title: Milo (drink)

text: As of 2021, Nestlé has launched dairy-free plant-based versions of Milo and other drinks under the brand. The new version of these drinks contain almond and soy milk, the two core ingredients cocoa and malt remain the same.


title: Milo (drink)

text: Traditionally in Australia and New Zealand, Milo is served mixed with either hot or cold milk, or sprinkled on top.


title: Milo (drink)

text: Milo manufactured outside Australia is customised for local methods of preparation. In Malaysia, as well as Brunei and some other parts of Asia, Milo with ice added is known as "Iced Milo" or "Milo Ais" in Malay Language (alternatively, "bing" or "peng", meaning ice in Cantonese and Hokkien respectively). Iced Milo is even available at fast food restaurants such as KFC and McDonald's.


title: Milo (drink)

text: Milo is also served locally in kopitiams and mamak stalls in versions such as "Milo Dinosaur" (a cup of Milo with an extra spoonful of undissolved Milo powder added on top of it), "Milo Godzilla" (a cup of Milo with ice cream and/or topped with whipped cream) "Neslo" (combined with Nescafé powdered coffee) and "Milo Mangkuk" (Iced Milo that is served with shaved ice inside a plastic bowl). The Milo powder is also usually used in the making of Batik cake. In Hong Kong, Milo is served in Cha chaan teng.


title: Milo (drink)

text: In Malaysia, Milo is also sometimes sprinkled on ice cream or breakfast cereals, or mixed with milk into a paste and spread on bread. Milo can be used as an ingredient in roti canai, where it is usually called "roti Milo".


title: Milo (drink)

text: At the present time, Malaysia has the world's highest per capita consumption of Milo, Singapore coming second.


title: Milo (drink)

text: Apart from Australia, Milo is popular in many countries and regions including New Zealand, Malaysia, Singapore, Brunei, Pakistan, Philippines, Vietnam, India, Indonesia, Hong Kong, Sri Lanka, Maldives, Thailand, Japan, Jamaica, Chile, Colombia, and countries in Southern Africa, Central Africa, East Africa, West Africa. In Australia and most other countries, the packaging is a green can and depicts people playing various sports.


title: Milo (drink)

text: In Australia, the MILO in2CRICKET and MILO T20 Blast programs, operated in most areas by volunteers, teach children age 5–12 how to play the game of cricket. In the 2016–2017 season, over 78,000 children participated in the programs.


title: Milo (drink)

text: Milo is very popular in Indonesia, Malaysia and Singapore, where the brand name is synonymous with chocolate flavoured drinks: Milo has a 90% market share in Malaysia, and Malaysians were said to be the world's largest consumers of Milo.


title: Milo (drink)

text: In Peru, during the 1970s military dictatorship, Milo labels displayed Peruvian motifs, such as photos and pictures of Peruvian towns, history, crops, fruits, animals, plants, as an educational aid. After 1980, when the military left power, sports predominated on the labels.


title: Milo (drink)

text: Milo is sold by Nestlé in Canada at all major food retailers. Although Milo has been available since the 1970s, a Canadian-specific flavour launched within the last decade that dissolves more quickly but maintains the sweet malt flavour profile. It competes with the British brand Ovaltine.


title: Milo (drink)

text: Aside from the International section of specific grocery stores and certain Asian grocery stores, Nestlé does not market Milo in the United States. In 2017 Colombian-manufactured Milo started appearing on shelves in supermarkets in the United States such as Walmart.


title: Milo (drink)

text: It can also be found in the United Kingdom in some Sainsbury's and Tesco supermarkets, which import it from Kenya and South Africa. Asian food specialists also stock it. Ovaltine is more popular with UK consumers.


title: Milo (drink)

text: In Ireland, it can be found in many Asian or African stores. Typically they will stock Kenyan or Filipino Milo.


title: Milo (drink)

text: In China, it is commonly sold in Western supermarkets, but also smaller convenience stores. Usually packaged in a 240gram flexible foil pouch, single-drink packets can also be purchased. The Milo itself contains more milk solids than the Australian Milo.


title: Milo (drink)

text: In the past, it was available in Portugal and Brazil. Nestlé Brazil discontinued production of Milo in Brazil, to focus on the much-popular domestic brands Nescau and Nesquik. The Chilean version of Milo is still in production and is identical in taste and texture to the one that was once produced in Brazil.


title: Milo (drink)

text: In May 2013, more than 20 years out of the Portuguese market, Nestlé reintroduced the brand, aiming at the high-end market.


title: Milo (drink)

text: In the Philippines, Nestlé partnered with the Department of Education in 2017, in a marketing response to the "energy gap" within school-aged children whose athletic and academic performance were impacted due to low energy. This raised the ethical question of advertising to children.


title: Milo (drink)

text: The Milo chocolate bar was a brand of brownie, caramel, Milo and chocolate-covered candy bars, produced by Nestlé for sale in Australia and available in 2006. It included ingredients of Milo powder. It claimed to be the only milk chocolate with "choco malt" and "all natural ingredients including cocoa, milk and malt". The chocolate bar was discontinued in Australia in 2003, replaced with an "energy food bar", which is no longer available either. Two varieties of Milo snack bars can be bought in packs of six.


title: Milo (drink)

text: As of 2006, there was also Milo cereal (described as "cornflakes with a Milo coating"), Milo smoothies, Milo mousse, and Milo ice-cream (a vanilla ice-cream coated with hard Milo/chocolate shell).


title: Milo (drink)

text: Milo nuggets have been available since 1994 in Southeast Asia and Colombia. Milo cereal balls and a range of other derivative products are marketed by Tesco in Malaysia.


title: Lufthansa fleet

text: Lufthansa operates a mainline fleet consisting of Airbus narrow and widebody and Boeing widebody aircraft. The mainline fleet is composed of eight different aircraft families: the Airbus A320ceo and A320neo families as well as the Airbus A330, Airbus A340, Airbus A350, Boeing 747 and Boeing 787 Dreamliner. Additionally, Lufthansa currently has orders placed for their A320neo family to replace their ageing A320-200 fleet. There are also orders for new Airbus A350s and Boeing 777Xs. The 777X will replace all Boeing 747-400s in the fleet. The 787s, together with the A350s, will replace all remaining Airbus A340 aircraft. The airline has plans to bring back their A380 fleet starting summer 2023.


title: Lufthansa fleet

text: , Lufthansa (excluding its subsidiaries Air Dolomiti, Eurowings, Eurowings Discover and Lufthansa CityLine) operates the following registered aircraft:


title: Superman: Man of Tomorrow

text: Superman: Man of Tomorrow is a 2020 American animated superhero film based on the DC Comics character Superman. Produced by Warner Bros. Animation, and DC Entertainment, and distributed by Warner Bros. Home Entertainment, it is the first instalment in the Tomorrowverse. The film is directed by Chris Palmer, and written by Tim Sheridan, and stars Darren Criss, Alexandra Daddario, and Zachary Quinto. The film depicts the early days of Clark Kent's career as the superhero Superman.


title: Superman: Man of Tomorrow

text: Following the planet Krypton's destruction, Kryptonian infant Kal-El was sent by his parents to Earth where he is adopted by farmers Jonathan and Martha Kent who adopt the infant and raise him as "Clark". Year later, Clark works for the "Daily Planet" as an intern and is known to the public as "the Flying Man" when using his abilities. He attends the launch of an orbital rocket telescope that was made by LexCorp in hopes to seek other life in the universe, however, reporter Lois Lane exposes LexCorp CEO Lex Luthor of the rocket's true plan that would destroy Metropolis and gross neglegiance leading to his arrest. Meanwhile, Clark befriends S.T.A.R. Labs janitor Rudy Jones, who informs Clark about extraterrestrial experiments going on inside the lab. Suddenly, the rocket heads to Metropolis and Clark stops the rocket as the Flying Man. Unbeknownst to Clark, he is being watched by a mysterious figure in a trench coat.


title: Superman: Man of Tomorrow

text: S.T.A.R. Labs detect a UFO grabbing the attention of Clark, who is confronted by an alien bounty hunter named Lobo and learns he is the last of his kind with a bounty on him. During the fight, which is lead to S.T.A.R. Labs, Rudy is caught in the crossfire of the damage being fused with unknown substances while Lobo learns Clark's weakness is Kryptonite. Just as Clark is being beatened by Lobo, the figure appears, revealing himself as a Martian to the public and intervenes. While the Martian distracts Lobo, Clark uses Earth's sun to heal and ultimately defeat Lobo. That night, the Martian introduces himself as J'onn J'onzz to the Kents and reveals Clark's Kryptonian history to him. He then warns Clark to not stay hidden from humanity as they can be Xenophobic despite Clark's disagreenments. Elsewhere, a hospitalised Rudy awakens and discovers he has the ability to drain life, turning them into husks.


title: Superman: Man of Tomorrow

text: Martha gifts Clark a new suit with an "S" imprinted at the front and a cape while the media officially coin the Flying Man as "Superman". Rudy attacks S.T.A.R. Labs in an attempt to gain answers from Lobo but frees him in the process after draining his cell's energy which transforms Rudy into a parasite-like creature and begins invading Metropolis. Superman and J'onn work together to stop Rudy. However, during the battle, Rudy is draining their powers while extracting information from them. The battle results in J'onn's death after being burnt by Rudy. A powerless Superman requests help from Lex from prison to help him restore his abilities by sending him to the sun. Through S.T.A.R. Labs CCTV footage, Superman realises Rudy is the Parasite due to Lobo's grenade which was an organic EMP. The organic EMP consisted of a purple foam/liquid and was designed to absorb any and all energy it came into contact with, but instead bonded with Rudy's DNA to create the Parasite. Lex deduces that the Parasite would have gained Superman's weaknesses from absorbing his energy, and reveals that he has enlisted Lobo after buying out S.T.A.R. Labs.


title: Superman: Man of Tomorrow

text: Lex, Clark, and Lobo devise a plan to lure the Parasite into Metropolis' power plan and use Lobo's Kryptonite ring in hopes to weaken it. The plan becomes unsuccessful when the ring fails prompting Lobo to suicide-bomb the Parasite. Lex equips the ring with a magnifying pulse rifle and shoots the Parasite, ultimately taking it down. Lex then double-crosses Superman but is stopped by an alive J'onn, who faked his death using his abilities. With the plan failed, Superman tries to calm the Parasite down by using his humanity and in turn, Superman formally introduces himself to the world as Kal-El. Suddenly, the power plant begins to overload. The Parasite sacrifices himself to stop it. In the aftermath, Superman and J'onn meet at the roof of "The Daily Planet" where they also see Lobo alive due to his regeneration. J'onn laments that they are each the last of their species but Lobo reveals there might be more Martians and Kryptonians out there with J'onn heading off to find them.


title: Superman: Man of Tomorrow

text: In May 2020, the voice cast were revealed for the film. In a July interview with DC Comics, writer Tim Sheridan said he drew inspiration from comics "Superman: American Alien" and "", with a touch of several others.


title: Superman: Man of Tomorrow

text: In July 2019, "Superman: Man of Tomorrow" was revealed at San Diego Comic-Con. The film was released on digital on August 23, 2020, and on Blu-ray, DVD, and on 4K Ultra HD on September 8. The film was made available online for free during DC FanDome on September 12.


title: Superman: Man of Tomorrow

text: The film peaked at #1 of the Top Ten Blu-ray Sellers for Week and the Top Five Home Media Sellers for Week, achieving an HD market share of 100%. It earned $3,234,932 from domestic home video sales.


title: Superman: Man of Tomorrow

text: On the review aggregator website Rotten Tomatoes, the film has an approval rating of based on reviews, with an average rating of .


title: Superman: Man of Tomorrow

text: Jesse Schedeen of IGN rated the film a 7 out of 10: ""Superman: Man of Tomorrow" is a safe and largely predictable take on the Man of Steel's iconic origin story. While that lack of narrative ambition is disappointing at times, there's a reason this particular story has endured so well over the years. "Man of Tomorrow" gets to the heart of Clark Kent and the emotional journey he has to experience before he can truly become Superman. With a revamped visual style and a strong voice cast, "Man of Tomorrow" serves as a solid start for this new animated universe".


title: Fresnel lens

text: A Fresnel lens ( ; ; or ) is a type of composite compact lens developed by the French physicist Augustin-Jean Fresnel (1788–1827) for use in lighthouses. It has been called "the invention that saved a million ships."


title: Fresnel lens

text: The design allows the construction of lenses of large aperture and short focal length without the mass and volume of material that would be required by a lens of conventional design. A Fresnel lens can be made much thinner than a comparable conventional lens, in some cases taking the form of a flat sheet. The simpler dioptric (purely refractive) form of the lens was first proposed by Count Buffon and independently reinvented by Fresnel. The "catadioptric" form of the lens, entirely invented by Fresnel, has outer elements that use total internal reflection as well as refraction; it can capture more oblique light from a light source and add it to the beam of a lighthouse, making the light visible from greater distances.


title: Fresnel lens

text: The Fresnel lens reduces the amount of material required compared to a conventional lens by dividing the lens into a set of concentric annular sections. An ideal Fresnel lens would have an infinite number of sections. In each section, the overall thickness is decreased compared to an equivalent simple lens. This effectively divides the continuous surface of a standard lens into a set of surfaces of the same curvature, with stepwise discontinuities between them.


title: Fresnel lens

text: In some lenses, the curved surfaces are replaced with flat surfaces, with a different angle in each section. Such a lens can be regarded as an array of prisms arranged in a circular fashion with steeper prisms on the edges and a flat or slightly convex center. In the first (and largest) Fresnel lenses, each section was actually a separate prism. 'Single-piece' Fresnel lenses were later produced, being used for automobile headlamps, brake, parking, and turn signal lenses, and so on. In modern times, computer-controlled milling equipment (CNC) or 3-D printers might be used to manufacture more complex lenses.


title: Fresnel lens

text: Fresnel lens design allows a substantial reduction in thickness (and thus mass and volume of material) at the expense of reducing the imaging quality of the lens, which is why precise imaging applications such as photography usually still use larger conventional lenses.


title: Fresnel lens

text: Fresnel lenses are usually made of glass or plastic; their size varies from large (old historical lighthouses, meter size) to medium (book-reading aids, OHP viewgraph projectors) to small (TLR/SLR camera screens, micro-optics). In many cases they are very thin and flat, almost flexible, with thicknesses in the range.


title: Fresnel lens

text: Most modern Fresnel lenses consist only of refractive elements. Lighthouse lenses, however, tend to include both refracting and reflecting elements, the latter being "outside" the metal rings seen in the photographs. While the inner elements are sections of refractive lenses, the outer elements are reflecting prisms, each of which performs two refractions and one total internal reflection, avoiding the light loss that occurs in reflection from a silvered mirror.


title: Fresnel lens

text: Fresnel designed six sizes of lighthouse lenses, divided into four "orders" based on their size and focal length. In modern use, these are classified as first through sixth order. An intermediate size between third and fourth order was added later, as well as sizes above first order and below sixth.


title: Fresnel lens

text: A first-order lens has a focal length of and stands about high, and wide. The smallest (sixth) order has a focal length of and a height of .


title: Fresnel lens

text: The largest Fresnel lenses are called hyperradiant (or hyper-radial). One such lens was on hand when it was decided to build and outfit the Makapuu Point Light in Hawaii. Rather than order a new lens, the huge optic construction, tall and with over a thousand prisms, was used there.


title: Fresnel lens

text: There are two main types of Fresnel lens: "imaging" and "non-imaging". Imaging Fresnel lenses use segments with curved cross-sections and produce sharp images, while non-imaging lenses have segments with flat cross-sections, and do not produce sharp images. As the number of segments increases, the two types of lens become more similar to each other. In the abstract case of an infinite number of segments, the difference between curved and flat segments disappears.


title: Fresnel lens

text: Fresnel lenses are used as simple hand-held magnifiers. They are also used to correct several visual disorders, including ocular-motility disorders such as strabismus. Fresnel lenses have been used to increase the visual size of CRT displays in pocket televisions, notably the Sinclair TV80. They are also used in traffic lights.


title: Fresnel lens

text: Fresnel lenses are used in left-hand-drive European lorries entering the UK and Republic of Ireland (and vice versa, right-hand-drive Irish and British trucks entering mainland Europe) to overcome the blind spots caused by the driver operating the lorry while sitting on the wrong side of the cab relative to the side of the road the car is on. They attach to the passenger-side window.


title: Fresnel lens

text: Another automobile application of a Fresnel lens is a rear view enhancer, as the wide view angle of a lens attached to the rear window permits examining the scene behind a vehicle, particularly a tall or bluff-tailed one, more effectively than a rear-view mirror alone.


title: Fresnel lens

text: Multi-focal Fresnel lenses are also used as a part of retina identification cameras, where they provide multiple in- and out-of-focus images of a fixation target inside the camera. For virtually all users, at least one of the images will be in focus, thus allowing correct eye alignment.


title: Fresnel lens

text: Fresnel lenses have also been used in the field of popular entertainment. The British rock artist Peter Gabriel made use of them in his early solo live performances to magnify the size of his head, in contrast to the rest of his body, for dramatic and comic effect. In the Terry Gilliam film "Brazil", plastic Fresnel screens appear ostensibly as magnifiers for the small CRT monitors used throughout the offices of the Ministry of Information. However, they occasionally appear between the actors and the camera, distorting the scale and composition of the scene to humorous effect. The Pixar movie Wall-E features a Fresnel lens in the scenes where the protagonist watches the musical Hello, Dolly! magnified on an iPod.


title: Fresnel lens

text: Virtual reality headsets, such as the Meta Quest 2 and the HTC Vive Pro use Fresnel lenses, as they allow a thinner and lighter form factor than regular lenses. Newer devices, such as the Meta Quest Pro, have switched to a pancake lens design due to its smaller form factor and less chromatic aberration than Fresnel lenses.


title: Fresnel lens

text: Canon and Nikon have used Fresnel lenses to reduce the size of telephoto lenses. Photographic lenses that include Fresnel elements can be much shorter than corresponding conventional lens design. Nikon calls the technology "Phase Fresnel".


title: Fresnel lens

text: View and large format cameras can utilize a Fresnel lens in conjunction with the ground glass, to increase the perceived brightness of the image projected by a lens onto the ground glass, thus aiding in adjusting focus and composition.


title: Fresnel lens

text: High-quality glass Fresnel lenses were used in lighthouses, where they were considered state of the art in the late 19th and through the middle of the 20th centuries; most lighthouses have now retired glass Fresnel lenses from service and replaced them with much less expensive and more durable aerobeacons, which themselves often contain plastic Fresnel lenses. Lighthouse Fresnel lens systems typically include extra annular prismatic elements, arrayed in faceted domes above and below the central planar Fresnel, in order to catch all light emitted from the light source. The light path through these elements can include an internal reflection, rather than the simple refraction in the planar Fresnel element. These lenses conferred many practical benefits upon the designers, builders, and users of lighthouses and their illumination. Among other things, smaller lenses could fit into more compact spaces. Greater light transmission over longer distances, and varied patterns, made it possible to triangulate a position.


title: Fresnel lens

text: Perhaps the most widespread use of Fresnel lenses, for a time, occurred in automobile headlamps, where they can shape the roughly parallel beam from the parabolic reflector to meet requirements for dipped and main-beam patterns, often both in the same headlamp unit (such as the European H4 design). For reasons of economy, weight, and impact resistance, newer cars have dispensed with glass Fresnel lenses, using multifaceted reflectors with plain polycarbonate lenses. However, Fresnel lenses continue in wide use in automobile tail, marker, and reversing lights.


title: Fresnel lens

text: Glass Fresnel lenses also are used in lighting instruments for theatre and motion pictures (see Fresnel lantern); such instruments are often called simply "Fresnels". The entire instrument consists of a metal housing, a reflector, a lamp assembly, and a Fresnel lens. Many Fresnel instruments allow the lamp to be moved relative to the lens' focal point, to increase or decrease the size of the light beam. As a result, they are very flexible, and can often produce a beam as narrow as 7° or as wide as 70°. The Fresnel lens produces a very soft-edged beam, so is often used as a wash light. A holder in front of the lens can hold a colored plastic film ("gel") to tint the light or wire screens or frosted plastic to diffuse it. The Fresnel lens is useful in the making of motion pictures not only because of its ability to focus the beam brighter than a typical lens, but also because the light is a relatively consistent intensity across the entire width of the beam of light.


title: Fresnel lens

text: Aircraft carriers and naval air stations typically use Fresnel lenses in their optical landing systems. The "meatball" light aids the pilot in maintaining proper glide slope for the landing. In the center are amber and red lights composed of Fresnel lenses. Although the lights are always on, the angle of the lens from the pilot's point of view determines the color and position of the visible light. If the lights appear above the green horizontal bar, the pilot is too high. If it is below, the pilot is too low, and if the lights are red, the pilot is very low.


title: Fresnel lens

text: The use of Fresnel lenses for image projection reduces image quality, so they tend to occur only where quality is not critical or where the bulk of a solid lens would be prohibitive. Cheap Fresnel lenses can be stamped or molded of transparent plastic and are used in overhead projectors and projection televisions.


title: Fresnel lens

text: Fresnel lenses of different focal lengths (one collimator, and one collector) are used in commercial and DIY projection. The collimator lens has the lower focal length and is placed closer to the light source, and the collector lens, which focuses the light into the triplet lens, is placed after the projection image (an active matrix LCD panel in LCD projectors). Fresnel lenses are also used as collimators in overhead projectors.


title: Fresnel lens

text: Since plastic Fresnel lenses can be made larger than glass lenses, as well as being much cheaper and lighter, they are used to concentrate sunlight for heating in solar cookers, in solar forges, and in solar collectors used to heat water for domestic use. They can also be used to generate steam or to power a Stirling engine.


title: Fresnel lens

text: Fresnel lenses can concentrate sunlight onto solar cells with a ratio of almost 500:1. This allows the active solar-cell surface to be reduced, lowering cost and allowing the use of more efficient cells that would otherwise be too expensive. In the early 21st century, Fresnel reflectors began to be used in concentrating solar power (CSP) plants to concentrate solar energy. One application was to preheat water at the coal-fired Liddell Power Station, in Hunter Valley Australia.


title: Fresnel lens

text: Augustin-Jean Fresnel was not the first person to focus a lighthouse beam using a lens. That distinction apparently belongs to the London glass-cutter Thomas Rogers, who proposed the idea to Trinity House in 1788. The first Rogers lenses, 53cm in diameter and 14cm thick at the center, were installed at the Old Lower Lighthouse at Portland Bill in 1789. Behind each lamp was a back-coated spherical glass mirror, which reflected rear radiation back through the lamp and into the lens. Further samples were installed at Howth Baily, North Foreland, and at least four other locations by 1804. But much of the light was wasted by absorption in the glass.


title: Fresnel lens

text: Nor was Fresnel the first to suggest replacing a convex lens with a series of concentric annular prisms, to reduce weight and absorption. In 1748, Count Buffon proposed grinding such prisms as steps in a single piece of glass. In 1790 (although secondary sources give the date as 1773 or 1788), the Marquis de Condorcet suggested that it would be easier to make the annular sections separately and assemble them on a frame; but even that was impractical at the time. These designs were intended not for lighthouses, but for burning glasses. David Brewster, however, proposed a system similar to Condorcet's in 1811, and by 1820 was advocating its use in British lighthouses.


title: Fresnel lens

text: The French (Commission of Lighthouses) was established by Napoleon in 1811, and placed under the authority of Fresnel's employer, the Corps of Bridges and Roads. As the members of the commission were otherwise occupied, it achieved little in its early years. But on 21 June 1819—three months after winning the physics of the Academy of Sciences for his celebrated memoir on diffraction—Fresnel was "temporarily" seconded to the commission on the recommendation of François Arago (a member since 1813), to review possible improvements in lighthouse illumination.


title: Fresnel lens

text: By the end of August 1819, unaware of the Buffon-Condorcet-Brewster proposal, Fresnel made his first presentation to the commission, recommending what he called ('lenses by steps') to replace the reflectors then in use, which reflected only about half of the incident light. Much to Fresnel's embarrassment, one of the assembled commissioners, Jacques Charles, recalled Buffon's suggestion. However, whereas Buffon's version was biconvex and in one piece, Fresnel's was plano-convex and made of multiple prisms for easier construction. With an official budget of 500 francs, Fresnel approached three manufacturers. The third, François Soleil, found a way to remove defects by reheating and remolding the glass. Arago assisted Fresnel with the design of a modified Argand lamp with concentric wicks (a concept that Fresnel attributed to Count Rumford), and accidentally discovered that fish glue was heat-resistant, making it suitable for use in the lens. The prototype, finished in March 1820, had a square lens panel 55cm on a side, containing 97 polygonal (not annular) prisms—and so impressed the Commission that Fresnel was asked for a full eight-panel version. This model, completed a year later in spite of insufficient funding, had panels 76cm square. In a public spectacle on the evening of 13 April 1821, it was demonstrated by comparison with the most recent reflectors, which it suddenly rendered obsolete.


title: Fresnel lens

text: Soon after this demonstration, Fresnel published the idea that light, including apparently unpolarized light, consists exclusively of transverse waves, and went on to consider the implications for double refraction and partial reflection.


title: Fresnel lens

text: Fresnel acknowledged the British lenses and Buffon's invention in a memoir read on 29 July 1822 and printed in the same year. The date of that memoir may be the source of the claim that Fresnel's lighthouse advocacy began two years later than Brewster's; but the text makes it clear that Fresnel's involvement began no later than 1819.


title: Fresnel lens

text: Fresnel's next lens was a rotating apparatus with eight "bull's-eye" panels, made in annular arcs by Saint-Gobain, giving eight rotating beams—to be seen by mariners as a periodic flash. Above and behind each main panel was a smaller, sloping bull's-eye panel of trapezoidal outline with trapezoidal elements. This refracted the light to a sloping plane mirror, which then reflected it horizontally, 7 degrees ahead of the main beam, increasing the duration of the flash. Below the main panels were 128 small mirrors arranged in four rings, stacked like the slats of a louver or Venetian blind. Each ring, shaped like a frustum of a cone, reflected the light to the horizon, giving a fainter steady light between the flashes. The official test, conducted on the unfinished on 20 August 1822, was witnessed by the Commission—and by Louis XVIII and his entourage—from away. The apparatus was stored at Bordeaux for the winter, and then reassembled at Cordouan Lighthouse under Fresnel's supervision—in part by Fresnel's own hands. On 25 July 1823, the world's first lighthouse Fresnel lens was lit. As expected, the light was visible to the horizon, more than out.


title: Fresnel lens

text: The day before the test of the Cordouan lens in Paris, a committee of the Academy of Sciences reported on Fresnel's memoir and supplements on double refraction—which, although less well known to modern readers than his earlier work on diffraction, struck a more decisive blow for the wave theory of light. Between the test and the reassembly at Cordouan, Fresnel submitted his papers on photoelasticity (16 September 1822), elliptical and circular polarization and optical rotation (9 December), and partial reflection and total internal reflection (7 January 1823), essentially completing his reconstruction of physical optics on the transverse wave hypothesis. Shortly after the Cordouan lens was lit, Fresnel started coughing up blood.


title: Fresnel lens

text: In May 1824, Fresnel was promoted to Secretary of the , becoming the first member of that body to draw a salary, albeit in the concurrent role of Engineer-in-Chief. Late that year, being increasingly ill, he curtailed his fundamental research and resigned his seasonal job as an examiner at the , in order to save his remaining time and energy for his lighthouse work.


title: Fresnel lens

text: In the same year he designed the first "fixed" lens—for spreading light evenly around the horizon while minimizing waste above or below. Ideally the curved refracting surfaces would be segments of toroids about a common vertical axis, so that the dioptric panel would look like a cylindrical drum. If this was supplemented by reflecting (catoptric) rings above and below the refracting (dioptric) parts, the entire apparatus would look like a beehive. The second Fresnel lens to enter service was indeed a fixed lens, of third order, installed at Dunkirk by 1 February 1825. However, due to the difficulty of fabricating large toroidal prisms, this apparatus had a 16-sided polygonal plan.


title: Fresnel lens

text: In 1825 Fresnel extended his fixed-lens design by adding a rotating array outside the fixed array. Each panel of the rotating array was to refract part of the fixed light from a horizontal fan into a narrow beam.


title: Fresnel lens

text: Also in 1825, Fresnel unveiled the ('lighthouse map'), calling for a system of 51 lighthouses plus smaller harbor lights, in a hierarchy of lens sizes called "orders" (the first being the largest), with different characteristics to facilitate recognition: a constant light (from a fixed lens), one flash per minute (from a rotating lens with eight panels), and two per minute (16 panels).


title: Fresnel lens

text: In late 1825, to reduce the loss of light in the reflecting elements, Fresnel proposed to replace each mirror with a catadioptric prism, through which the light would travel by refraction through the first surface, then total internal reflection off the second surface, then refraction through the third surface. The result was the lighthouse lens as we now know it. In 1826 he assembled a small model for use on the , but he did not live to see a full-sized version: he died on 14 July 1827, at the age of 39.


title: Fresnel lens

text: The first stage of the development of lighthouse lenses after the death of Augustin Fresnel consisted in the implementation of his designs. This was driven in part by his younger brother Léonor—who, like Augustin, was trained as a civil engineer but, unlike Augustin, had a strong aptitude for management. Léonor entered the service of the Lighthouse Commission in 1825, and went on to succeed Augustin as Secretary.


title: Fresnel lens

text: The first fixed lens to be constructed with toroidal prisms was a first-order apparatus designed by the Scottish engineer Alan Stevenson under the guidance of Léonor Fresnel, and fabricated by Isaac Cookson & Co. using French glass; it entered service at the Isle of May, Scotland, on 22 September 1836. The first large catadioptric lenses were made in 1842 for the lighthouses at Gravelines and Île Vierge, France; these were fixed third-order lenses whose catadioptric rings (made in segments) were one metre in diameter. Stevenson's first-order Skerryvore lens, lit in 1844, was only partly catadioptric; it was similar to the Cordouan lens except that the lower slats were replaced by French-made catadioptric prisms, while mirrors were retained at the top. The first "fully" catadioptric first-order lens, installed at Pointe d'Ailly in 1852, also gave eight rotating beams plus a fixed light at the bottom; but its top section had eight catadioptric panels focusing the light about 4 degrees ahead of the main beams, in order to lengthen the flashes. The first fully catadioptric lens with "purely revolving" beams—also of first order—was installed at Saint-Clément-des-Baleines in 1854, and marked the completion of Augustin Fresnel's original "Carte des Phares".


title: Fresnel lens

text: Thomas Stevenson (younger brother of Alan) went a step beyond Fresnel with his "holophotal" lens, which focused the light radiated by the lamp in nearly all directions, forward or backward, into a single beam. The first version, described in 1849, consisted of a standard Fresnel bull's-eye lens, a paraboloidal reflector, and a rear hemispherical reflector (functionally equivalent to the Rogers mirror of 60 years earlier, except that it subtended a whole hemisphere). Light radiated into the forward hemisphere but missing the bull's-eye lens was deflected by the paraboloid into a parallel beam surrounding the bull's-eye lens, while light radiated into the backward hemisphere was reflected back through the lamp by the spherical reflector (as in Rogers' arrangement), to be collected by the forward components. The first unit was installed at North Harbour, Peterhead, in August 1849. Stevenson called this version a "catadioptric holophote", although each of its elements was either purely reflective or purely refractive. In the second version of the holophote concept, the bull's-eye lens and paraboloidal reflector were replaced by a catadioptric Fresnel lens—as conceived by Fresnel, but expanded to cover the whole forward hemisphere. The third version, which Stevenson confusingly called a "dioptric holophote", was more innovative: it retained the catadioptric Fresnel lens for the front hemisphere, but replaced the rear hemispherical reflector with a hemispherical array of annular prisms, each of which used "two" total internal reflections to turn light diverging from the center of the hemisphere back toward the center. The result was an all-glass holophote, with no losses from metallic reflections.


title: Fresnel lens

text: James Timmins Chance modified Thomas Stevenson's all-glass holophotal design by arranging the double-reflecting prisms about a vertical axis. The prototype was shown at the 1862 International Exhibition in London. Later, to ease manufacturing, Chance divided the prisms into segments, and arranged them in a cylindrical form while retaining the property of reflecting light from a single point back to that point. Reflectors of this form, paradoxically called "dioptric mirrors", proved particularly useful for returning light from the landward side of the lamp to the seaward side.


title: Fresnel lens

text: As lighthouses proliferated, they became harder to distinguish from each other, leading to the use of colored filters, which wasted light. In 1884, John Hopkinson eliminated the need for filters by inventing the "group-flashing" lens, in which the dioptric and/or the catadioptric panels were split so as to give multiple flashes—allowing lighthouses to be identified not only by frequency of flashes, but also by multiplicity of flashes. Double-flashing lenses were installed at Tampico (Mexico) and Little Basses (Sri Lanka) in 1875, and a triple-flashing lens at Casquets Lighthouse (Channel Islands) in 1876. The example shown (right) is the double-flashing lens of the Point Arena Light, which was in service from 1908 to 1977.


title: Fresnel lens

text: The development of hyper-radial lenses was driven in part by the need for larger light sources, such as gas lights with multiple jets, which required a longer focal length for a given beam-width, hence a larger lens to collect a given fraction of the generated light. The first hyper-radial lens was built for the Stevensons in 1885 by F. Barbier & Cie of France, and tested at South Foreland Lighthouse with various light sources. Chance Brothers (Hopkinson's employers) then began constructing hyper-radials, installing their first at Bishop Rock Lighthouse in 1887. In the same year, Barbier installed a hyper-radial at Tory Island. But only about 30 hyper-radials went into service before the development of more compact bright lamps rendered such large optics unnecessary (see "Hyperradiant Fresnel lens").


title: Fresnel lens

text: Production of one-piece stepped dioptric lenses—roughly as envisaged by Buffon—became feasible in 1852, when John L. Gilliland of the Brooklyn Flint-Glass Company patented a method of making lenses from pressed and molded glass. The company made small bull's-eye lenses for use on railroads, steamboats, and docks; such lenses were common in the United States by the 1870s. In 1858 the company produced "a very small number of pressed flint-glass sixth-order lenses" for use in lighthouses—the first Fresnel lighthouse lenses made in America. By the 1950s, the substitution of plastic for glass made it economic to use Fresnel lenses as condensers in overhead projectors.


title: Jon Seda

text: Jonathan Seda (born October 14, 1970) is an American actor. Seda was an amateur boxer who auditioned for and was given a role in the 1992 boxing film "Gladiator".


title: Jon Seda

text: He played the role of Chris Pérez alongside Jennifer Lopez in the movie "Selena", and portrayed U.S. Marine John Basilone, recipient of the Medal of Honor, in Tom Hanks and Steven Spielberg's "The Pacific". On television, he had roles as Detective Antonio Dawson in NBC's "Chicago P.D.", and as Paul Falsone in NBC's "".


title: Jon Seda

text: Seda was born in Manhattan to parents of Puerto Rican descent and raised in Clifton, New Jersey. After graduating from Clifton High School, Seda was convinced by two friends that he should take up boxing, so he began working out in a gym.


title: Jon Seda

text: He boxed in several gyms in New Jersey and soon was a runner up in the New Jersey Golden Gloves competition. As an amateur boxer, Seda had a record of 21 wins and one loss.


title: Jon Seda

text: Seda's film debut was in the boxing film "Gladiator" (1992), in which he played the role of Romano, a Cuban boxer. He has since worked in various films and TV series. In 1995, Seda was nominated Best Male Lead at the Spirit Awards for his role in the movie "I Like It Like That" (1994), opposite Rita Moreno and Lauren Vélez. In 1996, he was nominated for the Palme d'Or (Best Actor Award) at the Cannes Film Festival, for his role as Blue in the film "The Sunchaser," opposite actor Woody Harrelson.


title: Jon Seda

text: Seda became widely known to the Hispanic film audience when he portrayed Chris Pérez alongside Jennifer Lopez in "Selena" (1997), a film based on the true story of the Tejano singer, Selena Quintanilla-Perez, who was murdered on her way to mainstream stardom. Seda played Selena's husband.


title: Jon Seda

text: Also in 1997, Seda landed the role of Detective Paul Falsone on NBC's: "Homicide: Life on the Street". The writers, taking advantage of his boxing background, wrote a shirtless practice bout into an episode, which established his character's attractiveness to fellow detective Laura Ballard. Seda also boxed opposite Jimmy Smits in the film "Price of Glory" (2000).


title: Jon Seda

text: His first leading role on the large screen was as the protagonist in 2002's "King Rikki", a re-imagining of Shakespeare's "Richard III" in East L.A.


title: Jon Seda

text: Seda has appeared in more than two dozen movies, including "Bad Boys II" (2003) as Roberto, as well as numerous television appearances. Aside from "Homicide", he has had notable roles as Dino Ortolani in "Oz", Matty Caffey in "Third Watch", Paul Falsone (in a "Homicide" crossover with "Law & Order"), "House", and "". He is featured as one of the three leads in the HBO World War II mini-series "The Pacific" (released on March 14, 2010), portraying Marine John Basilone. Seda appeared as a guest star in an episode of "Burn Notice", and in 2007 he made a cameo appearance in Ludacris' song "Runaway Love", as an abusive, alcoholic stepfather.


title: Jon Seda

text: Seda appeared in "Treme" seasons 2-4 as Nelson Hidalgo, a politically connected land developer from Dallas who helps out with the relief efforts in post-Katrina New Orleans. He appeared in the film "Larry Crowne" (2011), which starred and was co-written and directed by Tom Hanks. Hanks also served as an executive producer on "The Pacific", in which Seda starred. In 2013, Seda starred alongside Sylvester Stallone, Christian Slater, and Jason Momoa in the Walter Hill-directed action thriller "Bullet to the Head".


title: Jon Seda

text: In 2012, Seda began portraying Detective Antonio Dawson in Dick Wolf’s "Chicago" franchise, first starring in "Chicago Fire" in a recurring role and then, in 2014, as part of the main cast of the spin-off "Chicago P.D." In 2017, Seda carried his role over into another spin-off, "Chicago Justice", which was canceled after its first season. His daughter Haley made a guest appearance on "Chicago P.D." as a key witness in a bombing. In July 2017, it was announced that Seda would return to "Chicago P.D." following the cancellation of "Chicago Justice". On April 19, 2019, it was reported that NBC/Wolf Entertainment officials informed Seda that they would not be renewing his contract, which led to his leaving the series shortly after six seasons.


title: Jon Seda

text: In 2020, Seda was cast in the lead role of Dr. Benjamine Glass in the pilot of the NBC apocalyptic drama series "La Brea", written by David Appelbaum. With the COVID-19 pandemic disrupting production of the pilot, NBC allowed Seda's contract to expire along with most of the other pilot cast members. However, with the pilot being picked up straight-to-series in January 2021, Seda returned to the show, with his character rewritten as Dr. Sam Velez.


title: Hwang Hee-chan

text: Hwang Hee-chan (; born 26 January 1996) is a South Korean professional footballer who plays as a forward for Premier League club Wolverhampton Wanderers and the South Korea national team.


title: Hwang Hee-chan

text: Hwang is nicknamed the "Bull" ("Hwangso"; Hangul: 황소) in South Korea due to his aggressive playing style. It was a play on his surname as "hwangso" was the Korean term for a bull.


title: Hwang Hee-chan

text: Hwang Hee-chan was born in Chuncheon, but his family moved to Bucheon right after his birth. They lived there until he was eleven years old. Hwang started to play football at Singok Elementary School in Uijeongbu. In 2008, he scored the most goals in both Hwarangdaegi Tournament and Dongwon Youth Cup, which were South Korean national youth competitions. His strong performance continued in the South Korean national under-12 team. Hwang scored 22 goals in the Kanga Cup, setting a new record of the tournament. With outstanding performances in these competitions, he was awarded the grand prize of the Cha Bum-kun Football Award, given to the best youth footballers in South Korea.


title: Hwang Hee-chan

text: After graduating from Singok Elementary School, he entered Pohang Jecheol Middle School and started to play in Pohang Steelers under-15 team, the school's affiliated football club. In 2011, his team won the middle school division of the Korean National School League, hosted by Korea Football Association, and Hwang received the MVP award of the competition.


title: Hwang Hee-chan

text: Subsequently, he joined Pohang Jecheol High School and Pohang Steelers under-18 team. In the 2013 K League Junior, contested between youth teams of K League clubs, he scored 12 goals in 12 games for his team, helping his high school to win the league. Afterwards, in the high school division of the National School League, he once again led Pohang to the title, becoming the MVP in addition to the top scorer.


title: Hwang Hee-chan

text: In December 2014, Pohang Steelers intended to sign forward Hwang Hee-chan as a homegrown player, however he signed with Austrian club Red Bull Salzburg eventually. On 3 November 2016, Hwang came off the bench and scored a brace in a Europa League match for Salzburg against Ligue 1 side Nice, contributing to his team's first Europa win of the campaign. He failed to score in his first Austrian Bundesliga season.


title: Hwang Hee-chan

text: During the 2017–18 season Salzburg had their best ever European campaign. They finished top of their UEFA Europa League group for a record fourth time before beating Real Sociedad and Borussia Dortmund, thus making their first-ever appearance in the competition's quarter-finals. On 12 April, Hwang scored a goal against Lazio, leading a 4–1 victory to proceed to the semi-finals. On 3 May 2018, Hwang played in the second away match of the semi-final, when Salzburg defeated Marseille by 1–2 but lost on aggregate 3–2. On 31 August 2018, Hwang joined Hamburger SV on a loan deal until the end of the 2018–19 season.


title: Hwang Hee-chan

text: During the 2019–20 season, Hwang drew plaudits alongside Salzburg's attacking players Erling Haaland and Takumi Minamino. The trio were particularly praised for their exploits in the Champions League, where Hwang was involved in eight goals by recording three goals and three assists, and winning two penalty kicks. His playing style was described as energetic with accurate passing and an eye for dribbling. In all competitions, Hwang had a remarkable season, scoring 16 goals and providing 22 assists in 40 appearances.


title: Hwang Hee-chan

text: On 8 July 2020, Hwang signed for RB Leipzig on a five-year contract. On 12 September, he scored a goal and created an assist against Nürnberg in the first round of the 2020–21 DFB-Pokal, where he made his debut. He helped Leipzig to reach the 2021 DFB-Pokal Final by scoring against VfL Wolfsburg and Werder Bremen, though he was a substitute. However, he failed to score in his first German Bundesliga season.


title: Hwang Hee-chan

text: On 29 August 2021 Hwang joined Premier League side Wolverhampton Wanderers on a season long loan. On 11 September, Hwang scored Wolves' second goal away to Watford on his debut as a second-half substitute in a 2–0 win. He then got his first goals at Molineux on 2 October, as he scored both goals in Wolves' 2–1 win against Newcastle United, both strikes coming from similarly tight angles. He scored five goals in his debut campaign in the Premier League.


title: Hwang Hee-chan

text: On 26 January 2022, the club announced that they had activated a clause in his loan deal that would see him join the club on a permanent deal on 1 July 2022, upon the expiration of his loan, signing a contract until 2026.


title: Hwang Hee-chan

text: In the 2012 AFC U-16 Championship, South Korea was eliminated in the quarter-finals, but Hwang became the top scorer of the tournament with five goals including a hat-trick against North Korea.


title: Hwang Hee-chan

text: Hwang participated in the 2016 Summer Olympics and scored a goal in a group match against Germany, which finished in a 3–3 draw.


title: Hwang Hee-chan

text: In a friendly on 28 March 2018, Hwang scored South Korea's second goal against Poland, with the match ending in a 3–2 loss.


title: Hwang Hee-chan

text: In the 2018 FIFA World Cup, Hwang played all three group stage matches for South Korea. He featured in the starting line up in the first two games, both of which were defeats. Hwang participated in the last game against Germany as a substitute but was then brought off after 20 minutes due to difficulties executing the team's tactics. South Korea finally won a victory in the game, with manager Shin Tae-yong expressing regret for taking off Hwang.


title: Hwang Hee-chan

text: Hwang scored a goal in stoppage time against Portugal to secure a 2–1 win, and a place in the Round of 16 of the 2022 FIFA World Cup.


title: Definitely Maybe

text: Definitely Maybe is the debut studio album by English rock band Oasis, released by Creation Records on 29 August 1994. Oasis booked Monnow Valley Studio near Rockfield in late 1993 to record the album and worked with producer Dave Batchelor, whom band member Noel Gallagher knew from his days working as a roadie for the Inspiral Carpets, though sessions were unsatisfactory and Batchelor was subsequently fired. It is the only studio album to feature all five original members, as founding member drummer Tony McCarroll was sacked from the band in 1995.


title: Definitely Maybe

text: In January 1994, the group set about re-recording the album at Sawmills Studio in Cornwall, where sessions were produced by Noel alongside Mark Coyle. The results were still deemed unsatisfactory; in desperation, Creation's Marcus Russell contacted engineer and producer Owen Morris, who eventually worked on mastering the album at Johnny Marr's studio in Manchester.


title: Definitely Maybe

text: "Definitely Maybe" was an immediate commercial and critical success in the United Kingdom, having followed on the heels of the singles "Supersonic", "Shakermaker", and the UK top-ten hit "Live Forever", which was also a success on US Rock Airplay. The album went on to sell over 8.5 million copies worldwide and brought widespread critical acclaim. It went straight to number one in the UK Albums Chart and became the fastest-selling debut album in the UK at the time; it went on to be certified 8× platinum by the BPI for sales of over 2.4 million units. It also was successful in the United States, being certified platinum.


title: Definitely Maybe

text: The album helped to spur a revitalisation in British pop music in the 1990s, and was embraced by critics for its optimistic themes and rejection of the negative outlook of the grunge music of the time. The album is regarded as a seminal entry of the Britpop scene, and has appeared in many publications' lists of the greatest albums of all time. In 2006, the "NME" conducted a readers' poll in which "Definitely Maybe" was voted the greatest album of all time. In 2015, "Spin" included the album in their list of "The 300 Best Albums of 1985–2014". "Rolling Stone" ranked the album at No. 217 on its 2020 list of the 500 Greatest Albums of All Time.


title: Definitely Maybe

text: Formerly called the Rain, Oasis were formed in 1991 by Liam Gallagher, Paul "Bonehead" Arthurs, Paul "Guigsy" McGuigan, and Tony McCarroll. The group were soon joined by Liam's older brother Noel, who insisted that the group would give him complete control and work towards global fame if he joined.


title: Definitely Maybe

text: Oasis booked Monnow Valley Studio near Rockfield in late 1993 to record the album. Their producer was Dave Batchelor, whom Noel knew from his days working as a roadie for the Inspiral Carpets. The sessions were unsatisfactory and Bonehead recalled, "It wasn't happening. [Batchelor] was the wrong person for the job... we'd play in this great big room, buzzing to be in this studio, playing like we always played. He'd say, 'Come in and have a listen.' And we'd be like, 'That doesn't sound like it sounded in that room. What's "that"?' It was thin. Weak. Too clean."


title: Definitely Maybe

text: Additionally, engineer Dave Scott commented, "I couldn’t connect with him [Batchelor] artistically or technically, neither could I get any idea from him what his vision for the album was. This made life very difficult for me. I had rarely worked under other producers and when I had, there had always been a collaboration. I think that the lack of direction and different expectations led to an uncoordinated session with too many compromises." He described various technical issues that befell the sessions, including defective equipment, poor quality headphones, and excessive sound variation between mixing channels. He was fired by Batchelor after two clashes while recording "Slide Away", and was later informed "Slide Away" was the only track kept from the sessions.


title: Definitely Maybe

text: The sessions at Monnow Valley were costing £800 a day. As the sessions proved increasingly fruitless, the group began to panic. Bonehead said, "Noel was frantically on the phone to the management, going, 'This ain't working.' For it not to be happening was a bit frightening." Batchelor was fired, and Noel tried to make use of the music already recorded by taking the tapes to a number of London studios. Tim Abbot of Creation Records said while visiting the band in Chiswick, "McGee, Noel, me, and various people had a great sesh [session], and we listened to it over and over again. And all I could think was, 'It ain't got the attack.' There was no immediacy."


title: Definitely Maybe

text: In January 1994, the group returned from an ill-fated trip to Amsterdam and set about re-recording the album at Sawmills Studio in Cornwall. This time the sessions were produced by Noel alongside Mark Coyle. The group decided the only way to replicate their live sound in the studio was to record together without soundproofing between individual instrument, with Noel overdubbing numerous guitars afterwards. Bonehead said, "That was Noel's favourite trick: get the drums, bass, and rhythm guitar down, and then he'd "cane" it. 'Less is more' didn't really work then." The results were still deemed unsatisfactory, and there was little chance of another attempt at recording the album, so the recordings already made had to be used.


title: Definitely Maybe

text: In desperation, Creation's Marcus Russell contacted engineer and producer Owen Morris, who had previously mixed the album's songs. Morris recalled after hearing the Sawmills recordings, "I just thought, 'They've messed up here.' I guessed at that stage Noel was completely fucked off. Marcus was like, 'You can do what you like – literally, whatever you want.'" Among Morris's first tasks was to strip away the layers of guitar overdubs Noel had added, although he noted that the overdubs allowed him to construct the musical dynamics of songs such as "Columbia" and "Rock 'n' Roll Star".


title: Definitely Maybe

text: Morris worked on mastering the album at Johnny Marr's studio in Manchester. He recalled that Marr was "appalled by how 'in your face' the whole thing was" and would question Morris's mixing choices, such as leaving the background noise at the beginning of "Cigarettes & Alcohol". Inspired by Phil Spector's use of tape delay on the drums of John Lennon's song "Instant Karma!" and Tony Visconti's use of the Eventide Harmonizer on the drums of David Bowie's album "Low", Morris added eighth-note tape delays on the drums, which lent additional groove to McCarroll's basic beats. Tape delay was employed to double the drums of "Columbia", giving the song a faster rhythm, and tambourines were programmed on several songs to follow McCarroll's snare hits.


title: Definitely Maybe

text: Morris also used a technique he had learned from Bernard Sumner while recording the self-titled album by Sumner's group Electronic, routing the bass guitar through a Minimoog and using the filters to remove the high-end, which he used to hide imprecise playing, and heavily compressed the final mix to an extent he admitted was "more than would normally be considered 'professional.


title: Definitely Maybe

text: Morris completed his final mix of the record on the vintage Neve console during the bank holiday weekend in May in Studio 5 at Matrix Recording Studios in London's Fulham district. Music journalist John Harris noted, "The miracle was that music that had passed through so many hands sounded so dynamic: the guitar-heavy stew that Morris had inherited had been remoulded into something positively pile-driving."


title: Definitely Maybe

text: On the other hand, engineer Anjali Dutt criticised the abrasive mastering: "Though I don’t think that the original mixes were amazing, I did prefer them to the final album, as the relentlessness of the compressed chainsaw guitars just wears you out even if the initial feeling of excitement is invigorating. [...] I think his mixes did the job and gave it that much needed excitement and attitude. But it wasn't my kind of sound and found it far too abrasive so I can only recall ever playing a few tracks at a time."


title: Definitely Maybe

text: The photograph on the front cover of the album was taken by rock photographer Michael Spencer Jones in guitarist Bonehead's house.<ref name="NME/Oasis"></ref> The image was inspired by the back cover of the Beatles' 1966 compilation LP "A Collection of Beatles Oldies", and, in the positioning of Liam on the floor, by a visit Spencer Jones had made to the Egyptology section at Manchester Science Museum. In a 2019 interview, Spencer Jones said that the idea to photograph the band at Bonehead's house came from Noel, who originally wanted the band to be seated around Bonehead's dining table; Spencer Jones instead suggested shooting in the lounge, facing a bay window. He also said that he asked Liam to lie on the floor to draw attention away from the room's wood flooring, which he felt would make the picture look like an advert for varnish. The wine glass to Liam's right was filled with diluted Ribena; although an urban legend suggests that this was used because the band could not afford wine, Spencer Jones explained that it was actually because red wine often turns out black instead of red on pictures.


title: Definitely Maybe

text: Spencer Jones asked the band to bring objects of personal value to them to the shoot. The television is showing a scene with actors Eli Wallach and Antonio Casale from Sergio Leone's film "The Good, the Bad and the Ugly". A still of actor Gian Maria Volonté from another Leone film, "A Fistful of Dollars", is visible on the television on the back cover. According to Spencer Jones, this was Noel's favourite film. A picture of footballer Rodney Marsh playing for Manchester City (the football team of the Gallaghers and McGuigan) is propped against the fireplace. A photograph of footballer George Best can be seen in the window at the behest of Bonehead, a Manchester United fan. A poster (actually the inside of a gatefold sleeve) of Burt Bacharach, one of Noel's idols, is also shown leaning against the side of the sofa on the lower left-hand side of the cover. Bonehead's Epiphone Riviera, which he used on every Oasis recording and gig during his tenure in the band, is propped against the wall. Some writers believe that Oasis were trying to pay homage to the album cover of Pink Floyd's "Ummagumma" album by placing Bacharach's picture in the same prominent position used for the soundtrack of Vincente Minnelli's film "Gigi" on "Ummagumma".


title: Definitely Maybe

text: Oasis signed to independent record label Creation Records in 1993. The limited-edition 12" single "Columbia" was released later that year as a teaser for journalists and radio shows, and was unexpectedly picked up by BBC Radio 1, who played it 19 times in the two weeks after its release. The band's first commercial single "Supersonic" was released on 11 April 1994. The following week, it debuted at No. 31 on the British singles chart. The song was followed by "Shakermaker" in June 1994, which debuted at No. 11 and earned the group an appearance on "Top of the Pops".


title: Definitely Maybe

text: The release of "Definitely Maybe" was preceded by a third single, "Live Forever", which was released on 8 August 1994 and became the group's first top ten single. The continuing success of Oasis partially allowed Creation to ride out a period of tough financial straits; the label was still £2 million in debt, so Tim Abbot was given only £60,000 to promote the upcoming album. Abbot tried to determine how to best use his small budget: "I'd go back to the Midlands every couple of weeks and people I knew would say, 'Oasis are great. This is what we listen to.' And I'd be thinking, "Well, you lot don't buy singles. You don't read the "NME". You don't read "Q". How do we get the people to like you?'" Abbot decided to place ads in publications that had never been approached by Creation before, such as football magazines, match programmes, and UK dance music periodicals. His suspicions that Oasis would appeal to these non-traditional audiences were confirmed when the dance music magazine "Mixmag", which usually ignored guitar-based music, gave "Definitely Maybe" a five-star review.


title: Definitely Maybe

text: "Definitely Maybe" was released on 29 August 1994. The album sold 100,000 copies in its first four days. On 4 September, the album debuted at No. 1 on the British charts. It outsold the second-highest album ("The Three Tenors in Concert 1994", which had been favoured to be the chart-topper that week), by a factor of 50%. The first-week sales earned "Definitely Maybe" the record of the fastest-selling debut album in British history. "Cigarettes & Alcohol" was released as the fourth single from the album in October, peaking at No. 7 in the UK, which was then a career high for the band. Noel said "Slide Away" was considered as a fifth single but he ultimately refused, arguing, "You can't have five [singles] off a debut album."


title: Definitely Maybe

text: "Definitely Maybe" received widespread critical acclaim and was a commercial success, with many critics and listeners welcoming the album's fearless optimism, particularly in an era of rock which was dominated by American grunge which seemed at odds with the album. Noel's songwriting and melodic skills, along with Liam's vocals, received particular praise. Keith Cameron of "NME" called Noel "a pop craftsman in the classic tradition and a master of his trade" and believed that "the only equivocal thing about "Definitely Maybe" is its title [...] everything else screams certainty [...] the fact is that too much heartfelt emotion, ingenious belief and patent songwriting savvy rushes through the debut Oasis album for it to be the work of a bunch of wind-up merchants [...] it's like opening your bedroom curtains one morning and discovering that some f—er's built the Taj Mahal in your back garden and then filled it with your favourite flavour of Angel Delight". "Melody Maker" gave the album its star rating signifying a "bloody essential" purchase, and its critic Paul Lester said, "Of all the great new British pop groups, Oasis are the least playful, the least concerned with post-modern sleights of influence [...] "Definitely Maybe" is 'What the World's Been Waiting For', a record full of songs to live to, made by a gang of reckless northern reprobates who you can easily dream of joining [...] If you don't agree it offers a dozen opportunities to believe that 1994 is the best year ever for pop/rock music, then you're wrong".


title: Definitely Maybe

text: Stuart Maconie of "Q" described "Definitely Maybe" as "an outrageously exciting rock/pop album... a rutting mess of glam, punk, and psychedelia, you've heard it all before of course, but not since the Stone Roses debut have a young Lancastrian ["sic"] group carried themselves with such vigour and insouciance". "Vox"s Mike Pattenden stated that "occasionally – and in this voracious, selfish, faddish industry it is only occasionally – something materialises that justifies the endless bullshit that represents its daily diet... the 11 songs that make up "Definitely Maybe" [...] lie shining like so much crystal-cut glass among the debris of the nation's hotel rooms". Writing in "Mojo" in 1994, Jim Irvin felt the record was "bloody close" to the "punch-yer-lights-out debut they'd intended. Certainly when put next to the flimsy, uncommitted music of most new British bands, "Definitely Maybe" spits feathers... Spunky, adolescent rock, vivifying and addictive".


title: Definitely Maybe

text: In the US, "Rolling Stone" included the album in its end-of-year round-up of 1994's most important records, with Paul Evans saying, "Liam Gallagher has God-given cool. And with his brother Noel supplying him with sumptuous rockers, it's easy to see why this quintet is next year's model. Heavier on guitar than Blur or Suede, they're the simpler, catchier outfit." Neil Strauss of "The New York Times" wrote of the songs; "On its own, each one sounds like a classic, rippling with hard guitar hooks, strong dance beats and memorable choruses."


title: Definitely Maybe

text: In 1997, "Definitely Maybe" was named the 14th greatest album of all time in a "Music of the Millennium" poll conducted by HMV, Channel 4, "The Guardian", and Classic FM. On Channel 4's "100 Greatest Albums" countdown in 2005, the album was placed at No. 6. In 2006, "NME" placed the album at No. 3 on its list of the greatest British albums ever, behind the Stone Roses' self-titled debut album and the Smiths' "The Queen Is Dead". In a 2006 British poll run by "NME" and the "Guinness Book of British Hit Singles", the album was voted the best album of all time, with the Beatles' "Sgt. Pepper's Lonely Hearts Club Band" finishing second. "Q" placed it at No. 5 on its greatest albums of all time list in 2006, and "NME" hailed it as the greatest album of all time that same year.


title: Definitely Maybe

text: In a 2008 poll conducted by "Q" and HMV of the greatest British albums of all time, "Definitely Maybe" placed at No. 1. "Rolling Stone" ranked the album at No. 217 on its 2020 list of the "500 Greatest Albums of All Time", No. 78 on its 2011 list of the "100 Best Albums of the Nineties", as well as No. 42 on its 2013 list of the "100 Best Debut Albums of All Time". The German edition of "Rolling Stone" ranked the album at No. 156 on its list of "The 500 Greatest Albums of All Time". At Acclaimed Music, a website which calculates the most favourably reviewed songs and albums, "Definitely Maybe" is ranked as the 15th most critically acclaimed album of the 1990s and the 111th most critically acclaimed album of all time.


title: Definitely Maybe

text: In 2000, the album was voted No. 44 in Colin Larkin's "All Time Top 1000 Albums". In July 2014, "Guitar World" ranked "Definitely Maybe" at No. 19 on its list of "50 Iconic Albums That Defined 1994". The album was ranked at No. 160 on "Spin"s "300 Best Albums of the Past 30 Years (1985–2014)" list. In 2017, "Pitchfork" listed the album at No. 9 on its list of the "50 Best Britpop Albums". On the other hand, it was ranked at No. 4 on the list of most overrated albums ever in a 2005 BBC public poll. The album was also included in the book "1001 Albums You Must Hear Before You Die".


title: Definitely Maybe

text: Reviewing the 2014 reissue of "Definitely Maybe" in "Mojo", Danny Eccleston stated, "There's nothing more exhilarating than the feeling that something great is about to happen. It's a force that courses, unmanageably, through Oasis' debut album even today... This is transcendental rock'n'roll music that celebrates the moment, not "a" moment." In his review of the reissue, "Rolling Stone" critic Rob Sheffield said, "Twenty years on, Oasis' debut album remains one of the most gloriously loutish odes to cigarettes, alcohol, and dumb guitar solos that the British Isles have ever coughed up." The same year, a study of the album by writer Alex Niven was published in Bloomsbury's 33⅓ series. Niven reviewed the album from a sociopolitical context of Oasis as a working-class answer to four decades of political strife.


title: Definitely Maybe

text: The Definitely Maybe box set was released on 4 November 1996, featuring four discs of singles, including B-sides, and one disc of interviews. The set charted at number 23 on the UK Albums Chart.


title: Definitely Maybe

text: As part of a promotional campaign entitled Chasing the Sun, the album was released on 19 May 2014, a deluxe edition featured the remastered original album packaged with two additional discs of material. Additionally, a limited edition reproduction of the band's original 1993 demo cassette was also made available to purchase.


title: Definitely Maybe

text: "Definitely Maybe" was released on DVD in September 2004 to mark the tenth anniversary of its original release. It went triple platinum in the UK. The DVD featured an hour-long documentary about the recording of the album featuring interviews with the band and its associates. Also included was the album in its entirety, at 48 kHz, including a remix of "Sad Song" with double tracked vocals during the chorus. "Sad Song" originally only appeared on the UK vinyl and Japanese CD versions of the album, as well as on a French bonus CD included with copies of the album sold at FNAC stores. Other content included live and TV performances of the album's twelve tracks, and the promo videos to "Supersonic" (UK & US versions), "Shakermaker", "Live Forever" (UK & US versions), "Cigarettes & Alcohol" and "Rock 'n' Roll Star". A limited-edition release in the UK and Ireland included a bonus DVD containing more live footage and anecdotes.


title: Definitely Maybe

text: There was also an accompanying made-for-TV documentary, entitled "There We Were, Now Here We Are ... : The Making Of Oasis". This was broadcast on Channel 4 in the UK at 11:30 pm on Friday, 3 September, three days before the release of the "Definitely Maybe" DVD. The programme combined existing and unused interview footage from the DVD documentary and focused on the origins of the band, and the four singles from "Definitely Maybe". It also included a clip of "All Around the World" performed live at a rehearsal session in the Boardwalk in 1992, five years before it was eventually recorded and released on "Be Here Now". The DVD received the "NME" award for Best Music DVD. The DVD earned Gold status in Australia.


title: Spider-Woman (Jessica Drew)

text: Spider-Woman (Jessica Drew) is a fictional character appearing in American comic books published by Marvel Comics. The character first appeared in "Marvel Spotlight" #32 (cover-dated February 1977), and 50 issues of an ongoing series titled "Spider-Woman" followed. At its conclusion, she was killed, and though later resurrected, she fell into disuse, supplanted by other characters using the name Spider-Woman.


title: Spider-Woman (Jessica Drew)

text: Her origin story relates that she was a brainwashed spy working for HYDRA. Writer Brian Michael Bendis added Spider-Woman to the roster of The New Avengers, which leads to her involvement in the "Secret Invasion" storyline. In 2009, the character received her second self-titled limited series, written by Bendis, which ran for seven issues. As part of the 2014 "Spider-Verse" event, Spider-Woman began her third ongoing series, written by Dennis Hopeless. The series was interrupted by Marvel's 2015 "Secret Wars" event, and ended with issue #10. "Spider-Woman" was relaunched several months later with a new issue #1, still written by Hopeless, which continued the story from the previous volume.


title: Spider-Woman (Jessica Drew)

text: Jessica Drew has been described as one of Marvel's most notable and powerful female heroes. She will make her cinematic debut in "", voiced by Issa Rae.


title: Spider-Woman (Jessica Drew)

text: Marvel Comics' then-publisher Stan Lee, said in 1978, shortly after Spider-Woman's debut in "Marvel Spotlight" #32 and the start of the character's 50-issue, self-titled series (April 1978 - June 1983), that the character originated because


title: Spider-Woman (Jessica Drew)

text: Spider-Woman's origin and basic character were designed by Archie Goodwin, while her visual appearance was designed by freelancer Marie Severin.


title: Spider-Woman (Jessica Drew)

text: Though by most accounts, Spider-Woman was originally intended as a one-off character for the sake of simply establishing trademark, "Marvel Spotlight" #32 sold unexpectedly well and writer/editor Marv Wolfman was asked to take the character to an ongoing series.


title: Spider-Woman (Jessica Drew)

text: In her first appearance, Spider-Woman was to be an actual spider evolved into a human as imagined by writer/co-creator Goodwin. Her debut was shortly followed by a four-issue story arc in "Marvel Two-in-One" in which Wolfman presented a different origin retcon as he felt her original origin was too implausible for mid-1970s readers. During this arc and the premiere issue of her own comic, Spider-Woman was identified as the human, Jessica Drew (combining the first name of Wolfman's daughter and the last name of fictional detective Nancy Drew), who had memories of being a spider implanted into her by the terrorist group HYDRA. Her costume was also redesigned for her series so that her long hair was uncovered, becoming a prominent part of the character's appearance.


title: Spider-Woman (Jessica Drew)

text: Wolfman introduced Spider-Woman's mentor Charles Magnus and archenemies Morgan le Fay and the Brothers Grimm. He left the series after issue #8, citing a heavy workload, but later admitted "If truth be told, I never felt comfortable writing her. I never found a handle for her and kept trying until I finally decided to leave the book". Neophyte Mark Gruenwald became the writer, while the series's regular penciler, comics legend Carmine Infantino, remained on board, having developed a fondness for the character and her stories. Gruenwald continued with the macabre themes Wolfman had used, while putting more focus on Drew's struggles to deal with her social awkwardness, shyness, and the negative reactions she produced in nearly everyone she met. The last of these is revealed to be caused by fear-inducing pheromones, a previously unrevealed ability. Gruenwald also introduced outgoing aspiring actress Lindsay McCabe, who became Drew's best friend and the mainstay of her supporting cast.


title: Spider-Woman (Jessica Drew)

text: Marvel had been heavily advertising the series from the start, and during Gruenwald's run an animated TV series began airing. But Roger Stern, who replaced Wolfman as editor, recounted that Spider-Woman had already lost her status as a top seller by this time. Despite her differing origin and powers and Wolfman's deliberate effort to avoid Spider-Man guest appearances or crossovers, readers still tended to see the character as a female Spider-Man. "They saw her, and later the She-Hulk", Stern explained, "as running a good idea into the ground, much as DC had done in the ’60s with its then-ever-growing families of Super- and Bat-characters".


title: Spider-Woman (Jessica Drew)

text: Issue #20 saw the departure of Gruenwald, Infantino, and Stern. New writer Michael Fleisher gave Spider-Woman a career as a bounty hunter, abandoned both the series' macabre tone and outstanding subplots such as Charles Magnus' mysterious disappearance, and replaced them with such superhero standbys as criminal masterminds and a love interest who is enamored with the protagonist's costumed guise but oblivious to her in her civilian identity. Many fans criticized that Fleisher had taken away everything that made the character special. Fleisher would be retained on the series up until #32, after which Chris Claremont, already a big-name writer for his work on "Uncanny X-Men", took over and switched Jessica Drew's occupation from bounty hunter to private investigator. Steve Leialoha was drawing the series by this time.


title: Spider-Woman (Jessica Drew)

text: The series had already come under criticism for its rapid turnover of writers, and like all of its writers, Claremont had a fairly short stay on "Spider-Woman". After 13 issues, both he and Leialoha were compelled to leave for other projects. Their final issue marked the return of Gruenwald, this time as editor. He was promptly informed that due to dwindling sales, Marvel was canceling the series, and issue #50 would be the last. Gruenwald hired comic book novices Ann Nocenti and Brian Postman as writer and penciler for the final four issues, under the theory that their inexperience in the medium would give them a unique perspective and perhaps take the series out with a bang. Under Gruenwald's direction, the series returned to its macabre roots and resumed the long-abandoned subplot of Magnus's disappearance. The final issue used a photo cover of Marvel staffers (including Gruenwald and Nocenti) in costume as the issue's cast, and had Spider-Woman perish in a climactic battle with her nemesis Morgan le Fay. Nocenti reasoned, "These are licensed characters and you want them to have a forever life. At the same time, they live in a violent world and occasionally you feel like someone has to die, otherwise it’s too unreal".


title: Spider-Woman (Jessica Drew)

text: Readers were outraged at the character being killed, and Nocenti and Gruenwald both came to feel remorse over their decision. Gruenwald took the readers' reaction especially to heart, and became determined to fix what he saw as a major mistake. He and Stern had been paired up again on "Avengers", but with their jobs swapped, and he instructed Stern to write a story reviving Drew. Less than a year after her death, Spider-Woman was resurrected in "The Avengers" #240-241 (Feb.-March 1984).


title: Spider-Woman (Jessica Drew)

text: For the next four years she was limited to a handful of guest appearances. In 1988, she and Lindsay McCabe joined the supporting cast of "Wolverine", appearing through the first 16 issues of the character's series, followed by brief returns in issues #27 and 125-128. She was never depicted in costume during her appearances in "Wolverine", sticking with her civilian identity, though she did often use her powers to aid Wolverine.


title: Spider-Woman (Jessica Drew)

text: In 1996, Mark Gruenwald returned to the character with a short back-up feature in "Sensational Spider-Man Annual" '96. Titled "The Return of Spider-Woman", it put Drew back in costume for the first time in over a decade and ended with a teaser for further Spider-Woman adventures in "Spider-Man Team Up". Gruenwald died, however, before these stories could be written, and subsequent appearances treated "The Return of Spider-Woman" as non-canon. In 1999, Drew was again placed in the role of non-costumed supporting character, this time to the third Spider-Woman, Mattie Franklin, for the first 11 issues of "Spider-Woman" volume 3.


title: Spider-Woman (Jessica Drew)

text: Drew made an appearance in a 2003 story arc in "Alias", a series written by Brian Michael Bendis. Bendis would write most of the character's adventures for the next decade.


title: Spider-Woman (Jessica Drew)

text: In January 2005, "The New Avengers" was launched, ostensibly with Jessica Drew as a member of the titular supergroup, back in costume as Spider-Woman. Though this Jessica Drew would later be revealed as an imposter, this prominent exposure of the character opened the door for new attention to her original adventures. Firstly, on 21 December 2005, Marvel released the first issue of "Spider-Woman: Origin," a five-part miniseries co-written by Brian Michael Bendis and Brian Reed, illustrated by the art team of the Luna Brothers, Jonathan and Joshua Luna. It was largely an extended retelling of "Marvel Spotlight" #32, though some details were changed.


title: Spider-Woman (Jessica Drew)

text: Secondly, the original "Spider-Woman" series was reprinted in its entirety, along with "Marvel Spotlight" #32 and all her contemporaneous guest appearances, in a pair of "Essentials" trade paperbacks, the first released simultaneously with "Spider-Woman: Origin" #1, the second in 2007.


title: Spider-Woman (Jessica Drew)

text: In 2009, the "Secret Invasion" storyline introduced the concept that, with the exception of some flashback scenes, all of Jessica Drew's appearances in "New Avengers" over the past four years were actually made by a Skrull imposter. Writer Bendis said he had this planned since "New Avengers" #1.


title: Spider-Woman (Jessica Drew)

text: Following this story, the real Drew supplanted her doppelganger as a regular member of The New Avengers. She was also featured in another solo limited series during this time, which was published both in printed form and as a motion comic. It was written by Bendis with art by Alex Maleev and lasted 7 issues. Following the cancellation of "New Avengers", Spider-Woman appeared as a regular character throughout the 2010-2013 "Avengers" series, from issue #1 (July 2010) through its final issue #34 (January 2013). She appears as a regular character in the 2014 "Secret Avengers".


title: Spider-Woman (Jessica Drew)

text: In 2014, Jessica was a key player in the "Spider-Verse" event. Spinning out of that event, a new fifth volume "Spider-Woman" series was started, written by Dennis Hopeless. In issue #5 the series featured the first redesign of Jessica's costume since it was created in the 1970s. This series was interrupted by Marvel's 2015 "Secret Wars" event, and ended with issue #10. "Spider-Woman" Volume 6 was relaunched several months later with a new issue #1, still written by Hopeless and continues the story from the previous volume. Spider-Woman, Gwen Stacy and Silk were the protagonists of the "Spider-Women" event. Spider-Woman issues #6 and #7 were the tie-ins. The ongoing was cancelled after 17 issues.


title: Spider-Woman (Jessica Drew)

text: Spider-Woman was born Jessica Miriam Drew, daughter of Jonathan Drew and Merriam Drew, in London, England. At a young age, her family moves to a lab built by her father and Herbert Wyndham near Mount Wundagore in Transia, where she becomes gravely ill from months of uranium exposure. To save her life, her father injects her with an experimental serum based on irradiated spiders' blood. Because the serum requires a month's incubation, Wyndham places her in a genetic accelerator. Shortly after, her mother dies and her father leaves for the United States, leaving Wyndham to care for her. While in the accelerator, she ages at a decelerated rate. When she is finally released, decades later, Drew is only 17 years old.


title: Spider-Woman (Jessica Drew)

text: Drew is ostracized by the other residents of Mount Wundagore, the High Evolutionary's New Men, since she was originally human while they were animals. Because of this, she eventually leaves to seek human civilization. She is captured by a HYDRA reserve unit under Count Otto Vermis's leadership who erases her memories, brainwashes her, and recruits her as a HYDRA agent under the codename Arachne. One of HYDRA's top agents, Jared, is assigned to train her in combat and espionage and to seduce her. Once Jessica has become his lover, he allows himself to be captured by S.H.I.E.L.D. so that she can be goaded into assassinating S.H.I.E.L.D. commander Nick Fury.


title: Spider-Woman (Jessica Drew)

text: While battling Fury, Jessica accidentally kills Jared and learns HYDRA's true nature. She quits HYDRA and assaults the unit's base, sending Count Vermis into a fatal crash, but not before he unlocks memory implants that she was actually an evolved spider and had killed a man before her association with HYDRA. Despondent from these revelations, she wanders the woods where Vermis crashed until being recaptured and hypnotized by HYDRA.


title: Spider-Woman (Jessica Drew)

text: "Origin" does away with the spider-blood serum and genetic accelerator elements of the character's previous origin story. Instead, Jessica's powers derive from her mother's womb being hit by a laser beam containing the DNA traits of several different species of spiders while she was carrying Jessica (the Drews were trying to splice and harness spiders' environmental adaptive capabilities to graft them into the human genome).


title: Spider-Woman (Jessica Drew)

text: After Jessica's parents disappear under mysterious circumstances, Jessica is recruited into HYDRA (under false pretenses), where she is made into a formidable fighter and assassin. She is trained and mentored by Taskmaster, who trains her in many martial disciplines and more than seven different fighting styles out of his own "arsenal".


title: Spider-Woman (Jessica Drew)

text: In this re-telling, Otto Vermis, originally recruiting her into HYDRA, is rather an old, retired HYDRA agent whom Jessica seduces to gain information that will lead her to her father.


title: Spider-Woman (Jessica Drew)

text: As Spider-Woman, Jessica Drew is ordered to abduct Alicia Masters vacationing in London. During the resultant conflict with Ben Grimm, she recovers from her brainwashing and joins him in saving Masters. She and Grimm then encounter Modred the Mystic, who removes HYDRA's memory implants and restores her memories.


title: Spider-Woman (Jessica Drew)

text: Jessica moves into an apartment in London, but finds it impossible to get a job due to her complete lack of background and her tendency to inspire dislike and even fear in other people. Following an aborted break-in, she is unmasked by Scotland Yard officer (and S.H.I.E.L.D. agent) Jerry Hunt, who becomes obsessed with her. During this troubled time, she is approached by the mysterious sorcerer Magnus, who offers help. After defending him from Excaliber, who was sent by Morgan Le Fay to recover the Darkhold, he suggests that she relocate with him to Los Angeles. Magnus tutors her in the ways of civilization and informs her that her father was murdered, leading her on a hunt for his killer. She is distracted from this hunt when Morgan Le Fey's ghost again seeks the Darkhold, this time in person. During the battle, Hunt catches up with Jessica and they begin a romantic relationship. With his help, she identifies her father's murderer who dies immediately after confessing.


title: Spider-Woman (Jessica Drew)

text: For the time, Jessica chooses to keep her doings as Spider-Woman a secret. Her relationship with Hunt sours, and following a final battle with the Brothers Grimm, he and Magnus part ways with her. For the next three months, she makes a hand-to-mouth living by working as a receptionist at the Hatros Institute while undergoing group therapy there. Though she ultimately loses the position due to a change in management, during her time there she received medication to suppress her pheromones so that she could exist among other people without producing any unwanted side-effects. Jessica formed a strong friendship with fellow patient and aspiring actress Lindsay McCabe and developed acquaintances with several other superheroes.


title: Spider-Woman (Jessica Drew)

text: The next few months of Jessica's life are not covered by published stories. During this time, she appears publicly as Spider-Woman, becomes a bounty hunter working in partnership with paraplegic criminologist Scotty McDowell, acquires a full wardrobe of disguises for use in her work, and finds a police liaison in Captain Walsh. This situation lasts for several months. When her working relationship with Scotty fails, Jessica accepts an offer from Lindsay to move into an apartment with her in San Francisco, where she begins a romantic relationship with their landlord David Ishima, and sets up a practice as a licensed private investigator. Her move there allows Lindsay to deduce her secret identity; she is unbothered by the danger involved in being Spider-Woman's friend, and the shared secret deepens the friendship between them.


title: Spider-Woman (Jessica Drew)

text: While working as a private investigator, Jessica battles Morgan once again. Not long after that, she gives up her immunity powers to save Giant-Man. Her relationship with David Ishima develops to the point where she reveals her Spider-Woman identity to him, only to have him break up with her because he wants to be with an ordinary woman.


title: Spider-Woman (Jessica Drew)

text: Jessica travels in astral form with Magnus to 6th century England to free her friends' souls in a showdown with Morgan le Fey in the 6th century. She manages to vanquish Morgan, but her human body dies while her spirit was gone. At her request, Magnus places a spell over humanity to remove all memory of Jessica's existence. This spell is faulty, however; when Tigra and the Shroud discover Jessica's dead body, they contact the Avengers and Doctor Strange. The Avengers and Strange travel to the astral plane to battle Morgan Le Fay, who was trying to claim Jessica's body so she could return to the physical realm. Eventually, Doctor Strange and Magnus reunite Jessica's spirit with her human body, though Magnus's life and Jessica's powers are sacrificed to do so. She thus abandons her Spider-Woman identity and continues her life as a private investigator in San Francisco, assisted by Lindsay McCabe and, for a time, by Tigra.


title: Spider-Woman (Jessica Drew)

text: Jessica and Lindsay take a job delivering the Black Blade to Japan, but while passing through Madripoor, she is enchanted by the blade. By this time, her superhuman strength and agility, and ability to cling to walls have returned. She is freed from the blade's power by Lindsay and an underworld figure called Patch, whom she immediately recognizes as the X-Man Wolverine. Following the incident, she and Lindsay set up new business lodgings in Madripoor, with Patch as a frequent ally and information source.


title: Spider-Woman (Jessica Drew)

text: Jessica Drew's life settles down until Charlotte Witter, a villainess going by the Spider-Woman name, steals her powers and leaves her near death. Jessica is taken from the hospital to New York City by Madame Web who directs her and Mattie Franklin (yet another woman who has assumed the Spider-Woman name) to track down Witter. Under Madame Web's guidance, Franklin absorbs from Witter the powers of all four Spider-Women. Afterwards, Jessica remains with Madame Web for a time, helping her to watch over Mattie. Jessica's powers gradually return to her during this time, but are now unreliable, failing her unexpectedly on occasion.


title: Spider-Woman (Jessica Drew)

text: For untold reasons, Jessica moves back to San Francisco, resuming her private investigator practice there. When she hears that Mattie Franklin has gone missing, she goes to New York to find her. With the help of local P.I. Jessica Jones, she rescues Mattie from a drug dealer who had abducted her and was cannibalizing her tissue to make the Mutant Growth Hormone.


title: Spider-Woman (Jessica Drew)

text: One day, a HYDRA agent known as Connely offers her powers back if she would rejoin S.H.I.E.L.D. as a double agent. Knowing Connely would kill her if she says no, Jessica Drew contacts Nick Fury who confronts her securely and urges her to accept the offer. He tells Jessica that he will feed her limited info until S.H.I.E.L.D. can analyze the HYDRA cell and then use the info to take it down. The HYDRA cell is in fact a team of Skrulls who made the offer as a trap to abduct Drew, so that their current Queen Veranke could take her place in the New Avengers and assume her role as Fury's spy in preparation for the upcoming invasion.


title: Spider-Woman (Jessica Drew)

text: After the invasion is repulsed, Tony Stark finds a Skrull ship in orbit with all the replaced heroes, including Drew.


title: Spider-Woman (Jessica Drew)

text: Jessica Drew joins the New Avengers, claiming she has nowhere else to go. She also joins the Lady Liberators along with the Invisible Woman, Storm, Valkyrie, Thundra, Tigra, Black Widow, She-Hulk and Hellcat who are trying to discover the identity of the Red Hulk. Alongside her work with the Avengers, Jessica Drew joins S.W.O.R.D., under an invitation by Abigail Brand. Her membership in the organization takes her on a number of missions eliminating hostile aliens operating on Earth.


title: Spider-Woman (Jessica Drew)

text: Before the Siege of Asgard, Ronin attempts to assassinate Norman Osborn but is captured by the Dark Avengers. Jessica Drew teams up with Ms. Marvel, Mockingbird and Jessica Jones to rescue him. After he is saved, the New Avengers relocate to a safehouse in Brooklyn where they meet up with Steve Rogers.


title: Spider-Woman (Jessica Drew)

text: Jessica is then paired with Spider-Man to do reconnaissance on Avengers Tower, where she reveals to him she is an agent of S.W.O.R.D. The duo are then found by Mandrill and Griffin who proceed to attack them. During the fight Mandrill gets close enough to Jessica and controls her into attacking Spider-Man. Spider-Man appears to be on the losing end of the fight but manages to lure Jessica away from Mandrill and the effects of his control begin to wear off. The duo trick Mandrill and Griffin into thinking Jessica has beaten Spider-Man and when they approach Spider-Woman to give her new commands, Jessica punches Mandrill in the face and shoves her hand in his mouth, firing off a venom blast and knocking him out. Furious, Jessica wants to kill both villains for what they have done but is stopped by Spider-Man. The duo heads back to the safehouse where they head off with the Avengers to help the Asgardians. Upon arriving in Asgard, Jessica and the rest of the heroes engage Iron Patriot's forces and witnesses the insane Sentry's defeat.


title: Spider-Woman (Jessica Drew)

text: Jessica is asked by Steve Rogers himself to join his team of Avengers. During their first meeting, Jessica expresses her doubts to Wolverine about being on the team, feeling she has not earned the role. Wolverine advises her if she feels that way, she will then have to work towards earning it then. Suddenly Kang the Conqueror appears in the middle of the meeting with a dire warning about the future and all of reality, blaming the children of the Avengers. After recruiting the Protector and building a time machine, the time machine is destroyed by a furious Wonder Man. Once the dust has settled, an alternate version of Apocalypse and his Four Horsemen appear. After Apocalypse's defeat, Jessica and a few of her teammates are sent into New York City to protect its citizens from the attacks coming from the timestream. While in Washington Square Park, they come across Killraven and join forces to help the citizens. Once their mission is completed and all the attacks have stopped, Jessica is the first to realize Killraven has not been returned to his proper future.


title: Spider-Woman (Jessica Drew)

text: Later Jessica is present when Red Hulk comes to warn the Avengers that the Hood is seeking to collect the Infinity Gems. She is present along with the rest of the Avengers when they confront the Illuminati in Attilan about their existence and goes with a team of Avengers to the ruins of the Xavier Institute to get to Professor Xavier's Infinity gem.


title: Spider-Woman (Jessica Drew)

text: During the "Fear Itself" storyline, Spider-Woman, Ms. Marvel and Protector arrive in Brazil to help Red She-Hulk fight Hulk, who was transformed into Nul: Breaker of Worlds.


title: Spider-Woman (Jessica Drew)

text: While on a mission for S.W.O.R.D., Jessica is sent to locate an unusual alien energy surge in Wakanda. Upon finding the remains of a Spaceknight, Jessica is ambushed by the Intelligencia who take her as a prisoner. Abigail Brand approaches the Avengers for help and a team is put together to help locate Jessica. Jessica wakes up naked and is interrogated by two members of the Intelligencia. While the Intelligencia study the Spaceknight, the Avengers interrupt their attempts and the body activates, revealing it was containing Ultron's consciousness. The new Ultron escapes and Jessica is reunited with the Avengers.