Yehl and Jesse Schedeen, described the Spider-Man villains as "one of the most iconic and well-balanced in comics". They opined that the scope of their schemes, how cool their powers are, and how dramatically they have affected Spider-Man's life is what makes the Spider-Man villains so great.[1] Newsarama ranked Spider-Man's rogues gallery as number one out ten as the greatest rogues gallery of all time.[137]

text: Themes[edit]

text: George Marston of Newsarama explaining why he felt that Spider-Man rogues gallery was the best was the thematic elements that the villains of Spider-Man manifested.[137] He explained that just like the superhero they have the same concept of science gone wrong. They are "like him, great men with great minds, great power, and great determination." But instead they fail to use their powers responsibly. Separating the thin line between being a hero from being a villain.[137]

text: Notes[edit]

text:
^ The Chameleon is the first member of Spider-Man's rogues gallery in publication date. (Excluding the Burglar).[9] He is also well known to be related to Kraven the Hunter and Kraven to him. That revealed relationship helped evolve him as a major villain compared to his original depiction of being just a solo villain in the original issue of The Amazing Spider-Man.[139][140][141]
^ Besides being most notable as a Spider-Man supervillain. He has also been depicted as a Fantastic Four antagonist in Stan Lee and Jack Kirby comics books (mostly due to being introduced as the original Frightful Four[142]) along with being on the heroic side (being a Avengers member[143]) until being introduced as a tragic supervillain in the Spider-Man comics once again.[144]
^ The character is also known as the member of the Frightful Four battling the Fantastic Four.[145] He is also the first major Marvel villain to be written in publication history as battling Daredevil.[146][147] Even being the founder and leader of the supervillain team that oppose him, the Emissaries of Evil.[148]
^ Just like Electro. He has crossed over and been a major villain of Daredevil. In the storyline "Guardian Devil" he crossed into Daredevil's territory almost pushing Daredevil to the edge (just like what he is usually depicted as attempted to do in Spider-Man) when Mysterio believes Spider-Man is a clone at one point.[29]
^ Kraven the Hunter has been a recurring villain since his introduction as a Spider-Man villain. But what makes him stand out as one of the great Spider-Man villains along with being one of the memorable issues about the fictional villain in the Spider-Man comics is the critically acclaimed storyline, "Kraven's Last Hunt".[9][141][149][150]
^ Not counting any other character in the mainstream Marvel Universe with that name. Only outside of the mainstream Spider-Man comics or in other media is there other Spider-Man villains (that isn't named Mac Gargan) that are antagonists of Spider-Man.[151][152][153] Gargan is cited to be the fourth who is called that in the comic books but is the most iconic villain with that name.[33]
^ The villain has crossed over with battling other heroes (especially Hulk[56]) even though the fictional character is usually written off in Spider-Man comics.[154] He is a major character in the storyline titled "Flowers for Rhino" (Spider-Man's Tangled Web). An homage to Flowers for Algernon.[155]
^ Despite first appearing in Spider-Man comic books, the Kingpin is more notable of being a Daredevil adversary. The character that represents the opposite of what Daredevil stands for. Despite this he is a major antagonist of both superheroes in the Marvel comic books just as recurringly.[9][156] He also is a major recurring villain in the rest of the Marvel Universe crossing over as major antagonists to superheroes/antiheroes (such as the Punisher) in certain comic books of the many based universes of Marvel. (PunisherMAX. etc.)[157]
^ "The Six Arms Saga" is the name of the storyline that debuted Morbius.[58]
^ Miles Warren's technical first appearance was revealed to be in The Amazing Spider-Man #31 (December 1965) created by Stan Lee and Steve Ditko before being revealed as the Jackal.[158]
^ Although she is listed with the supervillains as she sometimes is depicted in certain portrayals. The Black Cat is more regarded as a anti-heroine than fully supervillain. A character that struggles in between deciding good and bad...and the major femme fatale romantic interest for Spider-Man. Her key role of deciding between crime and having complicated relationships of Spider-Man makes her sometimes labeled as part with the rest of the major rogues gallery of Spider-Man. Nonetheless she has been a staple supporting Spider-Man character during her debut.[1]
^ The Amazing Spider-Man #299 is the first appearance of Eddie Brock as Venom. The alien costume debuted from The Amazing Spider-Man #252 and the symbiote bonded to Spider-Man in Secret Wars #8.[8] Venom's creators are determined by pre-alien costume by not counting the creators/designers of the alien costume, David Michelinie or Mike Zeck, or the Marvel Comics fan who originally though of the concept for the creators.[8][159][160]
^ Cletus Kasady first appeared in The Amazing Spider-Man 344.[89] Carnage is a major character in the popular storyline "Maximum Carnage".[161]
^ Despite standing out as his own independent character now. The Punisher was originally introduced as an antagonist of Spider-Man.[66]


document_title: A Day in the Life

question_text: how many holes it takes to fill the albert hall meaning

text: A Day in the Life

text: Background[edit]

text: John Lennon wrote the melody and most of the lyrics to the verses of "A Day in the Life" in mid January 1967.[4] Soon afterwards, he presented the song to Paul McCartney, who contributed a middle-eight section.[5] In a 1970 interview, Lennon discussed their collaboration on the song:

text: Paul and I were definitely working together, especially on "A Day in the Life" that was a real ... The way we wrote a lot of the time: you'd write the good bit, the part that was easy, like "I read the news today" or whatever it was, then when you got stuck or whenever it got hard, instead of carrying on, you just drop it; then we would meet each other, and I would sing half, and he would be inspired to write the next bit and vice versa. He was a bit shy about it because I think he thought it's already a good song ... So we were doing it in his room with the piano. He said "Should we do this?" "Yeah, let's do that."[6]

text: According to author Ian MacDonald, "A Day in the Life" was strongly informed by Lennon's LSD-inspired revelations, in that the song "concerned 'reality' only to the extent that this had been revealed by LSD to be largely in the eye of the beholder".[7] Beatles biographer Jonathon Gould writes that "of the many ambitious pop singles released during the fall of 1966, none had a stronger influence on the Beatles than the Beach Boys' 'Good Vibrations'".[8] In a 1968 editorial for Jazz & Pop, writer Gene Sculatti called the single the "ultimate in-studio production trip", adding that its influence was apparent in songs such as "A Day in the Life".[9][nb 1]

text: Lyrics[edit]

text: Tara Browne[edit]

text: According to Lennon, the inspiration for the first two verses was the death of Tara Browne, the 21-year-old heir to the Guinness fortune who had crashed his Lotus Elan on 18 December 1966 in Redcliffe Gardens, Earl's Court. Browne had been a friend of Lennon and McCartney,[11] and had, earlier in 1966, instigated McCartney's first experience with LSD.[12] Lennon adapted the song's verse lyrics from a story in the 17 January 1967 edition of the Daily Mail,[13] which reported the ruling on a custody action over Browne's two young children.

text: During a writing session at McCartney's house in north London, Lennon and McCartney fine-tuned the lyrics, using an approach that author Howard Sounes likens to the cut-up technique popularised by William Burroughs.[14] "I didn't copy the accident," Lennon said. "Tara didn't blow his mind out, but it was in my mind when I was writing that verse. The details of the accident in the song—not noticing traffic lights and a crowd forming at the scene—were similarly part of the fiction."[15] McCartney expounded on the subject: "The verse about the politician blowing his mind out in a car we wrote together. It has been attributed to Tara Browne, the Guinness heir, which I don't believe is the case, certainly as we were writing it, I was not attributing it to Tara in my head. In John's head it might have been. In my head I was imagining a politician bombed out on drugs who'd stopped at some traffic lights and didn't notice that the lights had changed. The 'blew his mind' was purely a drugs reference, nothing to do with a car crash."[16]

text: "4,000 holes"[edit]

text: Lennon wrote the song's final verse inspired by a Far & Near news brief, in the same 17 January edition of the Daily Mail that had inspired the first two verses. Under the headline "The holes in our roads", the brief stated: "There are 4,000 holes in the road in Blackburn, Lancashire, or one twenty-sixth of a hole per person, according to a council survey. If Blackburn is typical, there are two million holes in Britain's roads and 300,000 in London."[17]

text: The story had been sold to the Daily Mail in Manchester by Ron Kennedy of the Star News agency in Blackburn. Kennedy had noticed a Lancashire Evening Telegraph story about road excavations and in a telephone call to the Borough Engineer's department had checked the annual number of holes in the road.[18] Lennon had a problem with the words of the final verse, however, not being able to think of how to connect "Now they know how many holes it takes to" and "the Albert Hall". His friend Terry Doran suggested that the holes would "fill" the Albert Hall.[19]

text: Drug culture[edit]

text: McCartney said about the line "I'd love to turn you on", which concludes both verse sections: "This was the time of Tim Leary's 'Turn on, tune in, drop out' and we wrote, 'I'd love to turn you on.' John and I gave each other a knowing look: 'Uh-huh, it's a drug song. You know that, don't you?'"[20][nb 2] George Martin commented that he had always suspected that the line "found my way upstairs and had a smoke" was a drug reference, recalling how the Beatles would "disappear and have a little puff", presumably of marijuana, but not in front of him.[23] "When [Martin] was doing his TV programme on Pepper", McCartney recalled later, "he asked me, 'Do you know what caused Pepper?' I said, 'In one word, George, drugs. Pot.' And George said, 'No, no. But you weren't on it all the time.' 'Yes, we were.' Sgt. Pepper was a drug album."[24][nb 3]

text: Other reference points[edit]

text: Author Neil Sinyard attributed the third-verse line "The English Army had just won the war" to Lennon's role in the film How I Won the War, which he had filmed during September and October 1966. Sinyard said: "It's hard to think of [the verse] ... without automatically associating it with Richard Lester's film."[27]

text: The middle-eight that McCartney provided for "A Day in the Life" was a short piano piece he had been working on independently, with lyrics about a commuter whose uneventful morning routine leads him to drift off into a dream.[28][not in citation given] McCartney had written the piece as a wistful recollection of his younger years, which included riding the 82 bus to school, smoking, and going to class.[29][30] This theme—the Beatles' youth in the north of England—matched that of "Penny Lane" (a street in Liverpool) and "Strawberry Fields Forever" (an orphanage behind Lennon's house), two songs written for the album but were released instead as a double A-side single.[31]

text: Musical structure and development[edit]

text: Basic track[edit]

text: The Beatles began recording the song, with a working title of "In the Life of ...", at EMI's Studio Two on 19 January 1967.[32] The line-up as they rehearsed the track was Lennon on piano, McCartney on Hammond organ, George Harrison on acoustic guitar, and Ringo Starr on congas.[33] The band then taped four takes of the rhythm track, by which point Lennon had switched to acoustic guitar and McCartney to piano, with Harrison now playing maracas.[33][34]

text: As a link between the end of the second verse, where Lennon sings "I'd love to turn you on", and the start of McCartney's middle-eight, the band included a 24-bar bridge.[35] At first, the Beatles were not sure how to fill this link section.[36] At the conclusion of the session on 19 January, the transition consisted of a simple repeated piano chord and the voice of assistant Mal Evans counting out the bars. Evans' voice was treated with gradually increasing amounts of echo. The 24-bar bridge ended with the sound of an alarm clock triggered by Evans. Although the original intent was to edit out the ringing alarm clock when the section was filled in, it complemented McCartney's piece – which begins with the line "Woke up, fell out of bed" – so the decision was made to keep the sound.[37][nb 4]

text: The track was refined with remixing and additional parts added on 20 January and 3 February.[37][38] During the latter session, McCartney and Starr re-recorded their contributions on bass guitar and drums, respectively.[39] Starr later highlighted his fills on the song as typical of an approach whereby "I try to become an instrument; play the mood of the song. For example, 'Four thousand holes in Blackburn, Lancashire,' – boom ba bom. I try to show that; the disenchanting mood."[40] As on the 1966 track "Rain", music journalist Ben Edmonds recognises Starr's playing as reflective of his empathy with Lennon's songwriting. In Edmonds' description, the drumming on "A Day in the Life" "transcends timekeeping to embody psychedelic drift – mysterious, surprising, without losing sight of its rhythmic role".[41]

text: Orchestra[edit]

text: The orchestral portions of "A Day in the Life" reflect Lennon and McCartney's interest in the work of avant-garde composers such as Karlheinz Stockhausen, Luciano Berio and John Cage.[42] To fill the empty 24-bar middle section, Lennon's request to George Martin, the band's producer, was that the orchestra should provide "a tremendous build-up, from nothing up to something absolutely like the end of the world".[43] McCartney suggested having the musicians improvise over the segment.[37] To allay concerns that classically trained musicians would be unable to do this, Martin wrote a loose score for the section.[44] Using the rhythm implied by Lennon's staggered intonation on the words "turn you on",[45] the score was an extended, atonal crescendo that encouraged the musicians to improvise within the defined framework.[37] The orchestral part was recorded on 10 February 1967 in Studio One at EMI Studios,[46] with Martin and McCartney conducting a 40-piece orchestra.[47] The recording session was completed at a total cost of £367 (equivalent to £6,007 in 2015)[48] for the players, an extravagance at the time.[49] Martin later described explaining his score to the puzzled orchestra:

text: What I did there was to write ... the lowest possible note for each of the instruments in the orchestra. At the end of the twenty-four bars, I wrote the highest note ... near a chord of E major. Then I put a squiggly line right through the twenty-four bars, with reference points to tell them roughly what note they should have reached during each bar ... Of course, they all looked at me as though I were completely mad.[50]

text: McCartney had originally wanted a 90-piece orchestra, but this proved impossible. Instead, the semi-improvised segment was recorded multiple times, filling a separate four-track tape machine,[38] and the four different recordings were overdubbed into a single massive crescendo.[37] The results were successful; in the final edit of the song, the orchestral bridge is reprised after the final verse.[51]

text:
The orchestral link from the song's middle section to the final verse

Womack describes the "sarcastic brass retort" that ends the sequence as the "most decisive moment" on Sgt. Pepper.[52]

Problems playing this file? See media help.

text: The Beatles hosted the orchestral session as a 1960s-style happening,[53][54] with guests including Mick Jagger, Marianne Faithfull, Keith Richards, Brian Jones, Donovan, Pattie Boyd, Michael Nesmith, and members of the psychedelic design collective The Fool.[47] Overseen by Tony Bramwell of NEMS Enterprises, the event was filmed for use in a projected television special that never materialised.[51][nb 5] Reflecting the Beatles' taste for experimentation and the avant garde, the orchestra players were asked to wear formal dress and then given a costume piece as a contrast with this attire.[58] This resulted in different players wearing anything from fake noses to fake stick-on nipples. Martin recalled that the lead violinist performed wearing a gorilla paw, while a bassoon player placed a balloon on the end of his instrument.[49]

text: At the end of the night, the four Beatles and some of their guests overdubbed an extended humming sound to close the song – an idea that they later discarded. According to Beatles historian Mark Lewisohn, the tapes from this 10 February orchestral session reveal the guests breaking into loud applause following the second orchestral passage.[59] Among the EMI staff attending the event, one recalled how Ron Richards, the Hollies' producer, was stunned by the music he had heard; in Lewisohn's description, Richards "[sat] with his head in his hands, saying 'I just can't believe it … I give up.'"[47] Martin later offered his own opinion of the orchestral session: "part of me said 'We're being a bit self-indulgent here.' The other part of me said 'It's bloody marvellous!'"[59]

text: Final chord[edit]

text: Following the final orchestral crescendo, the song ends with one of the most famous final chords in music history.[49][60] Overdubbed in place of the vocal experiment from 10 February, this chord was added during a session at EMI's Studio Two on 22 February.[61] Lennon, McCartney, Starr and Evans shared three different pianos, with Martin on a harmonium, and all played an E-major chord simultaneously. The chord was made to ring out for over forty seconds by increasing the recording sound level as the vibration faded out. Towards the end of the chord the recording level was so high that listeners can hear the sounds of the studio, including rustling papers and a squeaking chair.[62]

text: Also present at the session was David Crosby of the Byrds. He recalled his reaction to hearing the completed song: "man, I was a dish-rag. I was floored. It took me several minutes to be able to talk after that."[63] Due to the multiple takes required to perfect the orchestral cacophony and the final chord, the total time spent recording "A Day in the Life" was 34 hours.[64] In contrast, the Beatles' debut album, Please Please Me, had been recorded in its entirety in only 10 hours, 45 minutes.[65]

text: Variations[edit]

text: On the Sgt. Pepper album, the start of "A Day in the Life" is cross-faded with the applause at the end of the previous track "Sgt. Pepper's Lonely Hearts Club Band (Reprise)". On The Beatles 1967–1970 LP, "A Day in the Life" fades in through the Sgt. Pepper cross-fade, but on Imagine: John Lennon and the CD version of 1967–1970, the song starts cleanly, without any fade or cross-fade.[66][67] Also, the "1967–1970" CD does not have the sped up ending, and instead it just ends after the E Major chord has faded enough so nobody could hear it.

text: Following "A Day in the Life" on the Sgt. Pepper album (as first released on LP in the UK and years later worldwide on CD) is a high-frequency 15-kilohertz tone and some randomly spliced Beatles studio chatter. The frequency is best understood as what we know as a dog whistle as the frequency is picked up by a dog's ear and was part of their humour. They joked about picturing barking dogs should they be present when the album would finish. Recorded two months after the mono and stereo masters for "A Day in the Life" had been finalised, the studio chatter (titled in the session notes "Edit for LP End") was added to the run-out groove of the initial British pressing. There are even a few variations of the chatter, though the best known one is them saying during the laughter and chatter "never could see any other way."[68] The Anthology 2 album includes an early, pre-orchestral version of the song and Anthology 3 includes a version of "The End" that concludes by having the last note fade into the final chord of "A Day in the Life" (reversed, then played forwards).[69] The Love version has the song starting with Lennon's intro of "sugar plum fairy", with the strings being more prominent during the crescendos.

text: Radio ban[edit]

text: The song became controversial for its supposed references to drugs. The BBC announced that it would not broadcast "A Day in the Life" due to the line "I'd love to turn you on", which, according to the corporation, advocated drug use.[11] Other lyrics allegedly referring to drugs include "found my way upstairs and had a smoke / somebody spoke and I went into a dream". A spokesman for the BBC stated: "We have listened to this song over and over again. And we have decided that it appears to go just a little too far, and could encourage a permissive attitude to drug-taking."[25][nb 6] The ban was eventually lifted on 13 March 1972.[71][nb 7]

text: Recognition and reception[edit]

text: Recalling the release of Sgt. Pepper in his 1977 book The Beatles Forever, Nicholas Schaffner wrote that "Nothing quite like 'A Day In The Life' had been attempted before in so-called popular music" in terms of the song's "use of dynamics and tricks of rhythm, and of space and stereo effect, and its deft intermingling of scenes from dream, reality, and shades in between". Schaffner said that in the context of 1967, the track "was so visually evocative it seemed more like a film than a mere song".[73] Richard Goldstein of The New York Times called the song "a deadly earnest excursion in emotive music with a chilling lyric ... [that] stands as one of the most important Lennon-McCartney compositions … [and] an historic Pop event".[74] In a contemporary music critics' poll published by Jazz & Pop magazine, "A Day in the Life" won in the categories of Best Pop Song and Best Pop Arrangement.[75]

text: In his appraisal of the song, musicologist Walter Everett states that, as on the band's Revolver album, "the most monumental piece on Sgt. Pepper's Lonely Hearts Club Band was Lennon's". He identifies the track's most striking feature as "its mysterious and poetic approach to serious topics that come together in a larger, direct message to its listeners, an embodiment of the central ideal for which the Beatles stood: that a truly meaningful life can be had only when one is aware of one's self and one's surroundings and overcomes the status quo."[76] Author Philip Norman describes "A Day in the Life" as a "masterpiece" and cites it as an example of how Sgt. Pepper "certainly was John's Freak Out!", referring to the 1966 album by the Mothers of Invention.[77]

text: "A Day in the Life" became one of the Beatles' most influential songs, and is now considered by many to be the band's greatest work. Paul Grushkin, in his book Rockin' Down the Highway: The Cars and People That Made Rock Roll, called the track "one of the most ambitious, influential, and groundbreaking works in pop music history".[78] According to musicologist John Covach, "'A Day in the Life' is perhaps one of the most important single tracks in the history of rock music; clocking in at only four minutes and forty-five seconds, it must surely be among the shortest epic pieces in rock."[79] In his review of the 50th anniversary edition of Sgt. Pepper for Rolling Stone, Mikal Gilmore says that "A Day in the Life" and Harrison's "Within You Without You" are the only songs on the album that transcend its legacy as "a gestalt: a whole that was greater than the sum of its parts".[80]

text: "A Day in the Life" appears on many top songs lists. It placed twelfth on CBC's 50 Tracks, the second highest Beatles song on the list after "In My Life".[81] It placed first in Q magazine's list of the 50 greatest British songs of all time, and was at the top of Mojo's 101 Greatest Beatles' Songs, as decided by a panel of musicians and journalists.[82][83][84] "A Day in the Life" was also nominated for a Grammy in 1967 for Best Arrangement Accompanying Vocalist or Instrumentalist.[85] In 2004, Rolling Stone ranked it at number 28 on the magazine's list of "The 500 Greatest Songs of All Time",[86] and in 2010, deemed it to be the Beatles' greatest song.[24] It is listed at number 5 in Pitchfork Media's "The 200 Greatest Songs of the 1960s".[87]

text: Legacy[edit]

text:
"A Day in the Life"

Single by Barry Gibb

from the album Sgt. Pepper's Lonely Hearts Club Band

B-side
"Nowhere Man"

Released
July 1978[88]

Format
7"

Recorded
September 1977

Genre
Psychedelic rock

Length
5:11

Label
RSO

Songwriter(s)
Lennon–McCartney

Producer(s)
George Martin

Barry Gibb singles chronology

"I'll Kiss Your Memory"
(1970)
"A Day in the Life"
(1978)
"Guilty"
(1980)

"I'll Kiss Your Memory"
(1970)
"A Day in the Life "
(1978)
"Guilty"
(1980)

text: On 27 August 1992 Lennon's handwritten lyrics were sold by the estate of Mal Evans in an auction at Sotheby's London for $100,000 (£56,600).[89] The lyrics were put up for sale again in March 2006 by Bonhams in New York. Sealed bids were opened on 7 March 2006 and offers started at about $2 million.[90][91] The lyric sheet was auctioned again by Sotheby's in June 2010. It was purchased by an anonymous American buyer who paid $1,200,000 (£810,000).[92]

text: McCartney has been performing this song in a majority of his live shows since his 2008 tour. It is played in a medley with "Give Peace a Chance".[93] The Beatles' friend and contemporary Bob Dylan references the song's opening lyrics in his 2012 tribute to John Lennon, "Roll on John".

text: Covers[edit]

text: The song has been recorded by many other artists,[94] notably by Jeff Beck on the 1998 George Martin album In My Life' & the '2008 album Performing This Week: Live at Ronnie Scott's Jazz Club[95] which was also used in the film Across the Universe and won the 2010 Grammy Award for Best Rock Instrumental Performance.[96] As of winter 2013, the jam band Phish has covered the song 61 times.[97]

text: The London Symphony Orchestra released an orchestral cover of the song in 1978 on Classic Rock: The Second Movement.[98] It was also covered by Barry Gibb in 1978 for the film Sgt. Pepper's Lonely Hearts Club Band and was included on the soundtrack of the same name, recorded in September 1977 and produced by George Martin.[99] Gibb's version was released as a single, with "Nowhere Man" as the B-side (also recorded by him and intended for the film).[100] Also in 1978, his version was used as the B-side of Robin Gibb's version of "Oh! Darling" released only in Italy.[101]

text: David Bowie used the lyric "I heard the news today oh boy!" in his 1975 song "Young Americans". Lennon appeared twice on Bowie's Young Americans album, providing guitar and backing vocals.[102] In 2012, Bob Dylan included the same line in his tribute song to Lennon, "Roll on John".[103]

text: Personnel[edit]

text:
The Beatles

John Lennon – lead vocal, acoustic guitar, piano (final chord)
Paul McCartney – lead vocal (middle-eight), piano (throughout and final chord), bass guitar
George Harrison – acoustic guitar, maracas
Ringo Starr – drums, congas, piano (final chord)

Production

George Martin – producer and harmonium (final chord)
Geoff Emerick – engineering and mixing

Arrangements

Orchestrated by George Martin
Conducted by George Martin (with Paul McCartney)

Additional musicians

Mal Evans – alarm clock, counting, piano (final chord)
John Marson – harp
Erich Gruenberg, Granville Jones, Bill Monro, Jurgen Hess, Hans Geiger, D. Bradley, Lionel Bentley, David McCallum, Donald Weekes, Henry Datyner, Sidney Sax, Ernest Scott, Carlos Villa – violin

John Underwood, Gwynne Edwards, Bernard Davis, John Meek – viola
Francisco Gabarro, Dennis Vigay, Alan Delziel, Alex Nifosi – cello
Cyril Mac Arther, Gordon Pearce – double bass
Roger Lord – oboe
Basil Tschaikov, Jack Brymer – clarinet
N. Fawcett, Alfred Waters – bassoon
Clifford Seville, David Sandeman – flute
Alan Civil, Neil Sanders – french horn
David Mason, Monty Montgomery, Harold Jackson – trumpet
Raymond Brown, Raymond Premru, T. Moore – trombone
Michael Barnes – tuba
Tristan Fry – timpani[104]
Marijke Koger – tambourine[47]

text: Notes[edit]

text:
Jump up ^ When asked about "Good Vibrations" in 1990, McCartney responded: "I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me."[10]
Jump up ^ While McCartney remembered writing the lyric "I'd love to turn you on" with Lennon, Lennon, in his 1980 Playboy interview with David Sheff, credited it as being McCartney's alone, stating, "Paul's contribution was the beautiful little lick in the song, 'I'd love to turn you on' that he'd had floating around in his head and he couldn't use for anything. I thought it was a damn good piece of work."[21] This is confirmed by Lennon's April 1972 Hit Parader interview, in which he had stated: "I think Paul wrote 'I'd love to turn you on.'"[22]
Jump up ^ When the song was banned by the BBC, Lennon and McCartney denied that there were drug references and publicly complained about the ban at a dinner party at the home of their manager, Brian Epstein, celebrating their album. Lennon said that the song was simply about "a crash and its victim", and called the line in question "the most innocent of phrases".[25] McCartney later said, "This was the only one in the album written as a deliberate provocation. A stick-that-in-your-pipe ... But what we want is to turn you on to the truth rather than pot."[26]
Jump up ^ George Martin, the Beatles' producer, later said that editing it out would have been unfeasible in any case.[37]
Jump up ^ Although the special did not take place, portions of the film appear on the Beatles Anthology DVD[55] and in the "A Day in the Life" clip included in the three-disc versions of the Beatles' 2015 video compilation 1.[56][57]
Jump up ^ According to Tony Bramwell, the BBC ban also led to the film from the orchestral session never being completed.[47] The party aspect of that session was soon reprised by the Beatles when they filmed their performance of "All You Need Is Love" for the Our World satellite broadcast.[47][70]
Jump up ^ When Sgt. Pepper's Lonely Hearts Club Band was released in South Asia, Malaysia and Hong Kong, "A Day in the Life" "With a Little Help from My Friends" and "Lucy in the Sky with Diamonds" were excluded because of supposed drug references.[72]


document_title: Enumerated powers

question_text: the clause that allows the federal government to expand its powers is the

text: Enumerated powers

text: List of enumerated powers of the federal constitution[edit]

text: The Congress shall have Power To lay and collect Taxes, Duties, Imposts and Excises, to pay the Debts and provide for the common Defense and general Welfare of the United States; but all Duties, Imposts and Excises shall be uniform throughout the United States;

text: To borrow on the credit of the United States;

text: To regulate Commerce with foreign Nations, and among the several States, and with the Indian Tribes;

text: To establish a uniform Rule of Naturalization, and uniform Laws on the subject of Bankruptcies throughout the United States;

text: To coin Money, regulate the Value thereof, and of foreign Coin, and fix the Standard of Weights and Measures;

text: To provide for the Punishment of counterfeiting the Securities and current Coin of the United States;

text: To establish Post Offices and Post Roads;

text: To promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries;

text: To constitute Tribunals inferior to the supreme Court;

text: To define and punish Piracies and Felonies committed on the high Seas, and Offenses against the Law of Nations;

text: To declare War, grant Letters of Marque and Reprisal, and make Rules concerning Captures on Land and Water;

text: To raise and support Armies, but no Appropriation of Money to that Use shall be for a longer Term than two Years;

text: To provide and maintain a Navy;

text: To make Rules for the Government and Regulation of the land and naval Forces;

text: To provide for calling forth the Militia to execute the Laws of the Union, suppress Insurrections and repel Invasions;

text: To provide for organizing, arming, and disciplining, the Militia, and for governing such Part of them as may be employed in the Service of the United States, reserving to the States respectively, the Appointment of the Officers, and the Authority of training the Militia according to the discipline prescribed by Congress;

text: To exercise exclusive Legislation in all Cases whatsoever, over such District (not exceeding ten Miles square) as may, by Cession of particular States, and the acceptance of Congress, become the Seat of the Government of the United States, and to exercise like Authority over all Places purchased by the Consent of the Legislature of the State in which the Same shall be, for the Erection of Forts, Magazines, Arsenals, dock-Yards, and other needful Buildings; And

text: Several amendments explicitly grant Congress additional powers. For example, the Sixteenth Amendment grants the power to "lay and collect taxes on incomes, from whatever source derived."

text: Political interpretation[edit]

text: There are differences of opinion on whether current interpretation of enumerated powers as exercised by Congress is constitutionally sound.

text: One school of thought is called strict constructionism. Strict constructionists refer to a statement on the enumerated powers by Chief Justice Marshall in the case McCulloch v. Maryland:[4]

text: This government is acknowledged by all, to be one of enumerated powers. The principle, that it can exercise only the powers granted to it, would seem too apparent, to have required to be enforced by all those arguments, which its enlightened friends, while it was depending before the people, found it necessary to urge; that principle is now universally admitted.[4]

text: Another school of thought is referred to as loose construction. They often refer to different comments by Justice Marshall from the same case:

text: We admit, as all must admit, that the powers of the Government are limited, and that its limits are not to be transcended. But we think the sound construction of the Constitution must allow to the national legislature that discretion with respect to the means by which the powers it confers are to be carried into execution which will enable that body to perform the high duties assigned to it in the manner most beneficial to the people. Let the end be legitimate, let it be within the scope of the Constitution, and all means which are appropriate, which are plainly adapted to that end, which are not prohibited, but consistent with the letter and spirit of the Constitution, are constitutional.[4]

text: Necessary and Proper Clause[edit]

text: Interpretation of the Necessary and Proper Clause has been controversial, especially during the early years of the republic. Strict constructionists interpret the clause to mean that Congress may make a law only if the inability to do so would cripple its ability to apply one of its enumerated powers. Loose constructionists, on the other hand, believe it is largely up to Congress and not the courts to determine what means are "necessary and proper" to executing one of its enumerated powers. It is often known as the "elastic clause" because of the great amount of leeway in interpretation it allows; depending on the interpretation, it can be "stretched" to expand the powers of Congress, or allowed to "contract", limiting Congress. In practical usage, the clause has been paired with the Commerce Clause in particular to provide the constitutional basis for a wide variety of federal laws.[5]

text: McCulloch v. Maryland[edit]

text: The defining example of the Necessary and Proper Clause in U.S. history was McCulloch v. Maryland in 1819. The United States Constitution says nothing about establishing a national bank. The U.S. government established a national bank that provided part of the government's initial capital. In 1819 the federal government opened a national bank in Baltimore, Maryland. In an effort to tax the bank out of business, the government of Maryland imposed a tax on the federal bank. James William McCulloch, a cashier at the bank, refused to pay the tax. Eventually the case was heard before the U.S. Supreme Court. Chief Justice John Marshall held that the power of establishing a national bank could be implied from the U.S. constitution. Marshall ruled that no state could use its taxing power to tax an arm of the national government.[6]

text: Recent case law[edit]

text: The case of United States v. Lopez[7] in 1997 held unconstitutional the Gun Free School Zone Act because it exceeded the power of Congress to "regulate commerce...among the several states". Chief Justice William Rehnquist wrote, "We start with first principles. The Constitution creates a Federal Government of enumerated powers." For the first time in sixty years the Court found that in creating a federal statute, Congress had exceeded the power granted to it by the Commerce Clause.[8]

text: In National Federation of Independent Business v. Sebelius,[9] the Supreme Court held that the Commerce Clause did not give Congress the authority to require individuals to purchase health insurance. However, since the court ruled that Congress's taxing authority was sufficient to enact the mandate, some constitutional lawyers have argued that the commerce clause discussion should be treated as judicial dictum.[10][11] Chief Justice John Roberts, in his majority opinion, stated that:

text: No other justice joined this segment of the Chief Justice's opinion.

text: Enumerated Powers Act[edit]

text: Parts of this article (those related to documentation) need to be updated. Please update this article to reflect recent events or newly available information. (June 2017)

text: The Enumerated Powers Act[12] is a proposed law that would require all bills introduced in the U.S. Congress to include a statement setting forth the specific constitutional authority under which each bill is being enacted. In every Congress since the 104th Congress, U.S. Congressman John Shadegg has introduced the Enumerated Powers Act, although it has not been passed into law. At the beginning of the 105th Congress, the House of Representatives incorporated the substantive requirement of the Enumerated Powers Act into the House rules.[13]

text: Tea Party support[edit]

text: The Enumerated Powers Act is supported by leaders of the U.S. Tea Party movement. National Tea Party leader Michael Johns has said that progressives often "see the Constitution as an impediment to their statist agenda. In almost all cases, though, there is very little thought or dialogue given to what should be the first and foremost question asked with every legislative or administrative governmental action: Is this initiative empowered to our federal government by the document's seven articles and 27 amendments? In many cases, the answer is no." "For this reason," Johns said, "we also strongly support the Enumerated Powers Act, which will require Congress to justify the Constitutional authority upon which all legislation is based."[14]


document_title: First pass effect

question_text: which route of administration is most likely to subject a drug to a first pass effect

text: First pass effect

text: This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2016) (Learn how and when to remove this template message)

text: The first pass effect (also known as first-pass metabolism or presystemic metabolism) is a phenomenon of drug metabolism whereby the concentration of a drug is greatly reduced before it reaches the systemic circulation.[1][2] It is the fraction of drug lost during the process of absorption which is generally related to the liver and gut wall. Notable drugs that experience a significant first-pass effect are imipramine, morphine, propranolol, buprenorphine, diazepam, midazolam, pethidine, marijuana, cimetidine, lidocaine, and nitroglycerin.

text: First pass metabolism may occur in the liver (for propranolol, lidocaine, chloromethiasole and GTN) or in the gut (for benzylpenicillin and insulin).[3]

text: After a drug is swallowed, it is absorbed by the digestive system and enters the hepatic portal system. It is carried through the portal vein into the liver before it reaches the rest of the body. The liver metabolizes many drugs, sometimes to such an extent that only a small amount of active drug emerges from the liver to the rest of the circulatory system. This first pass through the liver thus greatly reduces the bioavailability of the drug.

text: The four primary systems that affect the first pass effect of a drug are the enzymes of the gastrointestinal lumen, gut wall enzymes, bacterial enzymes, and hepatic enzymes.

text: In drug design, drug candidates may have good druglikeness but fail on first-pass metabolism because it is biochemically selective.

text: Alternative routes of administration like suppository, intravenous, intramuscular, inhalational aerosol, transdermal and sublingual avoid the first-pass effect because they allow drugs to be absorbed directly into the systemic circulation.

text: Drugs with high first pass effect have a considerably higher oral dose than sublingual or parenteral dose. There is marked individual variation in the oral dose due to differences in the extent of first pass metabolism. Oral bioavailability is apparently increased in patients with severe liver diseases like cirrhosis. It is also increased if another drug competing with it in first pass metabolism is given concurrently. E.g. propranolol and chlorpromazine.[4][unreliable medical source?]