Early life.

Majors was born in Wyandotte, Michigan, a suburb of Detroit. His parents, Carl and Alice Yeary, were both killed in separate accidents (prior to his birth and when he was one year old, respectively). At age two, Majors was adopted by an uncle and aunt and moved with them to Middlesboro, Kentucky.  He participated in track and football at Middlesboro High School. He graduated in 1957, and earned a scholarship to Indiana University, where he again competed in sports. Majors transferred to Eastern Kentucky University in Richmond, Kentucky, in 1959. He played in his first football game the following year but suffered a severe back injury which left him paralyzed for two weeks and ended his college athletic career. Following his injury, he turned his attention to acting and performed in plays at the Pioneer Playhouse in Danville, Kentucky. Majors graduated from Eastern Kentucky in 1962 with a degree in History and Physical Education.  After college, he received an offer to try out for the St. Louis Cardinals football team. Instead, he moved to Los Angeles and found work at the Los Angeles Park and Recreation Department as the Recreation Director for North Hollywood Park. In LA, Majors met many actors and industry professionals, including Dick Clayton, who had been James Dean's agent, and Clayton suggested he attend his acting school. After one year of acting school, Clayton felt that Majors was ready to start his career. At this time, he picked up the stage name "Lee Majors" as a tribute to childhood hero Johnny Majors who was a player and future coach for the University of Tennessee. Majors also studied at Estelle Harman's acting school at MGM.

Career.

Early roles.

At age 25, Majors landed his first, although uncredited, role in "Strait-Jacket" (1964), as Joan Crawford's cheating husband. After appearing in a 1965 episode of "Gunsmoke", he starred later that year as Howard White in an episode of "The Alfred Hitchcock Hour", "The Monkey's Paw – A Retelling", based on the short story by W. W. Jacobs.  Majors got his big break when he was chosen out of over 400 young actors, including Burt Reynolds, for the co-starring role of Heath Barkley in a new ABC western series, "The Big Valley", which starred Barbara Stanwyck. Also starring on the show was another newcomer, Linda Evans, who played Heath's younger sister, Audra. Richard Long and Peter Breck played his brothers Jarrod and Nick, respectively. One of Heath's frequently used expressions during the series was "Boy howdy!" "Big Valley" was an immediate hit. During the series, Majors co-starred in the 1968 Charlton Heston film "Will Penny", for which he received an "Introducing" credit, and landed the lead role in "The Ballad of Andy Crocker" (1969), a made-for-television film which was first broadcast by ABC. The film was one of the very first films to deal with the subject matter of Vietnam veterans "coming home". That same year, he was offered the chance to star in "Midnight Cowboy" (1969), but "The Big Valley" was renewed for another season and he was forced to decline the role (which later went to Jon Voight). When "The Big Valley" was cancelled in 1969, he signed a long-term contract with Universal Studios. In 1970, Majors appeared in William Wyler's final movie "The Liberation of L.B. Jones", and joined the cast of "The Virginian" for its final season when the show was restructured as "The Men From Shiloh" featuring four alternating leads. Majors played new ranch hand Roy Tate.  Majors was called a "blond Elvis Presley" because of his resemblance to Elvis during this period of his career.

1970s: "The Six Million Dollar Man".

In 1971, he landed the role of Arthur Hill's partner, Jess Brandon, on "", which garnered critical acclaim during its three seasons on ABC.  Majors' co-starring role on Owen Marshall led him to a starring role as USAF Colonel Steve Austin, an ex-astronaut with bionic implants in "The Six Million Dollar Man", a 1973 television movie broadcast on ABC. In 1974, the network decided to turn it into a weekly series. The series became an international success, being screened in over 70 countries, turning Majors into a pop icon. Majors also made his directorial debut in 1975, on an episode called "One of Our Running Backs Is Missing" which co-starred professional football players such as Larry Csonka and Dick Butkus.  In 1977, with "The Six Million Dollar Man" still a hit series, Majors tried to renegotiate his contract with Universal Television. The studio in turn filed a lawsuit to force him to report to work due to stipulations within his existing contract that had not yet expired. It was rumored that Majors was holding out for more money, but his manager denied this: according to him, Majors was fighting to have his own production company, Fawcett Majors Productions, brought on as an independent producer in association with Universal in order to make the company viable. After Majors did not report to work that June, studio executives ultimately relented. However, ratings began to decline and "The Six Million Dollar Man" was cancelled in 1978 (as was "The Bionic Woman"). In November 2010, Time Life released a 40 DVD set featuring every episode and bonus features from the show.  He also appeared in several films during the 1970s. The TV movie "Francis Gary Powers: The True Story of the U-2 Spy Incident" (1976, as Francis Gary Powers), the Viking film "The Norseman" (1978) co-starring Cornel Wilde, the horror thriller "Killer Fish" (1979), the action movie "Steel" (1979), opposite Jennifer O'Neill, and the political thriller "Agency" (1980), starring Robert Mitchum.

1980s: "The Fall Guy".

In 1981, Majors returned in another long-running television series. Producer Glen A. Larson (who had first worked with Majors on "Alias Smith and Jones", where Majors guest starred in one episode, and later on "The Six Million Dollar Man") asked him to star in the pilot of "The Fall Guy". Majors played Colt Seavers, a Hollywood stuntman who moonlights as a bounty hunter. Majors was also a producer and a director on the show, and even sang its theme song, the self-effacing "Unknown Stuntman". Majors also invited several longtime friends, Linda Evans, Peter Breck, Lindsay Wagner and Richard Anderson, to guest-star in various episodes. The series ran for five seasons until it was cancelled in 1986.  His 1980s films include the made-for-TV sequel "" (1980), playing Gary Cooper's original role, the science fiction film "The Last Chase" (1981), and the disaster movie "" (1983). Between 1987 and 1994, Majors and Lindsay Wagner reunited in three "The Six Million Dollar Man"/"The Bionic Woman" TV movies. Majors also made cameo appearances in "Circle of Two" (1980) and as himself in the 1988 holiday comedy "Scrooged".

1990s–present.

In 1990, he starred in the film "Keaton's Cop", and had recurring roles in "Tour of Duty" and the short-lived 1992 series, "Raven". He also had supporting roles in the films "Trojan War" (1997), "Out Cold" (2001), "Big Fat Liar" (2002), and "The Brothers Solomon" (2007). He voiced the character of "Big" Mitch Baker in the 2002 video game "". He played Jaret Reddick's disconnected father in Bowling For Soup's 2007 video, "When We Die". That same year, he played Grandpa Max in "", and voiced a character on the APTN animated children's program "" that was named "Steve from Austin". He also played a minor role in Stephen King's "The Mist".  Majors played Coach Ross on the CW Network's television series "The Game", which ran from October 1, 2006, to May 20, 2009.  Majors appeared in the role of God in "Jim Almighty" a 2007 episode of "According to Jim". He later returned to the role in that show's 2009 series finale, "Heaven Opposed to Hell". Also in 2008, Majors played a member of the Minutemen (dedicated to preventing illegal border crossings) in season four of the Showtime series "Weeds", where he recruits Kevin Nealon's character. Majors reprised his role (voice only) as Col. Steve Austin in the "Bionic Woman" segment of the "Robot Chicken" season four episode "Love, Maurice" (2009).  In March 2010, Majors played the crusty sailing instructor in the "Community" episode "Beginner Pottery". In April 2010, he appeared as the mentor of the series lead in "Christopher Chance", the 12th episode of "Human Target". Later that year, he provided the voice of General Abernathy in "". He later reprised the role in a 2011 episode. In 2011, he appeared as "Rockwell" in "Jerusalem Countdown". From 2011 to 2014 he appeared in three episodes of the Fox comedy "Raising Hope", as Burt's father, Ralph. On February 1, 2013, it was announced that Majors would appear in a two-episode guest spot in season two of TNT's "Dallas" as Ken Richards, an old flame of Sue Ellen's. In 2015, he appeared as J.D. in the faith-based drama "Do You Believe?" and the hip-hop dance-themed series "Avengers of eXtreme Illusions". Lee Majors appeared in seasons 2 (premiered October 2016) and 3 (premiered February 2018) of "Ash vs Evil Dead" on STARZ as Brock Williams, the father of Ash Williams (Bruce Campbell). In late 2018, Majors voiced an animated "Six Million Dollar Man" action figure in an advertisement for Honda's "Happy Honda Days" sale event. In 2019, Majors voiced Jeff Tracy in Thunderbirds Are Go

Personal life.

Health.

In 2003, Majors had heart bypass surgery.

Los Angeles Express.

In April 1983, Majors became part owner of the LA Express of the United States Football League.

Popular culture.

The song "Midnight Train to Georgia" was inspired by Lee Majors and Farrah Fawcett. Songwriter Jim Weatherly phoned his friend Lee Majors one day, and the call was answered by Fawcett. Weatherly and Fawcett chatted briefly and she told him she was going to visit her mother and was taking "the midnight plane to Houston." Although Majors and Fawcett were both successful by that time, Weatherly used them as "characters" in his song about a failed actress who leaves Los Angeles, and is followed by her boyfriend who cannot live without her. Eventually the genders were swapped, the plane turned into a train, and Houston was changed to Georgia. The recording by Gladys Knight & The Pips went to Number One in 1973.  The title of the Beastie Boys song "Lee Majors Come Again" is a reference to Lee Majors.

Lee Majors (born Harvey Lee Yeary; April 23, 1939) is an American film, television and voice actor. Majors is best known for portraying the characters of Heath Barkley in the American television Western series "The Big Valley" (1965–1969), Colonel Steve Austin in the American television science fiction action series "The Six Million Dollar Man" (1973–1978), and Colt Seavers in American television action series" The Fall Guy" (1981–1986).

Harvey Lee Yeary, dit Lee Majors, est un acteur et producteur américain, né le à Wyandotte, dans le Michigan. Il est principalement connu pour avoir été la vedette des séries télévisées "La Grande Vallée", "L'Homme qui valait trois milliards", et "L'Homme qui tombe à pic".


Function and mechanism.

An amino acid contains an amine (NH) group. A keto acid contains a keto (=O) group. In transamination, the NH group on one molecule is exchanged with the =O group on the other molecule. The amino acid becomes a keto acid, and the keto acid becomes an amino acid.  Most transaminases are protein enzymes. However, some transamination activities of the ribosome have been found to be catalyzed by ribozymes (RNA enzymes). Examples being the hammerhead ribozyme, the VS ribozyme and the hairpin ribozyme.  Transaminases require the coenzyme pyridoxal-phosphate, which is converted into pyridoxamine in the first half-reaction, when an amino acid is converted into a keto acid. Enzyme-bound pyridoxamine in turn reacts with pyruvate, oxaloacetate, or alpha-ketoglutarate, giving alanine, aspartic acid, or glutamic acid, respectively. Many transamination reactions occur in tissues, catalysed by transaminases specific for a particular amino/keto acid pair. The reactions are readily reversible, the direction being determined by which of the reactants are in excess. This reversibility can be exploited for synthetic chemistry applications to achieve the synthesis of valuable chiral amines. The specific enzymes are named from one of the reactant pairs, for example; the reaction between glutamic acid and pyruvic acid to make alpha ketoglutaric acid and alanine is called glutamic-pyruvic transaminase or GPT for short.  Tissue transaminase activities can be investigated by incubating a homogenate with various amino/keto acid pairs. Transamination is demonstrated if the corresponding new amino acid and keto acid are formed, as revealed by paper chromatography. Reversibility is demonstrated by using the complementary keto/amino acid pair as starting reactants. After chromatogram has been taken out of the solvent the chromatogram is then treated with ninhydrin to locate the spots..

Amino acid metabolism in animals.

Animals must metabolize proteins to amino acids, at the expense of muscle tissue, when blood sugar is low. The preference of liver transaminases for oxaloacetate or alpha-ketoglutarate plays a key role in funneling nitrogen from amino acid metabolism to aspartate and glutamate for conversion to urea for excretion of nitrogen. In similar manner, in muscles the use of pyruvate for transamination gives alanine, which is carried by the bloodstream to the liver (the overall reaction being termed "glucose-alanine cycle"). Here other transaminases regenerate pyruvate, which provides a valuable precursor for gluconeogenesis. This alanine cycle is analogous to the Cori cycle, which allows anaerobic metabolism by muscles.

Diagnostic uses.

The transaminase enzymes are important in the production of various amino acids, and measuring the concentrations of various transaminases in the blood is important in the diagnosing and tracking many diseases. For example, the presence of elevated transaminases can be an indicator of liver and cardiac damage. Two important transaminase enzymes are aspartate transaminase (AST), also known as serum glutamic oxaloacetic transaminase (SGOT); and alanine transaminase (ALT), also called alanine aminotransferase (ALAT) or serum glutamate-pyruvate transaminase (SGPT). These transaminases were discovered in 1954 and their clinical importance in 1955.

Transaminases or aminotransferases are enzymes that catalyze a transamination reaction between an amino acid and an α-keto acid. They are important in the synthesis of amino acids, which form proteins.

Une transaminase ou aminotransférase est une enzyme qui catalyse un type de réaction entre un acide aminé et un acide α-cétonique.


Life.

After his abduction and rape of Chrysippus, Laius married Jocasta. Laius received an oracle from Delphi which told him that he must not have a child with his wife, or the child would kill him and marry her; in another version, recorded by Aeschylus, Laius is warned that he can only save the city if he dies childless. One night, Laius became drunk and fathered Oedipus with Jocasta.  Jocasta handed the newborn infant over to Laius. Jocasta or Laius pierced and pinned the infant's ankles together. Laius instructed his chief shepherd, a slave who had been born in the palace, to expose the infant on Mount Cithaeron. Laius' shepherd took pity on the infant and gave him to another shepherd in the employ of King Polybus of Corinth. Childless, Polybus and his Queen, Merope (according to Sophocles, or Periboea according to Pseudo-Apollodorus), raised the infant to adulthood.  Oedipus grew up in Corinth under the assumption that he was the biological son of Polybus and his wife. Hearing rumors about his parentage, he consulted the Delphic Oracle. Oedipus was informed by the Oracle that he was fated to kill his father and to marry his mother. Fearing for the safety of the only parents known to him, Oedipus fled from Corinth before he could commit these sins. During his travels, Oedipus encountered Laius on the road. After a heated argument regarding right-of-way, Oedipus killed Laius, unknowingly fulfilling the first half of the prophecy. Oedipus continued his journey to Thebes and discovered that the city was being terrorized by the sphinx. Oedipus solved the sphinx's riddle, and the grateful city elected Oedipus as its new king. Oedipus accepted the throne and married Laius' widowed queen Jocasta, Oedipus’ actual mother, thereby fulfilling the second half of the prophecy. Jocasta bore her son four children: two girls, Antigone and Ismene, and two boys, Eteocles and Polynices.  Differing versions exist concerning the latter part of Jocasta's life. In the version of Sophocles, when his city was struck by a plague, Oedipus learned that it was divine punishment for his patricide and incest. Hearing this news, Jocasta hanged herself. But in the version told by Euripides, Jocasta endured the burden of disgrace and continued to live in Thebes, only committing suicide after her sons killed one another in a fight for the crown (see Seven Against Thebes). In both traditions, Oedipus gouges out his eyes; Sophocles has Oedipus go into exile with his daughter Antigone, but Euripides and Statius have him residing within Thebes' walls during the war between Eteocles and Polynices.

Middle Age tradition.

She is remembered in "De Mulieribus Claris", a collection of biographies of historical and mythological women by the Florentine author Giovanni Boccaccio, composed in 136162. It is notable as the first collection devoted exclusively to biographies of women in Western literature..

In Greek mythology, Jocasta (), also rendered Iocaste ( ) and also known as Epicaste (; ), was a daughter of Menoeceus, a descendant of the Spartoi, and queen consort of Thebes. She was the wife of first Laius, then of their son Oedipus, and both mother and grandmother of Antigone, Eteocles, Polynices and Ismene. She was also sister of Creon and mother-in-law of Haimon.

Dans la mythologie grecque, Jocaste, Iocaste (en grec ancien ) ou Épicaste () dans l’"Odyssée", fille de Ménœcée et sœur de Créon, est l'épouse de Laïos, puis de son propre fils, Œdipe, de qui elle aura quatre enfants, deux garçons, Étéocle et Polynice, et deux filles, Ismène et Antigone. Elle se pend lorsqu'elle apprend la vérité des liens l'unissant à Œdipe.


Structure.

It originates from the lateral surface of the lateral condyle of femur by a rounded tendon, the fibers pass downward and medially and give insertion to the posterior surface of tibia, above the soleal line. The muscle arises within the capsule of knee joint and its tendon separates the lateral meniscus from the lateral ligament of the joint.

Innervation.

Nerve supply is via the tibial nerve from spinal roots L5 and S1.

Variation.

There is sometimes an additional head from the sesamoid bone in the lateral (outer) head of the gastrocnemius muscle.  Rarely an additional inconstant muscle; the popliteus minor is seen. It originates from the femur on the inner side of the plantaris muscle and inserts into the posterior ligament of the knee-joint.  Peroneotibialis, 14% of population. Origin is inner side of the head of the fibula, insertion into the upper end of the oblique line of the tibia, it lies beneath the popliteus.  Another variant, the cyamella, is a small sesamoid bone embedded in the tendon of the popliteus muscle. It is rarely seen in humans, but has been described more often in other primates and certain other animals.

Function.

The popliteus assists in flexing the leg upon the thigh; when the leg is flexed, it will rotate the tibia inward.  It is especially called into action at the beginning of the act of bending the knee, inasmuch as it produces the slight inward rotation of the tibia, which is essential in the early stage of this movement.  When the knee is in full extension, the femur slightly medially rotates on the tibia to lock the knee joint in place. Popliteus is often referred to as the "Key" to unlocking the knee since it begins knee flexion by laterally rotating the femur on the tibia.  Popliteus is also attached to the lateral meniscus in the knee and draws it posteriorly during knee flexion to prevent crushing the meniscus between the tibia and femur as the knee flexes.

The popliteus muscle in the leg is used for unlocking the knees when walking, by laterally rotating the femur on the tibia during the closed chain portion of the gait cycle (one with the foot in contact with the ground). In open chain movements (when the involved limb is not in contact with the ground), the popliteus muscle medially rotates the tibia on the femur. It is also used when sitting down and standing up. It is the only muscle in the posterior (back) compartment of the lower leg that acts just on the knee and not on the ankle. The gastrocnemius muscle acts on both joints.

Le muscle poplité est un muscle triangulaire de la loge postérieure et profonde de la jambe, en arrière du genou.


Life and work.

He was born into a family of merchants and artisans. In 1603, he entered the workshop of El Greco, and remained there until 1606. He initially imitated his teacher's style to the extent that many of his works have been attributed to him and vice versa. After El Greco's son, Jorge Manuel Theotocópuli, Tristán is considered to be his principle follower. He then spent seven years in Italy, returning home around 1613.  He would work exclusively in Toledo for the rest of his life. His post-Italian work showed the influence of the Caravaggisti and the general aesthetic approach of the Counter-reformation. Apart from a few realistic portraits, his work is religious in focus. Although his figures show the distortions typical of his master, he introduced elements from daily life, rendered in a naturalistic style that offsets their lack of realism.  His most important works may be a set of paintings made for the main altarpiece at the church of Saint Benedict of Nursia in Yepes, from approximately 1616, which includes six scenes from the life of Jesus and eight half-figures of various saints. During the Spanish Civil War, the altar was largely destroyed, but the torn canvases were repaired at the Museo del Prado and all but two were returned to the church in 1942.  Other works include "Saint Louis Distributing Alms", currently in the Louvre, and "The Round of Bread and Eggs" at the Museum of Santa Cruz.  One of his best-known students was the still-life painter, Pedro de Camprobín.

Luis Tristán de Escamilla, also known as Luis de Escamilla or Luis Rodríguez Tristán (c.1585, Toledo - 1624, Toledo), was a Spanish painter in the mannerist style.

Luis Tristán de Escamilla, (né à Tolède en 1585 - mort à Tolède en 1624) est un peintre espagnol. Il est considéré comme le meilleur élève du Greco et fut influencé par le ténébrisme italien.


Development.

According to Chase Craig, who wrote and drew the first Bugs Bunny comic Sunday pages and the first Bugs comic book, "Bugs was not the creation of any one man; however, he rather represented the creative talents of perhaps five or six directors and many cartoon writers. In those days, the stories were often the work of a group who suggested various gags, bounced them around and finalized them in a joint story conference." A rabbit with some of the personality of Bugs, though looking very different, was originally featured in the film "Porky's Hare Hunt", released on April 30, 1938. It was co-directed by Ben "Bugs" Hardaway and an uncredited Cal Dalton (who was responsible for the initial design of the rabbit). This cartoon has an almost identical plot to Avery's "Porky's Duck Hunt" (1937), which had introduced Daffy Duck. Porky Pig is again cast as a hunter tracking a silly prey who is more interested in driving his pursuer insane and less interested in escaping. "Hare Hunt" replaces the little black duck with a small white rabbit. The rabbit introduces himself with the odd expression "Jiggers, fellers," and Mel Blanc gave the character a voice and laugh much like those he later used for Woody Woodpecker. The rabbit character was popular enough with audiences that the Termite Terrace staff decided to use it again. According to Friz Freleng, Hardaway and Dalton had decided to dress the duck in a rabbit suit. The white rabbit had an oval head and a shapeless body. In characterization, he was "a rural buffoon". He was loud, zany with a goofy, guttural laugh. Blanc provided him with a hayseed voice.  The rabbit comes back in "Prest-O Change-O" (1939), directed by Chuck Jones, where he is the pet rabbit of unseen character Sham-Fu the Magician. Two dogs, fleeing the local dogcatcher, enter his absent master's house. The rabbit harasses them but is ultimately bested by the bigger of the two dogs. This version of the rabbit was cool, graceful, and controlled. He retained the guttural laugh but was otherwise silent.  The rabbit's third appearance comes in "Hare-um Scare-um" (1939), directed again by Dalton and Hardaway. This cartoon—the first in which he is depicted as a gray bunny instead of a white one—is also notable as the rabbit's first singing role. Charlie Thorson, lead animator on the film, gave the character a name. He had written "Bugs' Bunny" on the model sheet that he drew for Hardaway. In promotional material for the cartoon, including a surviving 1939 presskit, the name on the model sheet was altered to become the rabbit's own name: "Bugs" Bunny (quotation marks only used, on and off, until 1944).  In his autobiography, Blanc claimed that another proposed name for the character was "Happy Rabbit." In the actual cartoons and publicity, however, the name "Happy" only seems to have been used in reference to Bugs Hardaway. In "Hare-um Scare-um", a newspaper headline reads, "Happy Hardaway." Animation historian David Gerstein disputes that "Happy Rabbit" was ever used as an official name, arguing that the only usage of the term came from Mel Blanc himself in humorous and fanciful tales he told about the character's development in the 1970s and 1980s; the name "Bugs Bunny" was used as early as August 1939, in the Motion Picture Herald, in a review for the short "Hare-um Scare-um".  Thorson had been approached by Tedd Pierce, head of the story department, and asked to design a better rabbit. The decision was influenced by Thorson's experience in designing hares. He had designed Max Hare in "Toby Tortoise Returns" (Disney, 1936). For Hardaway, Thorson created the model sheet previously mentioned, with six different rabbit poses. Thorson's model sheet is "a comic rendition of the stereotypical fuzzy bunny". He had a pear-shaped body with a protruding rear end. His face was flat and had large expressive eyes. He had an exaggerated long neck, gloved hands with three fingers, oversized feet, and a "smart aleck" grin. The end result was influenced by Walt Disney Animation Studios' tendency to draw animals in the style of cute infants. He had an obvious Disney influence, but looked like an awkward merger of the lean and streamlined Max Hare from "The Tortoise and the Hare" (1935) and the round, soft bunnies from "Little Hiawatha" (1937).  In Jones' "Elmer's Candid Camera" (1940), the rabbit first meets Elmer Fudd. This time the rabbit looks more like the present-day Bugs, taller and with a similar face—but retaining the more primitive voice. "Candid Camera"'s Elmer character design is also different: taller and chubbier in the face than the modern model, though Arthur Q. Bryan's character voice is already established.

Personality and catchphrases.

Bugs Bunny is characterized as being clever and capable of outsmarting almost anyone who antagonizes him, including Elmer Fudd, Yosemite Sam, Tasmanian Devil, Marvin the Martian, Wile E. Coyote, Gossamer, Witch Hazel, Rocky and Mugsy, The Crusher, Beaky Buzzard, Willoughby the Dog, Count Bloodcount, Daffy Duck and a host of others. The only one to consistently beat Bugs is Cecil Turtle, who defeats Bugs in three consecutive shorts based on the premise of the Aesop fable "The Tortoise and the Hare". In a rare villain turn, Bugs turns to a life of crime in 1949's "Rebel Rabbit", taking on the entire United States government by vandalizing monuments in an effort to prove he is worth more than the two-cent bounty on his head; while he succeeds in raising the bounty to $1,000,000, the full force of the military ends up capturing Bugs and sending him to Alcatraz.  Bugs almost always wins these conflicts, a plot pattern which recurs in "Looney Tunes" films directed by Chuck Jones. Concerned that viewers would lose sympathy for an aggressive protagonist who always won, Jones arranged for Bugs to be bullied, cheated, or threatened by the antagonists while minding his own business, justifying his subsequent antics as retaliation or self-defense. He's also been known to break the fourth wall by "communicating" with the audience, either by explaining the situation (e.g. "Be with you in a minute, folks!"), describing someone to the audience (e.g. "Feisty, ain't they?"), clueing in on the story (e.g. "That happens to him all during the picture, folks."), explaining that one of his antagonists' actions have pushed him to the breaking point ("Of course you realize, this means war." - a line borrowed from Groucho Marx in "Duck Soup" and used again in the next Marx Brothers film "A Night at the Opera" (1935) ), admitting his own deviousness toward his antagonists ("Ain't I a stinker?" - a line borrowed from Lou Costello ), etc. This style was used and established by Tex Avery.  Bugs usually tries to placate his antagonist and avoid conflict but, when an antagonist pushes him too far, Bugs may address the audience and invoke his catchphrase "Of course you realize this means "war!"" before he retaliates in a devastating manner. As

Voice actors.

The following are the various vocal artists who have voiced Bugs Bunny over the last 80 years for Warner Bros.' animated productions:  Mel Blanc voiced the character for almost 50 years, from Bugs' debut in the 1940 short "A Wild Hare" until Blanc's death in 1989. Blanc described the voice as a combination of Bronx and Brooklyn accents; however, Tex Avery claimed that he asked Blanc to give the character not a New York accent "per se", but a voice like that of actor Frank McHugh, who frequently appeared in supporting roles in the 1930s and whose voice might be described as

Comics.

Comic books.

Bugs Bunny was continuously featured in comic books for more than 40 years, from 1941 to 1983, and has appeared sporadically since then. Bugs first appeared in comic books in 1941, in "Looney Tunes and Merrie Melodies Comics" #1, published by Dell Comics. Bugs was a recurring star in that book all through its 153-issue run, which lasted until July 1954. Western Publishing (and its Dell imprint) published 245 issues of a Bugs Bunny comic book from Dec. 1952/Jan. 1953 to 1983. The company also

Comic strip.

The "Bugs Bunny" comic strip ran for almost 50 years, from January 10, 1943 to December 30, 1990, syndicated by the Newspaper Enterprise Association. It started out as a Sunday page and added a daily strip on November 1, 1948.  The strip originated with Chase Craig, who did the first

Reception and legacy.

Like Mickey Mouse for Disney, Bugs Bunny has served as the mascot for Warner Bros. and its various divisions. According to "Guinness World Records", Bugs has appeared in more films (both short and feature-length) than any other cartoon character, and is the ninth most portrayed film personality in the world. On December 10, 1985, Bugs became the second cartoon character (after Mickey) to receive a star on the Hollywood Walk of Fame.  He also has been a pitchman for companies including Kool-Aid and Nike. His Nike commercials with Michael Jordan as "Hare Jordan" for the Air Jordan VII and VIII became precursors to "Space Jam". As a result, he has spent time as an honorary member of Jordan Brand, including having Jordan's Jumpman logo done in his image. In 2015, as part of the 30th anniversary of Jordan Brand, Nike released a mid-top Bugs Bunny version of the Air Jordan I, named the "Air Jordan Mid 1 Hare", along with a women's equivalent inspired by Lola Bunny called the "Air Jordan Mid 1 Lola", along with a commercial featuring Bugs and Ahmad Rashad.  In 2002, "TV Guide" compiled a list of the 50 greatest cartoon characters of all time as part of the magazine's 50th anniversary. Bugs Bunny was given the honor of number 1. In a CNN broadcast on July 31, 2002, a "TV Guide" editor talked about the group that created the list. The editor also explained why Bugs pulled top billing: "His stock...has never gone down...Bugs is the best example...of the smart-aleck American comic. He not only is a great cartoon character, he's a great comedian. He was written well. He was drawn beautifully. He has thrilled and made many generations laugh. He is tops." Some have noted that comedian Eric Andre is the nearest contemporary comedic equivalent to Bugs. They attribute this to, "their ability to constantly flip the script on their unwitting counterparts."

Language.

American use of the term "Nimrod" to mean "idiot" is attributed (in

Bugs Bunny is an animated cartoon character, created in the late 1930s by Leon Schlesinger Productions (later Warner Bros. Cartoons) and voiced originally by Mel Blanc. Bugs is best known for his starring roles in the "Looney Tunes" and "Merrie Melodies" series of animated short films, produced by Warner Bros. Though a similar character called Happy Rabbit debuted in the WB cartoon "Porky's Hare Hunt" (1938) and appeared in a few subsequent shorts, the definitive character of Bugs is widely credited to have made his debut in director Tex Avery's Oscar-nominated film "A Wild Hare" (1940).

Bugs Bunny est un personnage américain de dessin animé, créé officiellement en 1940 dans les studios de la société Leon Schlesinger Productions (devenu plus tard Warner Bros. Cartoons). Bugs est un lièvre ou un lapin gris anthropomorphe, connu pour son caractère farceur et surtout pour sa phrase fétiche « Euh... Quoi d'neuf, docteur? ». C'est le chef de file des personnages des "Looney Tunes". Il est classé neuvième personnalité la plus représentée en cinématographie dans le monde, et personnage de cartoon qui est apparu le plus souvent dans les films et dessins animés, notamment durant l'âge d'or de l'animation américaine, dans les courts-métrages des séries "Looney Tunes" et "Merrie Melodies". Sa popularité l'a conduit à devenir mascotte de la compagnie Warner Bros.


History.

Rohr is first mentioned in 1027 as "Rore".

Geography.

Rohr has an area,, of. Of this area, 31.7% is used for agricultural purposes, while 39.2% is forested. Of the rest of the land, 22.7% is settled (buildings or roads) and the remainder (6.4%) is non-productive (rivers or lakes).  The municipality is located in the Aarau district, and since 1 January 2010 has been part of the municipality of Aarau. It consisted of the linear village of Rohr on a terrace above the Aare river valley.

Coat of arms.

The blazon of the municipal coat of arms is "Argent three Bulrushes Vert fructed Sable issuant from Coupeaux of the second."

Demographics.

Rohr has a population (as of ) of., 22.5% of the population was made up of foreign nationals. Over the last 10 years the population has grown at a rate of 15.9%. Most of the population () speaks German (87.9%), with Italian being second most common ( 3.4%) and Serbo-Croatian being third ( 2.4%).  The age distribution,, in Rohr is; 339 children or 10.4% of the population are between 0 and 9 years old and 299 teenagers or 9.2% are between 10 and 19. Of the adult population, 496 people or 15.2% of the population are between 20 and 29 years old. 505 people or 15.5% are between 30 and 39, 506 people or 15.5% are between 40 and 49, and 459 people or 14.1% are between 50 and 59. The senior population distribution is 352 people or 10.8% of the population are between 60 and 69 years old, 183 people or 5.6% are between 70 and 79, there are 96 people or 2.9% who are between 80 and 89,and there are 28 people or 0.9% who are 90 and older. , there were 125 homes with 1 or 2 persons in the household, 712 homes with 3 or 4 persons in the household, and 328 homes with 5 or more persons in the household. The average number of people per household was 2.21 individuals. there were 385 single family homes (or 24.5% of the total) out of a total of 1,574 homes and apartments.  In the 2007 federal election the most popular party was the SVP which received 40.8% of the vote. The next three most popular parties were the SP (20.2%), the FDP (15.1%) and the CVP (6.9%).  The entire Swiss population is generally well educated. In Rohr about 72.1% of the population (between age 25-64) have completed either non-mandatory upper secondary education or additional higher education (either University or a "Fachhochschule"). Of the school age population (), there are 225 students attending primary school, there are 138 students attending secondary school in the municipality.  The historical population is given in the following table:

Economy.

, Rohr had an unemployment rate of 1.85%., there were 16 people employed in the primary economic sector and about 6 businesses involved in this sector. 273 people are employed in the secondary sector and there are 21 businesses in this sector. 302 people are employed in the tertiary sector, with 65 businesses in this sector.

Religion.

From the, 743 or 28.0% are Roman Catholic, while 1,309 or 49.4% belonged to the Swiss Reformed Church. Of the rest of the population, there are 14 individuals (or about 0.53% of the population) who belong to the Christian Catholic faith.

Until the first of January 2010 Rohr was a municipality in the district of Aarau in the canton of Aargau in Switzerland.

Rohr est une localité d'Aarau et une ancienne commune suisse du canton d'Argovie. Depuis le, la commune de Rohr est rattachée à la commune d'Aarau. Son ancien numéro OFS est le 4011.


Early life and background.

Redžepova was born on 8 August 1943 in Skopje, at that time annexed by the Kingdom of Bulgaria, although the region was returned to Yugoslavia in 1944. She was the second youngest of six children in a Romani family. Her paternal grandfather was a Catholic Roma and her grandmother an Iraqi Jew, while her mother was a Muslim Roma from Šuto Orizari.  Her father Ibrahim, who had lost a leg during a German bombing in Skopje in 1941, worked variously as a porter, circus strongman and shoeshiner. He sang and played drums and sometimes performed at weddings. Some of Esma's siblings accompanied him. Esma's mother was a seamstress.  At age nine, Esma was introduced by one of her brothers to a local Romani music organisation where she was able to quickly learn complicated rhythms. Her mother encouraged her musical gifts and Esma and her brother soon joined their school's folklore group. Her parents insisted that all their children finish primary school. However, they had very traditional views and expected Esma to get married in her teens and become a housewife. Nonetheless, their daughter was emancipated and would wear fashionable dresses instead of "dimije", the traditional attire for Romani girls at that time.

Music career.

Debut.

In 1956, Esma's headteacher suggested she sing at a school talent contest for Radio Skopje. She went without informing her parents, who did not want her following the path of her older sister who started singing in cafes at age 17. Among Roma people, such a career was viewed as inappropriate or shameful for an unmarried girl.  Esma performed "A bre babi", a Macedonian Roma traditional song. It was the first time a song in Romani was aired by the station. Esma won the contest, beating 57 other schools and winning 9,000 dinars. When Esma's parents learned about her success, they were upset and reluctant to let her follow a musical career. At that time, the only employment prospects for Roma singers were performing in cafes and restaurants.  Stevo Teodosievski, an ethnic Macedonian musician and band frontman, was impressed by Esma's performance at the contest and hoped she might join his musical ensemble. Teodosievski was a self-taught man coming from a poor background, leading the large folk musical troupe Ansambl Teodosievski. He also worked for Radio Skopje and was a member of the League of Communists of Macedonia.  As part of the local establishment, Teodosievski was somewhat of a visionary in holding the belief that Roma music could one day become esteemed and popular among non-Romani people. At that time, Roma music in Yugoslavia was disparaged and not considered suitable for radio or television. Furthermore, racism against Roma people was common in Macedonia and throughout Yugoslavia, and even Roma people themselves had a low opinion of Roma singers — especially female ones. Before Esma, Roma performers never sang in Romani on radio or television and hid their origins. Teodosievski had been promoting Roma music even before meeting Redžepova and faced harsh criticism in the media for it. However, he felt Esma could help him achieve his goals and perhaps even become one of the most prominent artists in the country. He convinced Esma's parents to let her go with him and join his ensemble. It was promised that Esma would only sing in reputable circumstances.  When they met in Skopje, Stevo Teodosievski was not fully satisfied with Esma's voice. He encouraged her to train for long hours and enroll at the Academy of Music in Belgrade, where she studied for two years.

Yugoslav years.

After Esma left the Academy of Music in Belgrade (SR Serbia), she joined the Ansambl Teodosievski and started touring. In 1961, the Ansambl went to Zagreb (SR Croatia) to record Redžepova's first disc. It was released by Jugoton and included "A bre babi" as well as "Chaje Shukarije", a song Redžepova wrote herself. This song in Romani quickly became a huge success in Yugoslavia.  The 1960s and 1970s were extremely successful for the couple. They recorded many albums and EPs, and took part in radio and television shows. Most of the songs performed by Esma Redžepova at that time were traditional Romani songs or songs inspired by Romani music. However, some of them had a noticeable Western influence. "Makedo" is inspired by cha-cha, "Kod Kodak" shows heavy pop influences, and "Pesma Šeher Sarajevu" makes use of psychedelic organs. Redžepova also performed many songs related to ethnic Macedonian music with no tie to Romani music. Some of these songs are duets recorded with Macedonian singers, such as "Blagujno Dejče", "Biljana platno beleše" and "Zašto si me majko rodila".  In Tito's Yugoslavia, Roma people were officially recognised as a national minority and were granted linguistic and cultural rights. However, Esma Redžepova was almost the only Roma Yugoslav artist to have achieved long-lasting fame and public acclaim, together with Šaban Bajramović, from Serbia.  Despite her success, Esma Redžepova was the target of racism and gossip. Roma people in Skopje thought of her as dishonorable for the community and were very critical about her relationship with Teodosievski, a "gadjo". At that time, it was unthinkable for Macedonians and Romani to engage in mixed marriages, and both communities strongly disapproved them. Esma was frowned upon by Romani because she had an emancipated lifestyle, performing on stage, sleeping in hotels, working with men. On the other side, institutions, including Radio Skopje and the League of Communists of Macedonia, were very critical about Stevo Teodosievski and reproached him for working with Gypsies. To escape the stifling atmosphere, Redžepova and Teodosievski moved to Belgrade, the capital of Yugoslavia, at the beginning of the 1960s. They married in 1968.  Racist prejudice played a large part in Redžepova's career. Media often characterized her with traits considered typical to Roma people: she was portrayed as hot blooded, happy and easy going, and genetically talented. Comments were often made about her dark skin. Stevo Teodosievski used some positive stereotypes to promote the singer, as long as they gave a tasteful image of her.  At the end of the 1960s, Esma and Stevo founded a music school where they mostly trained young disadvantaged boys, usually Romani. Most of the musicians in the Ansambl Teodosievski were trained in the school and some of them eventually achieved fame. In total, 48 boys attended that school.  By encouraging other Macedonian Roma musicians, Esma and Stevo built a circle around them. Among the most prominent members were the singers Muharem Serbezovski, Usnija Jašarova and Enver Rasimov, and clarinetist Medo Čun.  Yugoslavia was part of the Non-Aligned Movement and the Yugoslav artistic scene was subject to many international influences. Esma performed several songs in foreign languages, such as Greek, Turkish, Hebrew and Hindi. The Roma people came from India to Europe in the Middle Ages. The link that Tito created with Nehru and India was very important for Yugoslav Gypsies because their culture and history was publicly enhanced. Esma and Stevo visited India three times, in 1969, 1976 and 1983. During their second trip, they were entitled "King and Queen of Romani Music" at the first Roma music festival in Chandigarh. In 1983, Esma sang in front of Indira Gandhi.  In addition to performing for Indira Gandhi, Esma also sang for Josip Broz Tito, Reza Pahlavi and Muammar Gaddafi. Together with her husband's ensemble, she performed for public audiences in several countries, including the United States, the Soviet Union, Mexico, Australia and Canada. In 1962, she was the first Yugoslav artist to perform at the Olympia in Paris.

Career after the independence of Macedonia.

During the 1980s, the musical career of Esma Redžepova slowed down. In 1989, she settled back in Skopje with her husband. After independence in 1991, the Republic of Macedonia went through difficult times. Stevo Teodosievski died in 1997 at 72. However, Esma Redžepova toured the United States the year after, performing at a series of benefit concerts. She also released a selection of duets with Usnija Jašarova in 1994.  The 2000s were very fruitful and marked a slight shift in the singer's career. In Macedonia and former Yugoslavia, Esma gained a more modern image and redefined herself as a worldbeat artist. For instance, she made several collaborations with young pop singers. In 2002, she recorded a song with the Croatian band Magazin and a duet with the Macedonian singer Todor Proeski. She also recorded a song with the Bosnian band Crno Vino in 2005 and made a collaboration with Kiril Džajkovski in 2010. On the international scene, Esma Redžepova contributed towards the establishment of Roma music as a non-mass-market good, pleasing an urban and cultural elite. However, many of her new songs were not widely accepted by Western audiences because they did not match their expectations about Roma music. For instance, some songs featured the synthesizer, an instrument that is not used in traditional Roma music. Esma was even booed at a concert in Spain, but defended herself saying that Roma music has always adapted itself and borrowed external features. Her best known single, Čaje Šukarije, is the feature song on the 2006 movie, which she claims was used without her permission. Together with Naat Veliov from Kočani Orkestar she sued the producers of the film for 800,000 euro (USD 1,000,000). Afterwards, Redžepova won a €26,000 compensation, since it turned out that Sacha Baron Cohen got permission from her production house to take the song, which she was not notified about. Esma was particularly upset because her song was used to illustrate backwardness, something she always fought. However, "Borat" contributed towards the expansion of her fame internationally.  Esma Redžepova was selected together with Vlatko Lozanoski to represent Macedonia in the Eurovision Song Contest 2013. Their song, "Imperija", was unveiled in March 2013, but it caused controversy in the country as its clip featured many monuments of the controversial project Skopje 2014. The song was thus viewed as a nationalist act. Macedonian Radio-Television requested that the singers write a new song. Eventually, "Pred da se razdeni" was released a month later. The song failed to advance from the second semi-final of the competition on 16 May 2013, placing 16th in the field of 17 songs, scoring 28 points.

Death.

Esma Redžepova died on the morning of 11 December 2016 in Skopje after an illness, she was 73. She had previously been taken to hospital on 28 November, and was then in a critical condition. Her funeral ceremony took place on 12 December at the Skopje City Council, where several officials, including the Mayor of the city and the Macedonian President, Gjorge Ivanov, paid homage to her. She was later buried at Butel cemetery.

Film career.

In addition to numerous video clips, Esma Redžepova appeared in several films, both fictional and documentary. She made her debut as an actress in "Krst Rakoc", a Yugoslav film released in 1962 and featuring Bata Živojinović in the main role. She recorded four songs included in the soundtrack. In 1968, she appeared as a singer in "Zapej Makedonijo", a film for which she also recorded songs. She made her last appearance in a Yugoslav film in 1971, for "Yugovizija", in which she played her own role.  In the 2000s, Redžepova resumed her film career. She appeared in four documentary films during the decade, starting with the German "Im Herzen des Lichts - Die Nacht der Primadonnen" in 2002. It was followed by "When the Road Bends... Tales of a Gypsy Caravan" in 2006, a documentary about five Romani music acts on their tour through the United States. She was however very unhappy about this film and the image it gives about her community. She thought the audience would imagine that all Roma people live in squalid conditions, ignoring that there are middle-class Roma, just like herself. The film "Rromani Soul", released the year after and directed by Louis Mouchet, features Esma as the guide of the true origin of Roma people located in Kannauj, Uttar Pradesh by Roma linguist Marcel Courthiade. In 2009, she appeared in a second German documentary film, "Balkan Soul & Gypsy Blues".

Artistry.

Repertoire.

Esma Redžepova recorded and released more than 580 songs, including two platinum and eight gold discs. She performed more than 22,000 concerts, a third of which were held for charities. With the Ansambl Teodosievski, she recorded 108 singles, 32 compact cassettes, 15 discs, six videotapes and numerous television shows.  Redžepova mostly sang in Romani and Macedonian, but she also recorded songs in Serbo-Croatian, Turkish, Hebrew, Greek and Hindi. Redžepova's songs often spoke about love, sorrow and marriage. One of her most famous songs called "Čaje Šukarije" became an anthem for all Roma all over the world.  Esma often sang traditional songs, both Romani and Macedonian, but a lot of them are also compositions. Teodosievski usually composed and arranged songs, but Esma composed some tracks as well, including "Čaje Šukarije". She also choreographed performances.

Musical style and inspirations.

The Ansambl Teodosievski, with which Esma Redžepova performed the most, is composed of traditional instruments, used both by Romas and Macedonians, such as the oboe, accordion, zurna and davul. Most of Esma's songs were either in the line of Roma or Macedonian folk tradition, with various influences ranging from Turkish, Middle Eastern to Central European. However, contemporary influences are visible on her later work, which can be characterised as worldbeat influenced pop music. During the 2000s, as she started to sing duets with younger artists, she contributed to pop, ethno-pop and RnB songs. Furthermore, some of her earlier songs also showed strong Western influences, including "Kod, kodak" (1966), "Devojka i pesna" (1966), "Makedo" (1966), "Pjesma Šeher Sarajevu" (1970) and "Djurdjevdan, Djurdjevdan" (1972).  Redžepova's voice greatly changed over the years. When she started singing, her voice was bright and almost childlike. Stevo Teodosievski compared it to the sound of a silver bell.  Esma Redžepova defended that Roma music was inventive, evolving and subject to many influences. However, she was very critical of hybrid Roma music such as the ones from Spain and Hungary. She stated that Roma musicians from these countries play more or less local non-Romani music. She considered her singing style very ancient and traditional.  Esma Redžepova did not cite any inspirational artists and stated that she owed everything to her husband. Her favorite artists were the Bulgarian Nedyalka Keranova and the Iranian Googoosh. She also enjoyed classical music and cited Luciano Pavarotti as one of her favourite classical artists.

Videos and stage.

On stage and in her music videos, Esma Redžepova played with stereotypes linked to Gypsy women and used traditional attire and dancers. The Middle-Eastern character of her performances was often enhanced to please non-Romani audiences. In the same way, costumes worn by Esma or her dancers could be inaccurate to Macedonian Roma culture. For instance, some videos showed Hungarian or Russian costumes, in order to match the expectations of the non-Romani about Romani culture and traditional dresses. Although Esma used sensuality and seduction in many of her early songs, such as her numerous čoček, she limited this aspect of her performance by not wearing immodest belly dance outfits. Instead, she usually wore the Roma "dimije", which she personalized by using modern fabrics.  Her performances could be very theatrical depending on the song and the emotion that grew from it. For instance, when singing "Hajri Ma Te Dike", Redžepova usually wore a black veil and pretended to be weeping.  Because she extensively worked with the same music ensemble, Redžepova had a particular relationship with her musicians. On stage, they stood and took part in the choreography and mime interactions with the singer in accordance with the text of the songs. In the early performances, musicians swayed left and right to the rhythm with their instruments, as did Western pop groups of that period.

Museum of Music.

When Esma Redžepova settled back in Skopje with her husband in 1989, she started to work on an ambitious project: a Museum of Music and House of Humanity. The couple imagined it as a place to keep an archive of Roma music, and musical and historical artifacts, with a performance room, a studio and a place where poor people could get medical treatment.  The couple bought a plot close to the Contemporary Art Museum of Macedonia and the fortress. Construction started in 1992. The building served as Redžepova's house and was to become a museum after her death.

Humanitarian and political engagement.

Esma Redžepova's first humanitarian engagement was fostering 47 deprived children during the 1970s and 1980s. She also sponsored thousands of benefit concerts for various causes: hospitals, orphanages, disaster victims, etc. She was an honorary president of the Macedonian Red Cross, in recognition of her extensive work with Romani refugees from Kosovo. However, it was not until 2002 that she sponsored a benefit concert dedicated explicitly to the Roma people. Esma Redžepova was also a member of the Lions Club.  In general, she tended to favour large and inclusive causes, rather than only defending her community. This was mainly due to her strong attachment to the Republic of Macedonia. She was in fact a national icon, popular among all ethnic groups and she often showed strong patriotism. She was officially considered as a cultural ambassador and she was granted a diplomatic passport in 2007. She defended the policies on Roma people implemented by successive Macedonian governments and she asserted that it was the best country for Romani people, as they enjoyed much more rights and freedom than anywhere else. In general, she advocated larger cross-cultural understanding and pacifism. She also defended women's rights and their access to power, both on political and economic levels. In 1995, she sponsored a Romani women organisation from Skopje, which subsequently chose to be called "Esma".  Esma Redžepova became politically engaged in the 1990s, when she was close to the Romani leader Amdi Bajram and to Vasil Tupurkovski, founder of the Democratic Alternative. This centrist party was short-lived, and Esma became a member of the right-wing VMRO-DPMNE, which came into power in 2006. In 2009, Esma was elected as a member of the City Council of Skopje, and was reelected in 2013.  Redžepova's ties with the VMRO-DPMNE were criticised several times in Macedonia, for instance in 2010, when she was granted 25,000 euros for her museum by the city council of Skopje. The municipal opposition, led by the SDSM, was hostile to the donation because the museum was not officially registered as such, and the building served at that time as Redžepova's house and hosted a local VMRO-DPMNE office. When she was awarded the title of "National artist" in 2013, the opposition again denounced the fact that she was also granted a national pension. Finally, the same year, when she rehearsed the Macedonian entry for Eurovision, the song, "Imperija", caused controversy because it appeared to be a promotion of the "Skopje 2014" urbanism project, led by the VMRO-DPMNE.

Personal life.

Esma Redžepova married her manager, Stevo Teodosievski, in 1968. Born in 1924, he was 19 years older than her. He died in 1997. They never had children of their own but fostered 47 abandoned or deprived children. They raised 5 of them under their roof and ensured a home and education for the others.  Esma Redžepova was known for her unique sense of fashion. She often wore heavy jewels and colourful turbans. She had a collection of over 300 turbans.

Esma Redžepova-Teodosievska (; ; 8 August 1943 – 11 December 2016) was a Macedonian vocalist, songwriter, and humanitarian of Romani ethnicity. Because of her prolific repertoire, which included hundreds of songs, and because of her contribution to Roma culture and its promotion, she was nicknamed Queen of the Gypsies.

Esma Redžepova-Teodosievska (en macédonien Есма Реџепова-Теодосиевска, prononcé ), née le à Skopje et morte dans la même ville le, est une chanteuse rom, de nationalité yougoslave puis macédonienne, connue pour son engagement humanitaire et pour avoir représenté la Macédoine au Concours Eurovision de la chanson 2013. Elle est souvent qualifiée de reine de la musique tsigane, un titre qui lui a été donné pour la première fois lors d'un festival en Inde en 1976.


History.

Edward Hugh Hebern was a building contractor who was jailed in 1908 for stealing a horse. It is claimed that, with time on his hands, he started thinking about the problem of encryption, and eventually devised a means of mechanizing the process with a typewriter. He filed his first patent application for a cryptographic machine (not a rotor machine) in 1912. At the time he had no funds to be able to spend time working on such a device, but he continued to produce designs. Hebern made his first drawings of a rotor-based machine in 1917, and in 1918, he built a model of it; in 1921, he applied for a patent for his machine, and a patent for it was issued in 1924. He continued to make improvements, adding additional rotors. Agnes Driscoll, the chief civilian employee of the US Navy's cryptography operation (later to become OP-20-G) between WWI and WWII, spent some time working with Hebern before returning to Washington and OP-20-G in the mid-'20s.  Hebern was so convinced of the future success of the system that he formed the Hebern Electric Code company with money from several investors. Over the next few years he repeatedly tried to sell the machines both to the US Navy and Army, as well as to commercial interests such as banks. None was terribly interested, as at the time cryptography was not widely considered important outside governments. It was probably because of William F. Friedman's confidential analysis of the Hebern machine's weaknesses (substantial, though repairable) that its sales to the US government were so limited; Hebern was never told of them. Perhaps the best indication of a general distaste for such matters was the statement by Henry Stimson in his memoirs that "Gentlemen do not read each other's mail." It was Stimson, as Secretary of State under Hoover, who withdrew State Department support for Herbert Yardley's American Black Chamber, leading to its closing.  Eventually his investors ran out of patience, and sued Hebern for stock manipulation. He spent another brief period in jail, but never gave up on the idea of his machine. In 1931 the Navy finally purchased several systems, but this was to be his only real sale.  There were three other patents for rotor machines issued in 1919, and several other rotor machines were designed independently at about the same time. The most successful and widely used was the Enigma machine.

Description.

The key to the Hebern design was a disk with electrical contacts on either side, known today as a "rotor". Linking the contacts on either side of the rotor were wires, with each letter on one side being wired to another on the far side in a random fashion. The wiring encoded a single substitution alphabet.  When the user pressed a key on the typewriter keyboard, a small amount of current from a battery flowed through the key into one of the contacts on the input side of the disk, through the wiring, and back out a different contact. The power then operated the mechanicals of an electric typewriter to type the encrypted letter, or alternately simply lit a bulb or paper tape punch from a teletype machine.  Normally such a system would be no better than the single-alphabet systems of the 16th century. However the rotor in the Hebern machine was geared to the keyboard on the typewriter, so that after every keypress, the rotor turned and the substitution alphabet thus changed slightly. This turns the basic substitution into a polyalphabetic one similar to the well known Vigenère cipher, with the exception that it required no manual lookup of the keys or cyphertext. Operators simply turned the rotor to a pre-chosen starting position and started typing. To decrypt the message, they turned the rotor around in its socket so it was "backwards", thus reversing all the substitutions. They then typed in the ciphertext and out came the plaintext.  Better yet, several rotors can be placed such that the output of the first is connected to the input of the next. In this case the first rotor operates as before, turning once with each keypress. Additional rotors are then spun with a cam on the one beside it, each one being turned one position after the one beside it rotates a full turn. In this way the number of such alphabets increases dramatically. For a rotor with 26 letters in its alphabet, five such rotors "stacked" in this fashion allows for 26 = 11,881,376 different possible substitutions.  William F. Friedman attacked the Hebern machine soon after it came on the market in the 1920s. He quickly "solved" any machine that was built similar to the Hebern, in which the rotors were stacked with the rotor at one end or the other turning with each keypress, the so-called "fast rotor". In these cases the resulting ciphertext consisted of a series of single-substitution cyphers, each one 26 letters long. He showed that fairly standard techniques could be used against such systems, given enough effort.  Of course, this fact was itself a great secret. This may explain why the Army and Navy were unwilling to use Hebern's design, much to his surprise.

The Hebern Rotor Machine was an electro-mechanical encryption machine built by combining the mechanical parts of a standard typewriter with the electrical parts of an electric typewriter, connecting the two through a scrambler. It is the first example (though just barely) of a class of machines known as rotor machines that would become the primary form of encryption during World War II and for some time after, and which included such famous examples as the German Enigma.

La machine de Hebern est une machine électromécanique de chiffrement inventée en 1917 par l'Américain Edward Hugh Hebern et brevetée en 1918. Une partie électrique était combinée à la partie mécanique habituellement rencontrée dans les machines à écrire de l'époque. Le chiffrement se trouvait entre deux et était assuré par un jeu de rotors. Il s'agissait de la première machine basée sur ce principe de rotations, concept qui fut largement repris par la suite notamment par la fameuse machine Enigma allemande, et même après la Seconde Guerre mondiale.


Concept and description.

The Panamera's name is derived, like the Porsche Carrera lineage, from the Carrera Panamericana race. The Panamera is generally considered to be the long-awaited fruit of Porsche's 989 concept vehicle from the late 1980s.  Like the Porsche Cayenne SUV (which has become the marque's best-selling vehicle), the Panamera upset many Porsche purists, since it was seen as an attempt to broaden Porsche's appeal beyond that of hardcore fans. The Panamera ran contrary to the company's signature offerings, particularly its light two-door rear-engine sports cars like the 911. The Panamera on the other hand is considered a full-size luxury car, weighing nearly, with four doors, and its engine mounted in the front. The Panamera's appearance with its long hood and rear hatch bears resemblance to a stretched 911. The 911 has a sparse interior, as it was focused on raw performance, while the Panamera has a sumptuous interior loaded with modern technological amenities and expensive leather upholstery.

Production.

Engines are first assembled in Stuttgart, and the car's body is built, painted and assembled in Leipzig, Germany, alongside the Cayenne and Macan. From 2009 to 2016, the bodies were built at the Volkswagen Group facility in Hannover.  Production began in April 2009, one month after its debut in the Shanghai Motor Show in China.

First generation (970 Chassis G1; 2010–2016).

The V8-powered Panamera S, 4S, and Turbo models were the first versions that debuted in 2009. In addition to the 4.8L Twin Turbo V8 powered models, Porsche launched two further models in 2010: the Panamera and Panamera 4 which are both powered by 3.0-litre and 3.6-litre V6 engines producing.  Being derived from the V8 engine of the Panamera S and Panamera 4S, the V6 retains the V8's technologies like Direct Fuel Injection, infinitely variable intake camshaft adjustment with variable valve lift (VarioCam Plus), an on-demand oil pump, water cooling with thermal management, a variable intake manifold, as well as integrated dry sump lubrication with two-stage extraction of oil, and an Auto Start-Stop function (only with the PDK transmission). Turbo version uses active aerodynamics with a multi-stage, adjustable rear spoiler. Optional Sports Chrono Packages include a Sport Plus button, which has tighter damping and air springs, and lowers the car's body by.  In 2011, the Panamera S Hybrid, Diesel, Turbo S, and GTS variants were added to the range. The GTS achieves a lateral acceleration of 0.96g.  The Panamera, S, Hybrid and Diesel models are rear-wheel drive, while the Panamera 4, 4S, and GTS have the same four-wheel drive system as the Turbo and Turbo S, called Porsche Traction Management (PTM). The Hybrid S only sold 18 units in 2018. However sales have perked up since then.  The Panamera featured Adaptive air suspension, the Porsche Dynamic Chassis Control (PDCC), active anti-roll bars and the Porsche Active Suspension Management (PASM).

Transmissions.

The newly introduced ZF 7-speed PDK dual clutch transmission was standard on the Panamera 4, 4S and Turbo models. The addition of the optional sport chrono package provided faster acceleration times. In some markets a 6-speed manual was available for rear-wheel drive petrol versions. The S Hybrid and Diesel models had an Aisin-supplied eight-speed automatic transmission called the Tiptronic S.

Panamera Turbo S.

The engine of the Panamera Turbo S features larger turbochargers than the standard Panamera Turbo's 4.8-litre V8, as well as high-pressure fuel injection, and aluminium-alloy pistons. The piston rings are coated in a low-friction surface to help eke out even more performance. The Panamera Turbo S accelerates to 62 mph in 3.8 seconds with launch control engaged. Roll-on acceleration should be more impressive, changes to the PDK (Porsche Doppelkupplung) gearbox allow for faster gearshifts, and the alleged 27.7mpg fuel economy is no worse than the less powerful Panamera Turbo.

Panamera S Hybrid.

In 2008, Porsche AG announced the development of a parallel hybrid system for the Panamera, and in February 2011, Porsche unveiled the Panamera S Hybrid. Using the same drivetrain seen in the Cayenne S Hybrid—an Audi-sourced supercharged 3.0-litre V6 engine producing along with an electric motor rated at, as well as the Cayenne's 8-speed Tiptronic S transmission—the Panamera S Hybrid could accelerate from 0–62 mph in 6.0 seconds. The Panamera S Hybrid produced only 193 grams of carbon dioxide per kilometre, rendering it the most environment friendly car in the then entire Porsche model range, while still maintaining a top speed of.  Deliveries began in the United States in 2011, and cumulative sales reached 684 units through March 2013. The U.S. Environmental Protection Agency (EPA) rated the fuel economy for the 2013/2012 model year Panamera Hybrid at for city driving, for highway, and combined.

Panamera Diesel.

The Panamera Diesel was launched in May 2011. The vehicle utilised the same Audi 3.0L V6 engine used in the Cayenne Diesel, which was itself a tuned carryover of an existing engine. The engine had a power output of. The car was capable of accelerating from 0–62 mph in 6.8 seconds and had a top speed of. It was also the most economical Porsche in the then entire Porsche vehicle lineage, consuming just 6.3 litres per 100 kilometres (37 US MPG/45 UK MPG).

Special editions.

In October 2012, Porsche introduced the Panamera Platinum Edition. The exterior of the Panamera Platinum Edition was enveloped in one of five basic colours – black, white, basalt black, carbon grey metallic, and mahogany metallic. It included more standard equipment, larger wheels, and an exclusive interior leather combination of luxor beige and black. It was be offered with rear and all wheel drive layouts, and had a acceleration time of under 5.8 seconds or faster on all variants. Exclusive equipment included the special interior combination, platinum rear overhang and front lower grille, platinum door sills, and platinum mirrors. The finalizing touch to this special edition included an exclusive set of 19-inch Panamera Turbo alloy wheels with the red, black, and gold Porsche crest.  In March 2015, Porsche announced that they were releasing a new special edition Panamera called the "Panamera Edition". The car is based on the base Panamera and includes high-gloss black trim strips outline the windows,19-inch Panamera Turbo wheels with coloured centre caps, the sills were inscribed with the word "Edition," and body-coloured door handles were an additional add on when the customer chose the Porsche Entry & Drive option. The Panamera Edition cost US$80,000.

2013 facelift.

Porsche announced its updated Panamera on 3 April 2013, with a scheduled formal launch at Auto Shanghai. The revised model can be identified by new front and rear bumpers. Technical changes included the addition of a new 3.0L twin-turbocharged Panamera S and a new E-Hybrid model. A long wheelbase version with an additional 150 mm was available for selected left-hand drive markets. The Turbo S version followed up in 2014. The long wheelbase versions were only available on 4S, Turbo, and Turbo S models.

Panamera S E-Hybrid.

As part of the 2013 Panamera facelift, Porsche announced the introduction of a plug-in hybrid model, the Panamera S E-Hybrid. The plug-in version was unveiled at the April 2013 Shanghai Auto Show. The S E-Hybrid is powered by a electric motor, with a total system power of. Top speed amounted to in all-electric mode, and acceleration from 0–62 mph took 5.8 seconds. The plug-in electric hybrid had a 9.4 kWh lithium-ion battery pack capable of delivering a range of more than under the New European Driving Cycle (NEDC) standard. The battery could be fully charged in approximately 21⁄2 hours from a 240 V power source. The Panamera plug-in hybrid reduce fuel consumption to, down from for the current Panamera hybrid, which translates to emissions of 71 g/km, down from 167 g/km for the current hybrid.  In November 2013, the UK Office for Low Emission Vehicles (OLEV) approved the eligibility of the Panamera S E-Hybrid for the Plug-in Car Grant which entitles customers to a maximum purchase subsidy of ( ~ ). The plug-in hybrid was rated with a fuel economy of and CO emissions of 71 g/km.

Markets and sales.

The Panamera S E-Hybrid was released in the European market during the fourth quarter of 2013. Retail deliveries began in the U.S. in October 2013., a total of 90 units were delivered in France, 86 units in the United States, 59 units in the Netherlands, 14 in Spain, and about 12 in Germany.  In the American market the 2014 model year price starts at before any applicable government incentives. Since its introduction, 698 Panamera S E-Hybrids have been sold in the United States through August 2014. Global sales between January and August 2014 totaled over 1,500 units, presenting 9% of all Panamera models sold worldwide and 1.3% of all Porsche vehicles sold during this period.

Second generation (971 Chassis G2; 2017–present).

The second generation Panamera was revealed on 28 June 2016 at a special event in Berlin, Germany. Codenamed 971, it is longer, wider and taller than the first generation Panamera, with a longer wheelbase. The interior features a redesigned dashboard layout, with touch-sensitive surfaces replacing the previous generation's array of buttons. A centrally mounted tachometer also harks back to the 1955 Porsche 356 A.  The new car includes two seven-inch displays in place of the dials, as well as a 12.3-inch touchscreen featuring online sat-nav, Apple CarPlay integration and an updated voice control system. Under the bonnet is a new engine range, with only the Panamera 4S, 4S Diesel and flagship Turbo available from launch. In March 2017, Porsche unveiled the Panamera Turbo S E-Hybrid, a plug-in hybrid for the 2018 model year. The Turbo S E-Hybrid will receive the 4.0 L V8 engine from the Panamera Turbo, but will also be paired with an electric motor. Total system power will be, which makes it the third most powerful Porsche ever, after the 918 Spyder and 991 GT2RS.  In August 2017, Panamera 4S Diesel and Panamera Sport Turismo 4S Diesel were deleted from Porsche's German website and configurator. The German automotive magazine, Auto motor und sport, discovered the higher than permittable amount, which is one-and-half times more than legal limit, during the exhaust testing. The issue was with SCR catalysator and urea injection. In September 2018 Porsche announced that the company had decided to no longer offer diesel propulsion in future.

Exterior design.

The new Panamera no longer has its predecessor's oft-criticized hatchback wagon styling, with the tail of the new vehicle developing a clear link to the Porsche 911 through the full width rear LED light bar, and the sharply creased tail and upper bumper. This improvement in design has helped clarify the model's identity as a sports-oriented GT car.

Sport Turismo.

In Europe a 5-door, shooting-brake estate variant, called the Sport Turismo, will be offered alongside the liftback saloon. It will also be available in the United States. The Panamera Sport Turismo debuted in March 2017 at the Geneva Motor Show, and is currently available with the same engine range as the 4-door car. In September 2017 Porsche announced the Panamera Turbo S E-Hybrid Sport Turismo, the 5-door estate version of the flagship Turbo S E-Hybrid, which had previously only been available as a 4-door configuration. As of September 2017, the Panamera Turbo S E-Hybrid Sport Turismo is currently the world's most powerful stock estate car, besting the Mercedes-AMG E 63 S and the Audi RS6 Performance.

Reception.

Despite the differences in dimensions and design, a reviewer noted that the Panamera's driving dynamics were close to that of the 911, and it "seems to occupy the no-man's-land between really good sports sedans and proper sports cars", and so far the Panamera has won some comparison tests against other four-door performance cars on the market such as the Maserati Quattroporte and Aston Martin Rapide. Function was also praised, with the hatchback trunk, and the four-corner adaptive air suspension that retained superior handling while also providing a comfortable ride for public roads. Edmunds stated that the Panamera was an innovative engineering feat that "makes a unique statement about the way that luxury transportation and serious high-performance potential can be mixed together in one car".  Unlike most of the V8-engined contemporaries, all models of the Panamera avoid the US Gas Guzzler Tax. The V6-powered Panamera was also praised, as its smaller engine still retained respectable acceleration, and as it had even better handling than its V8 siblings, due to the engine being lighter by which gave the car better weight distribution.  However, "CAR" magazine of the U.K. described the S model as lacking sportiness, which they attributed to their test car's being "about as oriented to comfort as it’s possible to get" and called the Turbo model "a missed opportunity on behalf of Porsche" to be "the world’s first lightweight four seater" as the top model weighs as much as an Audi S8.  The 30 November 2008 edition of BBC's "Top Gear" featured a look at the Panamera in its news section, with the three presenters being very critical of the look. In the June 2009 edition, Richard Hammond and James May were seen driving the Panamera along the A30 in Devon, Great Britain. They were racing against a letter sent via Royal Mail between the Isles of Scilly and the Orkney Islands. Jeremy Clarkson reviewed the Porsche Panamera for an article with "The Times" newspaper and was quite critical.

Sales.

As of 2011, the largest national market was the United States with 6188 sold. Sales by cities: Los Angeles (890), New York (760), Hong Kong (300), Dubai (285), Tokyo (223), Munich (206), Moscow (203), Shanghai (188), Hamburg (117) and Berlin (108). Sales internationally by model variant: Panamera 4S (9394), Turbo (6171), S (4563) and V6 (2390—introduced weeks earlier).  In 2012, U.S. sales of the Panamera totaled 7614 and Canadian sales of the Panamera totaled 422. In 2017, most of the Panameras sold in Northern Europe were hybrids.

Publicity.

On 20 April 2007, a spy video of the Porsche Panamera became available on the Internet.  In September 2008, Porsche released the first teaser image for the Panamera. In early October 2008, an undisguised Panamera was captured on film in Busan, South Korea.  On 28 November 2008, Porsche sent a mailer containing two photos of the Panamera which were labeled as "the first official images of the Porsche Panamera" with an invitation to have online access to via Porsche USA's website.  On 19 April 2009, Porsche finally unveiled the Porsche Panamera sedan to the public at the 2009 Shanghai Auto Show. One of the highlights of the Panamera's debut was fitting the car in the freight elevator of the Shanghai World Financial Center and sending it to the skyscraper's 94th floor.  An estate version concept of the Panamera was introduced at the 2012 Paris Motor Show called Sport Turismo. Powered by an advancement of Porsche's current hybrid system utilized in the Panamera S Hybrid, the Sport Turismo concept's new "e-Hybrid" system uses the 333-horsepower, supercharged 3.0-litre V6 and a 95-horsepower electric motor for 416 combined horses and a 30-kilometer electric range. As opposed to the current production system, this e-Hybrid setup prioritizes all-electric motivation unless the driver instructs the car otherwise. The Sport Turismo is technically a plug-in hybrid since the lithium-ion battery pack can be fully charged in as little as 2.5 hours when plugged into a wall outlet. Porsche declares that the combined powertrain is proficient for 0-62 mph acceleration in less than six seconds, and that the Sport Turismo can exceed 80 mph while running purely on electric power.

The Porsche Panamera is a full-sized luxury vehicle (F-segment in Europe) manufactured by the German automobile manufacturer Porsche. It is front-engined and has a rear-wheel-drive layout, with all-wheel drive versions also available.

La Porsche Panamera est une berline quatre portes sportive de luxe du constructeur automobile allemand Porsche. D'un genre inédit pour la marque, la Panamera est censée directement concurrencer les Maserati Quattroporte, Mercedes-Benz Classe CLS Shooting Brake, Classe S, Classe E 63 AMG, Audi S7, et RS6, RS7 S8, BMW Série 6 Gran Coupé et BMW Série 7, Aston Martin Rapide, Jaguar XJ ou encore la toute dernière Tesla Model S. La Panamera, dont le nom a été choisi en hommage à la course mexicaine dénommée Carrera Panamericana, a pour objectif de concilier la sportivité d'une GT et le confort d'une berline, tout en maîtrisant la consommation et les rejets de CO. Le magazine "Auto Bild" lui décerne d'ailleurs le « volant d'or » dans la catégorie « voiture performante de luxe ».


Effects.

The ADS works by firing a high-powered (100 kW output power) beam of 95 GHz waves at a target, which corresponds to a wavelength of 3.2 mm. The ADS millimeter wave energy works on a similar principle as a microwave oven, exciting the water and fat molecules in the skin, and instantly heating them via dielectric heating. One significant difference is that a microwave oven uses the much lower frequency (and longer wavelength) of 2.45 GHz. The short millimeter waves used in ADS only penetrate the top layers of skin, with most of the energy being absorbed within 0.4 mm ( inch), whereas microwaves will penetrate into human tissue about 17 mm (0.67 inch).  The ADS's effect of repelling humans occurs at slightly higher than 44 °C (111 °F), though first-degree burns occur at about 51 °C (124 °F), and second-degree burns occur at about 58 °C (136 °F). In testing, pea-sized blisters have been observed in less than 0.1% of ADS exposures, indicating that second degree surface burns have been caused by the device. The radiation burns caused are similar to microwave burns, but only on the skin surface due to the decreased penetration of shorter millimeter waves. The surface temperature of a target will continue to rise so long as the beam is applied, at a rate dictated by the target's material and distance from the transmitter, along with the beam's frequency and power level set by the operator. Most human test subjects reached their pain threshold within 3 seconds, and none could endure more than 5 seconds.  A spokesman for the Air Force Research Laboratory described his experience as a test subject for the system: For the first millisecond, it just felt like the skin was warming up. Then it got warmer and warmer and you felt like it was on fire.... As soon as you're away from that beam your skin returns to normal and there is no pain.  Like all focused energy, the beam will irradiate all matter in the targeted area, including everything beyond/behind it that is not shielded, with no possible discrimination between individuals, objects or materials. Anyone incapable of leaving the target area (e.g., physically handicapped, infants, incapacitated, trapped, etc.) would continue to receive radiation until the operator turned off the beam. Reflective materials such as aluminum cooking foil should reflect this radiation and could be used to make clothing that would be protective against this radiation.  Following approximately ten thousand test exposures of volunteers to ADS beams, a Penn State Human Effects Advisory Panel (HEAP) concluded that ADS is a non-lethal weapon that has a high probability of effectiveness with a low probability of injury: In April 2007, one airman in an ADS test was overdosed and received second-degree burns on both legs, and was treated in a hospital for two days. There was also one laboratory accident in 1999 that resulted in a small second-degree burn.

Possible long-term effects.

Many possible long-term effects have been studied, with the conclusion that no long-term effects are likely at the exposure levels studied. However, overexposures of either operators or targets may cause thermal injury. According to an official military assessment, "In the event of an overexposure to a power density sufficient to produce thermal injury, there is an extremely low probability that scars derived from such injury might later become cancerous. Proper wound management further decreases this probability, as well as the probability of hypertrophic scarring or keloid formation."  ADS operators would be exposed to more than the standard maximum permissible exposure (MPE) limits for RF energy, and military use requires an exception to these exposure limits.

History.

Development.

Two Active Denial Systems were developed under a Defense Department "Advanced Concept Technology Demonstration" Program (now known as Joint Concept Technology Demonstration Program) from 2002 to 2007. Unlike typical weapons development programs in the Defense Department, ACTDs/JCTDs are not focused on optimizing the technology; rather they are focused on rapidly assembling the technology in a configuration suitable for user evaluation.

Contracts.

On September 22, 2004, Raytheon was granted an FCC license to demonstrate the technology to "law enforcement, military and security organizations."  On October 4, 2004, the United States Department of Defense published the following contract information:

Demonstration.

The military has made the ADS available to the media for demonstrations on a number of occasions. A fully operational and mounted version of the system was demonstrated on January 24, 2007, at Moody Air Force Base, Georgia, United States. A Reuters correspondent who volunteered to be shot with the beam during the demonstration described it as "similar to a blast from a very hot oven – too painful to bear without diving for cover." An Associated Press reporter who volunteered to be engaged stated "They certainly convinced me that the system could help save the lives of innocent civilians and our young service members" CBS News correspondent did an in-depth story on ADS in March 2008. A demonstration was conducted for the media on March 9, 2012, at Marine Corps Base Quantico, Virginia.

Afghanistan deployment.

On June 21, 2010, Lt. Col. John Dorrian, a spokesman for the NATO forces commander General Stanley McChrystal, confirmed in an e-mail to "Wired" reporter Noah Shachtman that the ADS was deployed in Afghanistan. The spokesman added however that the system has not yet been used operationally.  The ADS has been removed from service in Afghanistan as of July 25, 2010. A former Principal Deputy Assistant Secretary of Defense noted that the recall of ADS from Afghanistan was an "opportunity missed" and "the non-lethality of the ADS system could prove useful in a counterinsurgency operation where avoidance of civilian casualties is essential to mission success."

Problems.

There have been speculations in open literature for why the ADS has not been used in a theater of operations. Some of the claimed problems expressed have included: (1) that a potential unreliability in certain environmental conditions, because precipitation (rain/snow/fog/mist) commonly dissipates RF energy, which may moderate the ADS's sensation to "warm and comfortable"; (2) that ADS may only work successfully against exposed skin, implying that heavier clothing may reduce its effectiveness and that its tactical usefulness may potentially be limited in striking specific personnel hiding in crowds of civilians, because this 'hiding' situation has not been seen in all recent theaters of operation (was reportedly observed in Somalia and Iraq, but reportedly not in Afghanistan). What the actual performance of ADS is relative to these concerns is not presently known to be published in open literature.

Active Denial System II.

In 2011, the ADS was redesigned to make it smaller, more reliable, and able to be used on the move. ADS II is being designed to operate from moving aircraft, as well as moving ground vehicles. The redesign does not address problems in different environmental conditions.  The Air Force Special Operations Command is experimenting with mounting an ADS of the AC-130J Ghostrider gunship to target threatening crowds or individuals on the ground. This is to give the gunship a non-lethal option so the crew has more engagement options. Due to the increasing number of engagements in populated areas, the Air Force is aiming to have fielded a system within 5–10 years to have enough aircraft available with less lethal systems. The aircraft will apparently use the ADS II version.

Concepts for use.

ADS was developed as a non-lethal weapon. According to Department of Defense policy, non-lethal weapons "are explicitly designed and primarily employed so as to incapacitate personnel or material, while minimizing fatalities, permanent injury to personnel, and undesired damage to property and the environment." ADS has applications for crowd control and perimeter defense, and filling "the gap between shouting and shooting." Other crowd control methods – including pepper spray, tear gas, water cannons, slippery foam and rubber bullets – carry implicit dangers of temporary or permanent injury or accidental death, and often leave residue or residual material. Combinations of acoustic and optical system platforms with ADS can be used to effectively communicate to, warn of escalation of force, introduce optical and auditory deterrents and step function the escalation of transmitted force from relatively benign to ultimately forced dispersal of a crowd, or to deny them from an area or access to an area. A group of people can theoretically be dispersed or induced to leave an area in a manner unlikely to damage personnel, non-involved civilians (no stray bullets), or to nearby buildings or the environment.  Non-lethal weapons are intended to provide options to U.S. troops, for example, "to stop suspicious vehicles without killing the drivers". Although the ADS millimeter wave frequency does not affect a car's electronic components, it can be used to deter a driver in an approaching vehicle. In a broader strategic context, non-lethal weapons such as ADS have the potential to offer "precision, accuracy, and effective duration that can help save military and civilian lives, break the cycle of violence by offering a more graduated response, and even prevent violence from occurring if the opportunity for early or preclusionary engagement arises."  The Council on Foreign Relations noted that "wider integration of existing types of nonlethal weapons (NLW) into the U.S. Army and Marine Corps could have helped to reduce the damage done by widespread looting and sabotage after the cessation of major conflict in Iraq."  In Afghanistan, the need to minimize civilian casualties has led to restrictive rules of engagement on the use of lethal force by US troops. A National Public Radio correspondent in Afghanistan "witnessed troops grappling with the dilemma of whether to shoot." Non-lethal weapons such as ADS provide an option for US forces in those situations.

Controversy.

The effects of this radio frequency on humans have been studied by the military for years, and much, but not all of the research has been published openly in peer-reviewed journals.  A news article criticized the sheer amount of time it is taking to field this system, citing the potential it had to avert a great deal of pain and suffering in volatile areas around the world.  Although the effects are described as simply "unpleasant", the device has the "potential for death".  While it is claimed not to cause burns under "ordinary use", it is also described as being similar to that of an incandescent light bulb being pressed against the skin, which can cause severe burns in just a few seconds. The beam can be focused up to 700 meters away, and is said to penetrate thick clothing although not walls. At 95 GHz, the frequency is much higher than the 2.45 GHz of a microwave oven. This frequency was chosen because it penetrates less than 1/64 of an inch (0.4 mm), which – in most humans, except for eyelids and babies – avoids the second skin layer (the dermis) where critical structures are found such as nerve endings and blood vessels.  The early methodology of testing, in which volunteers were asked to remove glasses, contact lenses and metallic objects that could cause hot spots, raised concerns as to whether the device would remain true to its purpose of non-lethal temporary incapacitation if used in the field where safety precautions would not be taken. However, these tests were early in the program and part of a thorough and methodical process to demonstrate the safety and effectiveness of the technology, which has now involved more than 600 volunteer subjects and some 10,200 exposures. As safety was demonstrated in each step of the process, restrictions were removed, and now, according to ADS proponents, there are no restrictions or precautions necessary for volunteers experiencing the effect. Long-term exposure to the beam may cause more serious damage, especially to sensitive tissues, such as those of the eyes. Two people have received second degree burns after exposure to the device. (The actual number of injuries, according to Stephanie Miller of AFRL/RDHR, is a total of eight – the two previously mentioned, and six others, who healed without medical intervention.)  In addition, some claim that subjects who have body piercings, jewelry, or tattoos are likely to suffer serious skin damage. Tattooed people can become ill due to high amounts of toxic substances released from heated/melted tattoo pigment. Human effects testing on the large-scale version of ADS included more than 13,000 exposures on over 700 volunteers. Both laboratory research and full-scale test results demonstrated that there is only a 0.1% chance of injury from a System 1 or System 2 exposure.  Critics cite that, although the stated intent of the ADS is to be a non-lethal device designed to temporarily incapacitate, modifications or incorrect use by the operator could turn the ADS into a more damaging weapon that could violate international conventions on warfare (although at this time, ADS has gone through numerous treaty compliance reviews and legal reviews by AF/JAO, and in all cases complies with every treaty and law).  Some have focused on the lower threshold of use which may lead those who use them to become "trigger-happy", especially in dealing with peaceful protesters. Others have focused on concerns that weapons whose operative principle is that of inflicting pain (though "non-lethal") might be useful for such purposes as torture, as they leave no evidence of use, but undoubtedly have the capacity to inflict horrific pain on a restrained subject. According to "Wired", the ADS has been rejected for fielding in Iraq due to Pentagon fears that it would be regarded as an instrument of torture.

Silent Guardian.

Defense contractor Raytheon has developed a smaller version of the ADS, the Silent Guardian. This stripped-down model is primarily marketed for use by law enforcement agencies, the military and other security providers. The system is operated and aimed with a joystick and aiming screen. The device can be used for targets over away, and the beam has a power of 30 kilowatts.  The Los Angeles County Jail installed the smaller-sized unit, under the name "Assault Intervention Device", on the ceiling of the Pitchess Detention Center in 2014.

The Active Denial System (ADS), is a non-lethal, directed-energy weapon developed by the U.S. military, designed for area denial, perimeter security and crowd control Informally, the weapon is also called the heat ray since it works by heating the surface of targets, such as the skin of targeted human subjects. Raytheon had marketed a reduced-range version of this technology. The ADS was deployed in 2010 with the United States military in the Afghanistan War, but was withdrawn without seeing combat. On August 20, 2010, the Los Angeles Sheriff's Department announced its intent to use this technology on prisoners in the Pitchess Detention Center in Los Angeles, stating its intent to use it in "operational evaluation" in situations such as breaking up prisoner fights. As of 2014, the ADS was only a vehicle-mounted weapon, though U.S. Marines and police were both working on portable versions. ADS was developed under the sponsorship of the Department of Defense Non-Lethal Weapons Program with the Air Force Research Laboratory as the lead agency. There are reports that Russia and China are developing their own versions of the Active Denial System.

L' (ADS) est un système d'armes non létales à énergie dirigée développé pour l'armée américaine par Raytheon. C'est un puissant émetteur d'ondes millimétriques utilisé pour disperser une foule ().