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![]() ![]() Instead, as a teen-ager, he took an entry-level job at Timely, his uncle Martin Goodman’s firm, where Jack Kirby, Joe Simon, Bill Everett, and Carl Burgos were assembling stories about a cantankerous Prince of Atlantis named Namor his android nemesis, the original Human Torch and a blond, Nazi-punching guy called Captain America. Had he grown up elsewhere, Lee might have fled to Hollywood. “I decided that I wanted to be able to speak that way, to be able to hold the attention of an audience,” he recalled years later. When he noticed a classmate with a knack for extempore speaking, he was inspired. At DeWitt Clinton High School, in the Bronx (a few years ahead of James Baldwin), Stanley showed verbal skill and a performer’s ambition. As unassuming as Stan was self-promoting, Larry worked with-or, really, worked for-Stan in comics, off and on, for most of the century. His younger brother, Larry, arrived nine years later. Stanley Martin Lieber was born in 1922, the first child of Romanian Jewish immigrants in Manhattan his father was a garment cutter and his mother was a department-store saleswoman. What it does best is unfurl a Künstlerroman, a story about the growth of an art form and an artist who was also a director and a leading man, unable to admit that the show could go on without him. It cannot settle every question about what, exactly, Lee did. Named for one of Lee’s catchphrases, “True Believer” isn’t the first serious biography of Lee, though it is the first completed since his death, in 2018. For decades, the title page of every Marvel superhero comic said “Stan Lee Presents”-no wonder we want to know who he really was. ![]() Even as they dominate popular culture, superheroes-the flawed kind, the weird kind, the kind Marvel pioneered-can stand for exclusion, for queerness, for disability, for all manner of real or perceived oppression, marshalling enough power to blast their enemies into the sun. Americans who can’t identify Achilles or Botswana know Wakanda as a high-tech nation in Africa, Loki as a Norse god who’s up to no good, and Peter Parker as the original Spider-Man. Figures that Lee co-created, or said he created, revived a genre that had been on its last legs, helping to launch them from drugstore spinner racks to the screen. Another reason is honesty: audiences believe that Lee created those characters, and his lifelong habit of taking credit has stoked fans’ and journalists’ wish to get at the truth.Īnd then there’s the cultural dominance that superheroes, especially Marvel ones, have attained. Though Lee gave up his stake in the intellectual property years before the Marvel Cinematic Universe began, money kept flowing his way. Nine of the thirty top-grossing films in history use Marvel characters. Why should we care? One answer is money-lots of it. To give a full account of Stan Lee, as Abraham Riesman sets out to do in a new biography, “ True Believer” (Crown), is to contend not just with his presence in popular culture (the smiling oldster in sunglasses, with a cameo in each Marvel film) but with the fluid nature of artistic collaboration, and so with endless debates over which parts of the comics are his. And company-owned superhero comics are plotted, drawn, scripted, and lettered by different people, with creative teams that change over time. Live-action films require directors and actors. It also raised big questions about-to use two of Lee’s favorite nouns-power and responsibility, since Lee never created a comic alone. Still, if he was going to make comics, he wanted credit. He said that he was saving his birth name for a more respectable project, like a novel. He was as efficient as his older colleagues at churning out scripts, and already distinguished himself in one way: he put his pen name, Stan Lee, on all his work. There, before and after his Army service, and into the decade that followed, Stanley became one of many typists and scribblers providing copy for word balloons and prose for the books’ filler pages. In the early nineteen-forties, decades before he was Stan the Man, the impresario of the Marvel Universe, Stanley Martin Lieber fetched coffee, took notes, and sat on desks playing the piccolo-or perhaps the ocarina-in the offices of his uncle’s comic-book company. This content can also be viewed on the site it originates from. ![]() “Metric Halo plugins are so clean,” he explained. But when Gonsolin needs to make a transparent technical change that doesn’t mess with the feel of a track, he always opts for Metric Halo plugins. Like so many engineers, Gonsolin indulges his love of gear and plugins and he certainly has no shortage of tools at his disposal either inside or outside of the box. In addition to working with major label talent, Gonsolin works with independent artists who want major label sound but who don’t yet have access to the typical A-list producers, engineers, and studios. 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In his long career, X:144 has produced & engineered for Ms. SAFETY HARBOR, FLORIDA: Hip-hop artist X:144 has always had a lot going on, and although the pandemic has shifted where and how things happen, he’s as busy as ever. I think there’s solder in those plugins!” The fidelity, clarity, roundness, warmth, and detail make a massive contribution to the ease of achieving a result. Just instantiating a Metric Halo plugin is like running through great analog hardware that’s zeroed out. Really, they don’t sound like plugins they sound like hardware. “Metric Halo plugins are some of the most analog-sounding plugins I’ve heard in recent years. More options are in YouTube Settings => General.4. Basically, this is the iOS version of the SponsorBlock extension.3. iSponsorBlock is based on SponsorBlock engine. iSponsorBlock: Skips annoying sponsor ads inside videos. Save videos in high resolution, save videos as audio-only, save public playlists (beta).Ěnd many more.2. 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![]() He published his account in an 1875 issue of the scientific journal Annals and Magazine of Natural History, in which he named the new species Trygon brevicaudata, derived from the Latin brevis ("short") and cauda ("tail"). The original description of the short-tail stingray was made by Frederick Hutton, curator of the Otago Museum, from a female specimen 1.2 m (3.9 ft) across caught off Dunedin in New Zealand. Because its population does not appear threatened by human activity, the International Union for Conservation of Nature (IUCN) lists it under least concern. ![]() It is often caught incidentally by commercial and recreational fisheries throughout its range, usually surviving to be released. The short-tail stingray is not aggressive, but is capable of inflicting a lethal wound with its long, venomous sting. The litter size is typically 6 –10, but litter sizes of up to fifteen are not unheard of. This species is aplacental viviparous, with the developing embryos sustained by histotroph ("uterine milk") produced by the mother. Both birthing and mating have been documented within the aggregations at Poor Knights. Large aggregations of rays form seasonally at certain locations, such as in the summer at the Poor Knight Islands off New Zealand. It tends to remain within a relatively limited area throughout the year, preferring deeper waters during the winter, and is not known to perform long migrations. The diet of the short-tail stingray consists of invertebrates and bony fishes, including burrowing and midwater species. It is armed with large tubercles and a midline row of large thorns in front of the stinging spine which has the dorsal and ventral fin folds behind. Its tail is usually shorter than the disc and thick at the base. The body can have colors as well as dark grey or black with rows of white spots along each wing. Its plain-colored, diamond-shaped pectoral fin disc is characterized by a lack of dermal denticles even in adults, and white pores beside the head on either side. One of the largest stingrays in the world, this heavy-bodied species can grow upwards of 2.1 m (6.9 ft) across and 350 kg (770 lb) in weight. ![]() It is mostly bottom-dwelling in nature and can be found across a range of habitats from estuaries to reefs, but also frequently will swim into open water. It occurs off southern Africa, typically offshore at a depth of 180–480 m (590–1,570 ft), and off southern Australia and New Zealand, from the intertidal zone to a depth of 156 m (512 ft). The short-tail stingray or smooth stingray ( Bathytoshia brevicaudata) is a common species of stingray in the family Dasyatidae. Download About Adobe Acrobat.Electronic documents are widely used to store and share information such as bank statements, contracts, articles, maps and tax information. 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For instance, Financial related add-ins shipping by default with Excel 2007 won't run. "You can access the VBA environment in Excel 2011 for Mac by opening the Visual Basic editor. ![]() If you are using Excel’s latest version (365 or 2019) then you can use it with multiple users + you need to use One Drive/Google Drive to share it across the = "Retrieving data. Research on fluent adult readers has shown that these brain areas seem to be (at least partially) recruited even in processing arbitrary associations between letters and speech sounds, indicating a certain degree of plasticity in audiovisual brain areas during reading acquisition ( Amedi et al., 2005 Blomert & Froyen, 2010 Hocking & Price, 2008). The effects of audiovisual integration (i.e., the absolute difference between bimodal and unimodal presentations) and audiovisual congruency (i.e., the absolute difference between matching and mismatching bimodal presentations) have mainly been localized in the auditory cortex and the superior temporal cortex ( Amedi, von Kriegstein, van Atteveldt, Beauchamp, & Naumer, 2005 Hocking & Price 2008), with possible left lateralization ( Calvert, 2001 Calvert, Brammer, & Iversen, 1998). The processing of natural audiovisual associations (e.g., the correspondence between speech and lip movements) has been widely explored in the literature. We hypothesized that during reading acquisition pre-existing brain circuits for audiovisual processing should become progressively tuned to the arbitrary relationships between letters and speech sounds ( Blomert, 2011). The present MEG study focused on these audiovisual processes, testing how they changed as a function of developing reading abilities. Efficient reading skills crucially depend on the ability to compare and connect visual and auditory representations of letters ( Blomert, 2011). However, the core of reading acquisition lies in the interaction between these two modalities. A considerable amount of research on reading-related brain changes has examined this plasticity in either visual and auditory brain circuits ( Dehaene et al., 2010, 2015 Goswami & Ziegler, 2006 Ziegler & Muneaux, 2007). Learning this life-changing skill thus requires considerable modulation of pre-existing brain networks, such as the visual object recognition and spoken language networks ( Carreiras et al., 2009 Dehaene, Cohen, Morais, & Kolinsky, 2015). Literacy is a relatively recent cognitive achievement in human evolution for which there are no specialized neural circuits already in place. ![]() This reading-specific brain plasticity implies (partial) recruitment of pre-existing brain circuits for audiovisual analysis. These findings suggest that children progressively change the way they treat audiovisual syllables as a function of their reading experience. Both studies showed that during the first years of reading instruction children gradually set up audiovisual correspondences between letters and speech sounds, which can be detected within the first 400 ms of a bimodal presentation and recruit the superior portions of the left temporal cortex. To address these questions, the present longitudinal and cross-sectional MEG studies characterize the temporal and spatial neural correlates of audiovisual syllable congruency in children (4-9 years old, 22 males and 20 females) learning to read. Understanding the neural adjustments required for acquisition of these arbitrary audiovisual associations can shed light on fundamental reading mechanisms and help reveal how literacy builds on pre-existing brain circuits. ![]() The ability to establish associations between visual objects and speech sounds is essential for human reading. |
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