Ironman

2009-11-16T20:43:00.001-08:00

Istilah & fungsi pada jaringan LAN

a) Server

Server adalah komputer yang biasanya dikhususkan untuk penyimpanan data atau system operasi berbasis network (Network Operating System), berisikan daftar user yang diperbolehkanmasuk ke server tersebut. Jadi apabila komputer server mengalami kerusakan atau gangguan secara otomatis seluruh jaringan tidak berfungsi karena server merupakan pintu masuk dan sebagai pusat jaringan tersebut. Jadi apabila seluruh jaringan tidak dapat berfungsi berarti terjadi gangguan atau kerusakan pada server.

b) Workstation

Workstation adalah komputer yang memanfaatkan jaringan untuk menghubungkan komputer tersebut dengan komputer lain atau komputer tersebut dengan server. Pemanfaatan jaringan tersebut dapat berupa sharing data, sharing printer dan sebagainya. Apabila terjadi kerusakan pada komputer workstation berarti komputer yang digunakan tidak dapat masuk dalam jaringan sehingga tidak dapat berkomunikasi dengan komputer server maupun komputer lain dalam jaringan tersebut.

c) Hub/switch

Hub/switch merupakan terminal atau pembagi signal data bagi kartu jaringan (Network Card). Jika Hub mengalami kerusakan berarti seluruh jaringan juga tidak dapat berfungsi untuk berkomunikasi antar workstation atau komputer workstation dengan server. Apabila terjadi kerusakan pada Hub dapat dilihat pada lampu indikator power dan lampu indikator untuk masing masing workstation. Apabila lampu indikator power Hub/switch mati berarti kemungkinan besar Hub tersebut rusak. Jika ada lampu indikator workstation yang tidak menyala menyatakan bahwa komputer workstation sedang tidak aktif (tidak hidup) atau ada gangguan pada komputer workstation tersebut.

d) Network Interface Card (Kartu jaringan)

Sebuah kartu jaringan (LAN Card) yang terpasang pada sebuah komputer server maupun workstation sehingga komputer dapat dihubungkan ke dalam sistem jaringan. Apabila terjadi gangguan atau kerusakan pada kartu jaringan berakibat pada komputer tersebut tidak dapat masuk dalam sistem jaringan. Indikator yang dapat dilihat dalam kerusakan kartu jaringan adalah matinya lampu indikator yang terdapat pada kartu jaringan dan lampu indikator di Hub/switch saat komputer telah hidup dan konektifitas kabel dari kartu jaringan dan hub/switch telah baik.

e) Kabel dan konektor

Kabel dan konektor merupakan media penghubung antara komputer dengan komputer lain atau dengan peralatan lain yang digunakan untuk membentuk jaringan.

Kabel dan konektor untuk membuat jaringan LAN yang banyak digunakan ada 3 jenis yaitu:

(1) Jenis kabel serat optik menggunakan konektor SC dan ST.Gangguan atau kerusakan pada kabel dan konektor jenis seratoptik sangat jarang, tetapi memerlukan penanganan secarakhusus untuk perawatan jaringan.

(2) Jenis Kabel UTP dengan konekor RJ45. Gangguan ataukerusakan pada kabel jenis ini adalah konektor yang tidakterpasang dengan baik (longgar), susunan pengkabelan yangsalah dan kabel putus. Indikasi yang dapat dilihat adalah lampuindikator yang tidak hidup pada kartu jaringan atau padaHub/switch. Jaringan menggunakan kabel UTP kesalahan yangmuncul relatif sedikit, karena jaringan terpasang menggunakantopologi star, workstation terpasang secara paralel denganmenggunakan swicth/hub. Sehingga yang terjadi gangguanhanya pada workstation yang kabelnya mengalami gangguan saja.

(3) Jenis kabel Coaxial dengan konektor BNC. Kabel jenis coaxialmemiliki akses yang cukup lambat bila dibandingkan jenis kabellainnya dan sering terjadi gangguan karena konektor yanglonggar (tidak konek), kabel short dan kabel terbuka resistorpada terminating conector. Short pada pemasangan kabeldengan plug konektor ini menyebabkan system jaringan akandown dan komunikasi antar komputer berhenti.

tranformer

2009-11-09T22:47:00.000-08:00

Product Description
From the Manufacturer
Having chosen to stay with Sam after the end of the battle for the AllSpark, BUMBLEBEE made arrangements to stay close to him at all times. It’s been a pretty good deal. He gets regular detailing, and as much high-grade fuel as he needs. Plus, he gets to spend time with Sam and Mikaela. His vocal processors still aren’t fully up to snuff, but he and his friends communicate just fine. If he ever misses the action of battle, he can always give IRONHIDE a call and go DECEPTICON hunting. Get ready to roll out with this AUTOBOT ally! This detailed BUMBLEBEE figure unleashes a launching pulse missile in robot mode and converts to a cool, Camaro concept car in vehicle mode! The battle is on and this bright yellow warrior is ready – are you?

Product Description
Having chosen to stay with Sam after the end of the battle for the AllSpark, BUMBLEBEE made arrangements to stay close to him at all times. Its been a pretty good deal. He gets regular detailing, and as much high-grade fuel as he needs. Plus, he gets to spend time with Sam and Mikaela. His vocal processors still arent fully up to snuff, but he and his friends communicate just fine. If he ever misses the action of battle, he can always give IRONHIDE a call and go DECEPTICON hunting. Get ready to roll out with this AUTOBOT ally! This detailed BUMBLEBEE figure unleashes a launching pulse missile in robot mode and converts to a cool, Camaro concept car in vehicle mode! The battle is on and this bright yellow warrior is ready are you?
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michael jakson

2009-11-02T20:39:00.000-08:00

Michael Jackson
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other persons named Michael Jackson, see Michael Jackson (disambiguation).
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Michael Jackson

At the White House in 1984
Background information
Birth name Michael Joseph Jackson
Born August 29, 1958(1958-08-29)
Gary, Indiana, United States
Died June 25, 2009 (aged 50)
Los Angeles, California,
United States
Genres R&B, pop, rock, dance
Occupations Singer, songwriter, record producer, dancer, choreographer, actor, businessman
Instruments Vocals, piano, drums, guitar, beat-box
Years active 1964–2009
Labels Motown, Epic
Associated acts The Jackson 5
Website www.michaeljackson.com

Michael Joseph Jackson (August 29, 1958 – June 25, 2009), known as the "King of Pop", was an American musician and one of the most commercially successful and influential entertainers of all time. His unique contributions to music and dance, along with a highly publicized personal life, made him a prominent figure in popular culture for four decades.

Alongside his brothers, he made his debut in 1964 as lead singer and youngest member of The Jackson 5, and began a successful solo career in 1971. His 1982 album Thriller remains the best-selling album of all time, with Off the Wall (1979), Bad (1987), Dangerous (1991), and HIStory (1995) among the best selling. He is widely credited with having transformed the music video from a promotional tool into an art form, with videos for his songs "Billie Jean", "Beat It" and "Thriller" making him the first African American artist to amass a strong crossover following on MTV. With stage performances and music videos, Jackson popularized a number of physically complicated dance techniques, such as the robot and the moonwalk. His distinctive musical sound, vocal style and choreography inspired numerous pop, rock, R&B and hip hop artists, while also breaking down cultural, racial and generational barriers.

One of the few artists to have been inducted into the Rock and Roll Hall of Fame twice, his other achievements feature multiple Guinness World Records—including the "Most Successful Entertainer of All Time"—13 Grammy Awards, 22 American Music Awards (20 only as a solo artist, including one for "artist of the century"), 17 number one singles (including the four as a member of the Jackson 5), and estimated sales between 350 million and 750 million records worldwide.[1] He was also a notable philanthropist and humanitarian who donated and raised millions of dollars through support of 39 charities and his own Heal the World Foundation.

Jackson's personal life generated controversy for years. His changing appearance was noticed from the late 1970s onwards, with changes to his nose and to the color of his skin drawing media publicity. He was accused of child sexual abuse in 1993 though no charges were brought, and in 2005 he was tried and acquitted of further allegations. He married twice, first in 1994 and again in 1996, and brought up three children, one born to a surrogate mother. While preparing for the This Is It concert tour in 2009, Jackson died at the age of 50 after suffering from cardiac arrest. He reportedly had been administered drugs such as propofol and lorazepam, and his death was ruled a homicide by the Los Angeles County coroner. His death triggered an outpouring of grief from around the world with his globally live broadcast memorial service attracting an audience of up to one billion people.[2]
Contents
[hide]

* 1 Life and career
o 1.1 Early life and The Jackson 5 (1958–1975)
o 1.2 Move to Epic and Off the Wall (1975–1981)
o 1.3 Thriller and Motown 25 (1982–1983)
o 1.4 Pepsi, "We Are the World" and business career (1984–85)
o 1.5 Appearance, tabloids, Bad, autobiography and films (1986–1987)
o 1.6 Autobiography, changing appearance and Neverland (1988–1990)
o 1.7 Dangerous, Heal the World Foundation and Super Bowl XXVII (1991–1993)
o 1.8 First child sexual abuse allegations (1993)
o 1.9 First marriage (1994)
o 1.10 HIStory (1995–1997)
o 1.11 Second marriage and fatherhood (1996–1999)
o 1.12 Label dispute, Invincible and third child (2000–2003)
o 1.13 Second child sexual abuse allegations (2003–2005)
o 1.14 Final years (2006–2009)
* 2 Death and memorial
* 3 Artistry
o 3.1 Influences
o 3.2 Musical themes and genres
o 3.3 Vocal style
o 3.4 Music videos and choreography
* 4 Legacy and influence
* 5 Discography
* 6 Filmography
* 7 Tours
* 8 See also
* 9 Notes
* 10 References
* 11 Further reading
* 12 External links

Life and career
Early life and The Jackson 5 (1958–1975)

Michael Jackson was born the eighth of ten children on August 29, 1958 in Gary, Indiana, an industrial suburb of Chicago, to an African American working-class family. His mother, Katherine Esther Scruse, was a devout Jehovah's Witness, and his father, Joseph Walter "Joe" Jackson, a steel mill worker who performed with an R&B band called The Falcons. Jackson had three sisters: Rebbie, La Toya, and Janet, and six brothers: Jackie, Tito, Jermaine, Marlon, Brandon (Marlon's twin brother, who died shortly after birth)[3] and Randy.[4]

Jackson had a troubled relationship with his father. He stated that he was physically and emotionally abused during incessant rehearsals, whippings, and name-calling, though he credited his father's discipline for his success.[5] In one altercation recalled by Marlon, Joseph held Michael upside down by one leg and "pummeled him over and over again with his hand, hitting him on his back and buttocks".[6] Joseph would also trip or push his sons into walls. One night while Michael was asleep, Joseph climbed into his room through the bedroom window, wearing a fright mask and screaming. He said he wanted to teach the children not to leave the window open when they went to sleep. For years afterward, Jackson said he suffered nightmares about being kidnapped from his bedroom.[6] Joseph acknowledged in 2003 that he regularly whipped Jackson as a child.[7]

Jackson first spoke openly about his childhood abuse in an interview with Oprah Winfrey broadcast on February 10, 1993. He said that he had often cried from loneliness and would sometimes vomit when he saw his father. In an interview with Martin Bashir, later included in the 2003 broadcast of Living with Michael Jackson, Jackson acknowledged that his father hurt him when he was a child, but was nonetheless a "genius." When Bashir dismissed the positive remark and continued asking about beatings, Jackson put his hand over his face and objected to the questions. He recalled that Joseph sat in a chair with a belt in his hand as he and his siblings rehearsed, and that "if you didn't do it the right way, he would tear you up, really get you".[8][9]

He showed talent early in his life, performing in front of classmates during a Christmas recital in kindergarten. In 1964, he and Marlon joined the Jackson Brothers—a band formed by brothers Jackie, Tito, and Jermaine—as backup musicians playing congas and tambourine. Jackson later began performing backup vocals and dancing; at the age of eight, he and Jermaine assumed lead vocals, and the group's name was changed to The Jackson 5.[4] The band toured the Midwest extensively from 1966 to 1968, frequently performing at a string of black clubs known as the "chitlin' circuit", where they often opened stripteases and other adult acts. In 1966, they won a major local talent show with renditions of Motown hits and James Brown's "I Got You (I Feel Good)", led by Michael.[10]

The Jackson 5 recorded several songs, including "Big Boy", for the local record label Steeltown in 1967, and signed with Motown Records in 1968.[4] Rolling Stone magazine later described the young Michael as "a prodigy" with "overwhelming musical gifts," writing that he "quickly emerged as the main draw and lead singer."[11] The group set a chart record when its first four singles ("I Want You Back", "ABC", "The Love You Save," and "I'll Be There") peaked at number one on the Billboard Hot 100.[4]

Between 1972 and 1975, Jackson released four solo studio albums with Motown, among them Got to Be There and Ben, released as part of the Jackson 5 franchise, and producing successful singles such as "Got to Be There", "Ben", and a remake of Bobby Day's "Rockin' Robin". The group's sales began declining in 1973, and the band members chafed under Motown's strict refusal to allow them creative control or input. Although they scored several top 40 hits, including the top 5 disco single "Dancing Machine" and the top 20 hit "I Am Love", the Jackson 5 left Motown in 1975.[12]
Move to Epic and Off the Wall (1975–1981)

The Jackson 5 signed a new contract with CBS Records in June 1975, joining the Philadelphia International Records division, later Epic Records,[12] and renaming themselves The Jacksons.[13] They continued to tour internationally, releasing six more albums between 1976 and 1984, during which Jackson was the lead songwriter, writing hits such as "Shake Your Body (Down to the Ground)", "This Place Hotel," and "Can You Feel It".[10]

In 1978, he starred as the scarecrow in the musical, The Wiz,[14] and it was here that he teamed up with Quincy Jones, who was arranging the film's musical score. Jones agreed to produce Jackson's next solo album, Off the Wall.[15] In 1979, Jackson broke his nose during a complex dance routine. His subsequent rhinoplasty was not a complete success; he complained of breathing difficulties that would affect his career. He was referred to Dr. Steven Hoefflin, who performed Jackson's second rhinoplasty and subsequent operations.[16]

Jones and Jackson produced the Off the Wall album together. At the album's pre-release party, Michael, himself, stated that Little Richard had a "huge influence" on him.[17] Songwriters for the album included Jackson, Heatwave's Rod Temperton, Stevie Wonder, and Paul McCartney. Released in 1979, it was the first album to generate four U.S. top 10 hits, including the chart-topping singles "Don't Stop 'til You Get Enough" and "Rock with You".[18] It reached number three on the Billboard 200 and eventually sold over 21 million copies worldwide.[19] In 1980, Jackson won three awards at the American Music Awards for his solo efforts: Favorite Soul/R&B Album, Favorite Male Soul/R&B Artist, and Favorite Soul/R&B Single for "Don't Stop 'Til You Get Enough". That year, he also won Billboard Music Awards for Top Black Artist and Top Black Album and a Grammy Award for Best Male R&B Vocal Performance, also for "Don't Stop 'Til You Get Enough".[18] Despite its commercial success, Jackson felt Off the Wall should have made a much bigger impact, and was determined to exceed expectations with his next release.[20] In 1980, he secured the highest royalty rate in the music industry: 37 percent of wholesale album profit.[21]
Thriller and Motown 25 (1982–1983)

In 1982, Jackson contributed the song "Someone In the Dark" to the storybook for the film E.T. the Extra-Terrestrial; the record won a Grammy for Best Album for Children.[22] That same year Jackson issued his second Epic album, Thriller, which became the most commercially successful album of all time. The album remained in the top 10 of the Billboard 200 for 80 consecutive weeks and 37 of those weeks at the peak position. It was the first album to have seven Billboard Hot 100 top 10 singles, including "Billie Jean", "Beat It," and "Wanna Be Startin' Somethin'."[23] Thriller was certified for 29 million shipments by the RIAA, giving it Double Diamond status in the United States. It's the Best Selling Album of All Time in this country.[24] It was, and currently remains, the best-selling album of all time, with 110 million copies worldwide.[25] Jackson's attorney John Branca noted that Jackson had the highest royalty rate in the music industry at that point: approximately $2 for every album sold. He was also making record-breaking profits from sales of CDs and The Making of Michael Jackson's Thriller, a documentary produced by Jackson and John Landis. Funded by MTV, the documentary sold over 350,000 copies in a few months. The era saw the arrival of novelties like dolls modeled after Michael Jackson, which appeared in stores in May 1984 at a price of $12.[26] Biographer J. Randy Taraborrelli writes that, "Thriller stopped selling like a leisure item — like a magazine, a toy, tickets to a hit movie — and started selling like a household staple."[27]
MichaelJacksonMoonwalk.ogg
Play video
Jackson debuts the moonwalk during his performance on Motown 25

Time described Jackson's influence at that point as "Star of records, radio, rock video. A one-man rescue team for the music business. A songwriter who sets the beat for a decade. A dancer with the fanciest feet on the street. A singer who cuts across all boundaries of taste and style and color too".[26] The New York Times wrote that, "in the world of pop music, there is Michael Jackson and there is everybody else".[28]

Jackson's popularity would soar further. On March 25, 1983, he performed live on the Motown 25: Yesterday, Today, Forever television special, both with The Jackson 5 and on his own singing "Billie Jean". Wearing a distinctive sequined glove, he debuted his signature dance move, the moonwalk, which former Soul Train dancer and Shalamar member, Jeffrey Daniel had taught him 3 years before. His performances during the event were seen by 47 million viewers, and drew comparisons to Elvis Presley's and the The Beatles' appearances on The Ed Sullivan Show.[29] Anna Kisselgoff of the The New York Times said, "The moonwalk that he made famous is an apt metaphor for his dance style. How does he do it? As a technician, he is a great illusionist, a genuine mime. His ability to keep one leg straight as he glides while the other bends and seems to walk requires perfect timing."[30] Ian Inglis, author of Performance and popular music: history, place and time (2006) noted Jackson had created a pivotal turning point in the history of popular music "in that [his performance] marked the shift of emphasis from musical performance to visual presentation. In stark contrast to other, live, performances of Motown 25, Jackson performed to a pre-recorded soundtrack, lip-syncing to his multi-layered pre-recorded voice, thus indicating that the visual reenactment of music video imagery had become and integral, and perhaps dominant, part of live performance."[31] From this performance emerged the origin of music video as the primary source through which artists promote popular music.
Pepsi, "We Are the World" and business career (1984–85)

On January 27, 1984, Michael and other members of the Jacksons filmed a Pepsi Cola commercial, overseen by executive Philip Dusenberry,[32] at the Shrine Auditorium in Los Angeles. In front of a full house of fans during a simulated concert, pyrotechnics accidentally set Jackson's hair on fire. He suffered second-degree burns to his scalp. Jackson underwent treatment to hide the scars on his scalp, and he also had his third rhinoplasty shortly thereafter.[16] Jackson never recovered from this injury. Pepsi settled out of court, and Jackson donated his $1.5 million settlement to the Brotman Medical Center in Culver City, California, which now has a "Michael Jackson Burn Center" in honor of his donation.[33]
Jackson at the White House South Portico with President Ronald Reagan and first lady Nancy Reagan, 1984

On May 14, 1984, Jackson was invited to the White House to receive an award from President Ronald Reagan for his support of charities that helped people overcome alcohol and drug abuse.[34] Jackson won eight awards during the Grammys that year.

Unlike later albums, Thriller did not have an official tour to promote it, but the 1984 Victory Tour, headlined by The Jacksons, showcased much of Jackson's new solo material to more than two million Americans. He donated his $5 million share from the Victory Tour to charity.[35] He also co-wrote the charity single "We Are the World" in 1985 with Lionel Richie, which was released worldwide to aid the poor in the U.S. and Africa. It became one of the best-selling singles of all time, with nearly 20 million copies sold and millions of dollars donated to famine relief.[36]

In 1985, ATV Music, a music publishing company owning thousands of music copyrights, including the Northern Songs catalogue that contained the majority of the Lennon/McCartney compositions recorded by The Beatles, was put up for sale.[37][38] Jackson had become interested in owning music catalogs after working with Paul McCartney in the early 1980s: Jackson had learned McCartney made approximately $40 million a year from other people's songs. McCartney's attorney assured Jackson's attorney that McCartney was not interested in bidding on ATV: McCartney reportedly said "It's too pricey". However, McCartney later changed his mind and tried to persuade John Lennon's widow Yoko Ono to join him in a joint bid. Ono declined, and McCartney pulled out. Jackson eventually beat the rest of the competition in negotiations that lasted 10 months, purchasing the catalog for $47.5 million.[37][39]
Appearance, tabloids, Bad, autobiography and films (1986–1987)
See also: Michael Jackson's health and appearance

Jackson's skin had been a medium-brown color for the entire duration of his youth, but starting in the mid 1980s, it gradually grew paler. The change gained widespread media coverage, including rumors that he was bleaching his skin.[40] According to J. Randy Taraborrelli's biography, in 1986, Jackson was diagnosed with vitiligo and lupus; the vitiligo partially lightened his skin, and the lupus was in remission; both illnesses made him sensitive to sunlight. (His long-term dermatologist Dr. Arnold Klein confirmed this on Larry King Live, after his death.) The treatments he used for his condition further lightened his skin tone, and, with the application of pancake makeup to even out blotches, he could appear very pale.[41] The structure of his face had also changed: several surgeons speculated that he had undergone multiple nasal surgeries, a forehead lift, thinned lips, and cheekbone surgery.[42]

Jackson lost weight in the early 1980s because of a change in diet and a desire for "a dancer's body".[43] Witnesses reported that he was often dizzy and speculated that he was suffering from anorexia nervosa; periods of weight loss would become a recurring problem later in life.[44] Some medical professionals have said he was suffering from body dysmorphic disorder, a psychological condition whereby the sufferer dislikes his appearance and has no concept of how he is viewed by others.[41] Jackson claimed that he had only two rhinoplasties and no other surgery on his face, although at one point he mentioned having a dimple created in his chin.[43]
Jackson two years after he was diagnosed with vitiligo, here in the early stages of the disease

He became the subject of increasingly sensational reports. In 1986, the tabloids ran a story claiming that Jackson slept in a hyperbaric oxygen chamber to slow the aging process; he was pictured lying down in a glass box. Although the claim was untrue, Jackson had disseminated the fabricated story himself.[45][46] When Jackson bought a chimpanzee called Bubbles from a laboratory, it was reported as an example of increasing detachment from reality.[47] It was reported that Jackson had offered to buy the bones of Joseph Merrick (the "elephant man") and although untrue, Jackson did not deny the story.[45][46] Although initially he saw these stories as publicity, he stopped leaking untruths to the press as they became more sensational, so the media began making up their own stories.[46][48][49]

These reports became embedded in the public consciousness, inspiring the nickname "Wacko Jacko," which Jackson came to despise.[50] Responding to the gossip, Jackson remarked to a reporter:

Why not just tell people I'm an alien from Mars. Tell them I eat live chickens and do a voodoo dance at midnight. They'll believe anything you say, because you're a reporter. But if I, Michael Jackson, were to say, "I'm an alien from Mars and I eat live chickens and do a voodoo dance at midnight," people would say, "Oh, man, that Michael Jackson is nuts. He's cracked up. You can't believe a damn word that comes out of his mouth."[51]

Jackson wore a gold-plated military style jacket with belt in the Bad era

Jackson starred in the 3-D film Captain EO, directed by Francis Ford Coppola. It was the most expensive film produced on a per-minute basis at the time, and was later hosted in Disney theme parks. Disneyland featured the film in its Tomorrowland area for nearly 11 years, while Walt Disney World screened the film in its Epcot theme park from 1986 to 1994.[52] With the industry expecting another major hit, Jackson's first album in five years, Bad (1987), was highly anticipated.[53] It had lower sales than Thriller, but was still a substantial commercial success, spawning seven hit singles in the U.S., five of which ("I Just Can't Stop Loving You", "Bad", "The Way You Make Me Feel", "Man in the Mirror" and "Dirty Diana") reached number one on the Billboard Hot 100 charts, more than any other album.[54] As of 2008, the album had sold 30 million copies worldwide.[55]

In 1987, Jackson disassociated himself from the Jehovah's Witnesses, in response to their disapproval of the Thriller video.[56] The Bad World Tour began on September 12 that year, finishing on January 14, 1989.[57] In Japan alone, the tour had 14 sellouts and drew 570,000 people, nearly tripling the previous record of 200,000 in a single tour.[58] He broke a Guinness World Record when 504,000 people attended seven sold-out shows at Wembley Stadium. He performed a total of 123 concerts to an audience of 4.4 million people, and gained a further Guinness World Record when the tour grossed him $125 million. During the trip he invited underprivileged children to watch for free, and gave donations to hospitals, orphanages, and other charities.[57]
Autobiography, changing appearance and Neverland (1988–1990)
Jackson performing "The Way You Make Me Feel."

In 1988, Jackson released his first autobiography, Moon Walk, which took four years to complete and sold 200,000 copies.[59] Jackson wrote about his childhood, The Jackson 5, and the abuse he had suffered.[60] He also wrote about his facial appearance, saying he had had two rhinoplastic surgeries and dimple created in his chin.[43] He attributed much of the change in the structure of his face to puberty, weight loss, a strict vegetarian diet, a change in hair style, and stage lighting.[43] Moon Walk reached the top position on The New York Times best sellers' list.[61] The musician then released a film called Moonwalker, which featured live footage and music videos that starred Jackson and Joe Pesci. It debuted atop the Billboard Top Music Video Cassette chart, staying there for 22 weeks. It was eventually knocked off the top spot by Michael Jackson: The Legend Continues.[62]

In March 1988, Jackson purchased land near Santa Ynez, California to build Neverland Ranch at a cost of $17 million. He installed Ferris wheels, a menagerie, and a movie theater on the 2,700-acre (11 km2) property. A security staff of 40 patrolled the grounds. In 2003, it was valued at approximately $100 million.[11][63] In 1989, his annual earnings from album sales, endorsements, and concerts was estimated at $125 million for that year alone.[64] Shortly afterwards, he became the first Westerner to appear in a television ad in the Soviet Union.[62]

His success resulted in him being dubbed the "King of Pop."[65][66][67][68] The nickname was popularized by Elizabeth Taylor when she presented him with the Soul Train Heritage Award in 1989, proclaiming him "the true king of pop, rock and soul."[69] President George H. W. Bush presented him with The White House's special "Artist of the Decade."[70] From 1985 to 1990, he donated $500,000 to the United Negro College Fund, and all of the profits from his single "Man in the Mirror" went to charity.[71][72] Jackson's live rendition of "You Were There" at Sammy Davis Jr.'s 60th birthday celebration received an Emmy nomination.[62]
Dangerous, Heal the World Foundation and Super Bowl XXVII (1991–1993)

In March 1991, Jackson renewed his contract with Sony for $65 million, a record-breaking deal at the time, displacing Neil Diamond's renewal contract with Columbia Records.[63] He released his eighth album Dangerous in 1991. As of 2008, Dangerous had shipped seven million copies in the U.S. and had sold 32 million copies worldwide; it is the most successful new jack swing album of all time.[73][74][75] In the United States, the album's first single "Black or White" was its biggest hit, reaching number one on the Billboard Hot 100 and remaining there for seven weeks, with similar chart performances worldwide.[76] The album's second single "Remember the Time" spent eight weeks in the top five in the United States, peaking at number three on the Billboard Hot 100 singles chart.[77] In 1993, Jackson performed the song at the Soul Train Awards in a chair, saying he had suffered an injury in rehearsals.[78] In the UK and other parts of Europe, "Heal the World" was the biggest hit from the album; it sold 450,000 copies in the UK and spent five weeks at number two in 1992.[77]

Jackson founded the "Heal the World Foundation" in 1992. The charity organization brought underprivileged children to Jackson's ranch to enjoy theme park rides that Jackson had built on the property. The foundation also sent millions of dollars around the globe to help children threatened by war and disease. The Dangerous World Tour began on June 27, 1992, and finished on November 11, 1993. Jackson performed to 3.5 million people in 67 concerts. All profits from the concerts went to the "Heal the World Foundation", raising millions of dollars in relief.[77][79] He sold the broadcast rights to his Dangerous world tour to HBO for $20 million, a record-breaking deal that still stands.[80] Following the illness and death of Ryan White, Jackson helped draw public attention to HIV/AIDS, something that was still controversial at the time. He publicly pleaded with the Clinton Administration at Bill Clinton's Inaugural Gala to give more money to HIV/AIDS charities and research.[81][82]

In a high-profile visit to Africa, Jackson visited several countries, among them Gabon and Egypt.[83] His first stop to Gabon was greeted with a sizable reception of more than 100,000 people in "spiritual bedlam", some of them carrying signs that read, "Welcome Home Michael".[83] In his trip to the Ivory Coast, Jackson was crowned "King Sani" by a tribal chief.[83] He then thanked the dignitaries in French and English, signed official documents formalizing his kingship and sat on a golden throne while presiding over ceremonial dances.[83]

One of Jackson's most acclaimed performances came during the halftime show at Super Bowl XXVII. As the performances began, Jackson was catapulted onto the stage as fireworks went off behind him. As he landed on the canvas, he maintained a motionless "clenched fist, standing statue stance", dressed in a gold and black military outfit and sunglasses; he remained completely motionless for several minutes while the crowd cheered. He then slowly removed his sunglasses, threw them away and began to sing and dance. His routine included four songs: "Jam", "Billie Jean", "Black or White" and "Heal the World". It was the first Super Bowl where the audience figures increased during the half-time show, and was viewed by 135 million Americans alone; Jackson's Dangerous album rose 90 places up the album chart.[40]

Jackson was given the "Living Legend Award" at the 35th Annual Grammy Awards in Los Angeles. "Black or White" was Grammy nominated for best vocal performance. "Jam" gained two nominations: Best R&B Vocal Performance and Best R&B Song.[77]
First child sexual abuse allegations (1993)
Main article: 1993 child sexual abuse accusations against Michael Jackson

Jackson gave a 90-minute interview to Oprah Winfrey in February 1993, his second television interview since 1979. He grimaced when speaking of his childhood abuse at the hands of his father; he believed he had missed out on much of his childhood years, admitting that he often cried from loneliness. He denied tabloid rumors that he had bought the bones of the Elephant Man, slept in a hyperbaric oxygen chamber, or bleached his skin, stating for the first time that he had vitiligo. The interview was watched by an American audience of 90 million, becoming the fourth most-viewed non-sport program in U.S. history. It also increased awareness of vitiligo, a relatively unknown condition. Dangerous re-entered the album chart in the top 10, more than a year after its original release.[9][40][77]
Once labeled a "Truth Serum", sodium amytal is now considered a mind-altering sedative.

In the summer of 1993, Jackson was accused of child sexual abuse by a 13-year-old boy named Jordan Chandler and his father, Evan Chandler, a dentist.[84] A year after Jackson met the boy, Evan administered sodium amytal to Jordan, a controversial sedative. Jordan told his father that Jackson had touched his penis.[85][86] Jackson initially refused to pay the Chandlers, but due to deteriorating health he could not endure a long trial 'like O.J.'. Evan Chandler and Jackson engaged in unsuccessful negotiations to reach a financial settlement. The negotiations were initiated by Chandler but Jackson did make several counter offers. Jordan told a psychiatrist and later police that he and Jackson had engaged in acts of kissing, masturbation and oral sex, as well as giving a detailed description of what he alleged were the singer's genitals.[87]

The father was tape-recorded discussing his intention to pursue charges, where he said, "If I go through with this, I win big-time. There's no way I lose. I will get everything I want and they will be destroyed forever ... Michael's career will be over". In the same conversation, when asked how this would affect his son, Chandler replied, "That's irrelevant to me...It will be a massacre if I don't get what I want. It's going to be bigger than all us put together...This man [Jackson] is going to be humiliated beyond belief...He will not sell one more record".[86] The recorded conversation was a critical aspect of Jackson's defense against the upcoming allegation made against him. He and his supporters argue that he was the victim of a jealous father whose only goal was to extort money from the singer.[86]

An official investigation began, with Jordan's mother adamant that there was no wrongdoing on Jackson's part. Neverland Ranch was searched; and multiple children and family members denied that Jackson was a pedophile,[87] though his image took a further hit when his older sister, La Toya, accused him of being a pedophile, a statement she later retracted.[88] Jackson agreed to a 25-minute strip search, conducted by police and doctors at his ranch, required to see if a description provided by Jordan of Jackson's genitals was accurate. Doctors concluded there were strong similarities, but it was not a definitive match.[88] His friends said he never recovered from the humiliation. He described the search in an emotional public statement, and proclaimed his innocence.[84]

The tabloids painted him in an extremely unfavorable light.[89] Complaints about them included bias against Jackson, paying for stories about alleged criminal activity, and buying leaked confidential material from the police investigation.[90] On January 1, 1994, Jackson settled with the Chandlers out of court for $22 million, after which Jordan stopped co-operating regarding criminal proceedings. Jackson was never charged, and the state closed its criminal investigation, citing lack of evidence.[91]
First marriage (1994)
Jackson married Lisa Marie Presley (pictured here at Daytona International Speedway in 2005) on May 26, 1994.

In May 1994, Jackson married singer-songwriter Lisa Marie Presley, the daughter of Elvis Presley. They had first met in 1975, during one of Jackson's family engagements at the MGM Grand Hotel and Casino, and were reconnected through a mutual friend in early 1993.[89] They stayed in contact every day over the telephone. As the child molestation accusations became public, Jackson became dependent on Presley for emotional support; she was concerned about his faltering health and addiction to drugs.[92] Presley explained, "I believed he didn't do anything wrong and that he was wrongly accused and yes I started falling for him. I wanted to save him. I felt that I could do it."[93] In a phone call he made to her, she described him as high, incoherent and delusional.[92] Shortly afterwards, she persuaded him to settle the allegations out of court and go into rehabilitation to recover.[92] Jackson proposed to Presley over the telephone towards the fall of 1993, saying, "If I asked you to marry me, would you do it?"[92] They married in the Dominican Republic in secrecy, denying it for nearly two months afterwards.[94] The marriage was, in her words, "a married couple's life ... that was sexually active".[95] At the time, the tabloid media speculated that the wedding was a ploy to prop up Jackson's public image.[94] Jackson and Presley divorced less than two years later, remaining friendly.[96]
HIStory (1995–1997)

In 1995, Jackson merged his ATV Music catalog with Sony's publishing division creating Sony/ATV Music Publishing. Jackson retained half-ownership of the company, earned $95 million upfront as well as the rights to even more songs.[38][97] He then released the double album HIStory: Past, Present and Future, Book I. The first disc, HIStory Begins, was a 15-track greatest hits album, and was later reissued as Greatest Hits – HIStory Vol. I in 2001, while the second disc, HIStory Continues, contained 15 new songs. The album debuted at number one on the charts and has been certified for seven million shipments in the US.[98] It is the best-selling multiple-disc album of all-time, with 21 million copies (42 million units) sold worldwide. [99][76][100] HIStory received a Grammy nomination for best album.[101]
One of many identical statues, positioned throughout Europe to promote HIStory. The statue illustrates the singer's flamboyant clothing and hair style, influenced by military imagery.

The first single released from the album was the double A-side "Scream/Childhood". "Scream" was a duet, performed with Jackson's youngest sister Janet. The single had the highest debut on the Billboard Hot 100 at number five, and received a Grammy nomination for "Best Pop Collaboration with Vocals".[101] "You Are Not Alone" was the second single released from HIStory; it holds the Guinness World Record for the first song ever to debut at number one on the Billboard Hot 100 chart.[64] It was seen as a major artistic and commercial success, receiving a Grammy nomination for "Best Pop Vocal Performance".[101] In late 1995, Jackson was rushed to a hospital after collapsing during rehearsals for a televised performance; the incident was caused by a stress related panic attack.[102] "Earth Song" was the third single released from HIStory, and topped the UK singles chart for six weeks over Christmas 1995; it sold a million copies, making it Jackson's most successful single in the UK.[101] The HIStory World Tour began on September 7, 1996, and finished on October 15, 1997. Jackson performed 82 concerts in 58 cities to over 4.5 million fans. The show, which visited five continents and 35 countries, became Jackson's most successful in terms of audience figures.[57]
Second marriage and fatherhood (1996–1999)

During the Australian leg of the HIStory World Tour, Jackson married dermatology nurse Deborah Jeanne Rowe on November 14, 1996 in an impromptu ceremony close to his Sydney hotel room. She gave birth to Michael's first two children: a son named Michael Joseph Jr (commonly known as Prince), and a daughter, Paris-Michael Katherine.[96][103] Rowe and Jackson first met in the mid-1980s, when Jackson was allegedly diagnosed with vitiligo. She spent many years treating his illness as well as providing emotional support. They built a strong friendship, then became romantically involved.[104] Originally, there were no plans to marry, but following Rowe's first pregnancy, Jackson's mother intervened and persuaded them to do so.[105] The couple divorced in 1999 but remained friends, and Rowe gave full custody of the children to Jackson.[106]

In 1997, Jackson released Blood on the Dance Floor: HIStory in the Mix, which contained remixes of hit singles from HIStory and five new songs. Worldwide sales stand at 6 million copies as of 2007, making it the best selling remix album ever released. It reached number one in the UK, as did the title track.[107][108] In the US, the album was certified platinum, but only reached number 24.[73][101] Forbes placed his annual income at $35 million in 1996 and $20 million in 1997.[63]

Throughout June 1999, Jackson was involved in a number of charitable events. He joined Luciano Pavarotti for a benefit concert in Modena, Italy. The show was in support of the non-profit organization War Child, and raised a million dollars for the refugees of Kosovo, as well as additional funds for the children of Guatemala.[109] Later that month, Jackson organized a set of "Michael Jackson & Friends" benefit concerts in Germany and Korea. Other artists involved included Slash, The Scorpions, Boyz II Men, Luther Vandross, Mariah Carey, A. R. Rahman, Prabhu Deva Sundaram, Shobana Chandrakumar, Andrea Bocelli and Luciano Pavarotti. The proceeds went to the "Nelson Mandela Children's Fund", the Red Cross and UNESCO.[110]
Label dispute, Invincible and third child (2000–2003)

In October 2001, Jackson released Invincible. This was his first album in six years, and it turned out to be the last album of new material he released while still alive. The release of the album was preceded by a dispute between Jackson and his record label, Sony Music Entertainment.

Jackson had expected the licenses to the masters of his albums to revert to him sometime in the early 2000s. Once he had the licenses, he would be able to promote the material however he pleased and he would also be able to keep all the profits. However, due to various clauses in the contract, the revert date turned out to be many years away. Jackson discovered that the attorney who represented him in the deal was also representing Sony, creating a conflict of interest.[108] Jackson was also concerned about another conflict of interest. For a number of years, Sony had been pushing to buy all of Jackson's share in their music catalog venture. Jackson feared that Sony might have something to gain from Jackson's career failing, since if his career did fail he would have to sell his share of the catalog.[111]

These conflicts were utilized by the entertainer to leverage an early exit to his contract.[108] Just before the release of Invincible, Jackson informed the head of Sony Music Entertainment, Tommy Mottola, that he was leaving Sony.[108] As a result, all singles releases, video shootings and promotions concerning the Invincible album were canceled.

In spite of the uproar preceding its release, Invincible came out in October 2001 to much anticipation. Just before the album's release, a special 30th Anniversary celebration at Madison Square Garden occurred in September 2001 to mark the singer's 30th year as a solo artist. Jackson appeared onstage alongside his brothers for the first time since 1984.[112] The show also featured performances by Mýa, Usher, Whitney Houston, 'N Sync, Destiny's Child, Monica, Luther Vandross, and Slash, among other artists.[113] In the wake of the September 11, 2001 attacks, Jackson helped organize the United We Stand: What More Can I Give benefit concert at RFK Stadium in Washington, D.C. The concert was aired on October 21, 2001, and included performances from dozens of major artists, including Jackson, who performed his song "What More Can I Give" as the finale.[111]

Invincible proved to be a hit, debuting atop the charts in 13 countries and going on to sell approximately 13 million copies worldwide. It received double-platinum certification in the US.[73][76][114] However, the sales for Invincible were lower than those of his previous releases, due in part to a lack of promotion, no supporting world tour and the label dispute. The album also came out at a bad time for the music industry in general.[111] The album cost $30 million to record, not including promotional expenditures.[115]

Invincible spawned three singles, "You Rock My World", "Cry" and "Butterflies", the latter without a music video.

Jackson alleged in July 2002 that Mottola was a "devil" and a "racist" who did not support his African-American artists, using them merely for his own personal gain.[111] He charged that Mottola had called his colleague Irv Gotti a "fat nigger".[116] Sony refused to renew Jackson's contract, and claimed that a $25 million promotional campaign had failed because Jackson refused to tour in the United States.[115]

Jackson's third child, Prince Michael Jackson II (nicknamed "Blanket") was born in 2002.[117] The mother's identity is unknown, but Jackson has said the child was the result of artificial insemination from a surrogate mother and his own sperm cells.[106] In November of that year, Jackson brought his newborn son onto the balcony of his room at the Hotel Adlon in Berlin, as fans stood below, holding him in his right arm, with a cloth loosely draped over the baby's face. The baby was briefly extended over a railing, four stories above ground level, causing widespread criticism in the media. Jackson later apologized for the incident, calling it "a terrible mistake".[118] Sony released a compilation of Jackson's hits on CD and DVD. In the US, the album was certified platinum by the RIAA; in the UK it was certified for shipments of at least 1.2 million units.[73][119]
Second child sexual abuse allegations (2003–2005)
Further information: Living with Michael Jackson and People v. Jackson
Fans show their support for Jackson after he is accused of child molestation in 2003.

In a series of interviews with Martin Bashir, broadcast in 2003, as Living with Michael Jackson, Jackson was seen holding hands and discussing sleeping arrangements with Gavin Arvizo, 13, who later accused him of sexual abuse.[120] Shortly after the documentary aired, Jackson was charged with seven counts of child molestation and two counts of administering an intoxicating agent in relation to Arvizo.[120] Jackson denied the allegations, saying the sleepovers were not sexual in nature.

During the two years between the charges and the trial, Jackson reportedly became dependent on pethidine (Demerol), and lost a lot of weight. The People v. Jackson began on January 31, 2005, in Santa Maria, California, and lasted five months, until the end of May. On June 13, 2005, Jackson was acquitted on all counts.[121][122][123] After the trial, he relocated to the Persian Gulf island of Bahrain, as a guest of Sheikh Abdullah.[124] A media circus surrounded the event.
Final years (2006–2009)
Michael Jackson with his children in Disneyland Paris, 2006

Reports of financial problems for Jackson became frequent in 2006, after the closure of the main house on the Neverland Ranch as a cost-cutting measure.[125] One prominent financial issue concerned a $270 million loan secured against his music publishing holdings. After delayed repayments on the loan, a refinancing package shifted the loans from Bank of America to debt specialists Fortress Investments. A new package proposed by Sony would have had Jackson borrow an additional $300 million and reduce the interest rate payable on the loan, while giving Sony the future option to buy half of Jackson's stake in their jointly owned publishing company (leaving Jackson with a 25% stake).[97] Jackson agreed to a Sony-backed refinancing deal, although details were not made public.[126] Despite these loans, according to Forbes, Jackson was still making as much as $75 million a year from his publishing partnership with Sony alone.[127]

Jackson was awarded the Diamond Award on November 15, 2006, for selling over 100 million albums, at the World Music Awards.[76] Following the death of James Brown, Jackson returned to the U.S. to pay tribute during Brown's public funeral on December 30, 2006.[128] In late 2006, he agreed to share joint custody of his first two children with ex-wife Debbie Rowe.[129] Jackson and Sony bought Famous Music LLC from Viacom in 2007. This deal gave him the rights to songs by Eminem, Shakira and Beck, among others.[130]

I've been in the entertainment industry since I was six-years-old... As Charles Dickens says, "It's been the best of times, the worst of times." But I would not change my career... While some have made deliberate attempts to hurt me, I take it in stride because I have a loving family, a strong faith and wonderful friends and fans who have, and continue, to support me.[131]
—Michael Jackson

The 25th anniversary of Thriller was marked by the release of Thriller 25, recorded in Ireland,[132] it featured the previously unreleased song "For All Time" and re-mixes. Two remixes were released as singles to moderate success: "The Girl Is Mine 2008" and "Wanna Be Startin' Somethin' 2008". Thriller 25 sold well as a re-issue, peaking at number one in eight countries and Europe.[133][134][135] In 12 weeks Thriller 25 sold over three million copies worldwide.[136] To celebrate Jackson's 50th birthday, Sony BMG released a series of compilation albums called King of Pop.[137][138] King of Pop did reach the top 10 in most countries where it was issued, and also sold well as an import in other countries.[139][140]

Fortress Investments threatened to foreclose on Neverland Ranch, which Jackson used as collateral for loans running into many tens of millions of dollars. However, Fortress opted to sell Jackson's debts to Colony Capital LLC. In November, Jackson transferred Neverland Ranch's title to Sycamore Valley Ranch Company LLC, which was a joint venture between Jackson and Colony Capital LLC. This deal cleared Jackson's debt, and he reportedly even gained an extra $35 million from the venture. At the time of his death, Jackson still owned a stake in Neverland/Sycamore Valley, but it is unknown how large that stake was.[141][142][143]

In September 2008, financial concerns prompted Jackson to enter negotiations with Julien's Auction House to display and auction a large collection of memorabilia amounting to approximately 1390 lots. The auction was scheduled to take place between April 22 and April 25.[144] Though an exhibition of the lots opened on 9900 Wilshire Blvd between April 14 and 25, the auction was eventually cancelled at Jackson's request.[145]
Jackson rehearsing at Staples Center two days before his death.

In March 2009, Jackson announced at London's O2 arena that he would perform in major comeback concerts titled This Is It, at the said arena. The shows were to be Jackson's first major series of concerts since the HIStory World Tour finished in 1997, and had been cited as one of the year's most important musical events with over one million people attending in total. Jackson suggested possible retirement after the shows; in his own words it would be his "final curtain call". Although initially a 10 date concert, it was increased to 50 dates after record breaking ticket sales. Jackson rehearsed in Los Angeles in the weeks leading up to the tour under the direction of choreographer/director Kenny Ortega.[146] The concerts would have commenced on July 13, 2009 and finished on March 6, 2010. Less than three weeks before the first show was due to begin in London and with all concerts being sold out, Jackson died of a cardiac arrest.[147]

AEG Live, the concert promoters, released a promotional video that took up an entire commercial break, setting a record for ITV. According to Jackson's website, ticket sales for the concerts broke several records.[148] Randy Phillips, president and chief executive of AEG Live, stated that the first 10 dates alone would have earned the singer approximately £50 million.[149] It has now been confirmed that Columbia Pictures are to make a feature documentary concert-film from the rehearsal and pre-recorded footage.[150][151] The contract for the film stipulates that a cut of the film must be screened for Jackson's estate, which stands to receive 90 percent of the profits. A final cut was done on October 28, 2009, for a limited 2 week run in theatres worldwide.[152]

A new single titled "This Is It" was released on October 12, 2009, with a new album of the same name, This Is It which was released worldwide on October 26, 2009, and in North America on October 27, 2009, the day before the Michael Jackson's This Is It documentary film. Two versions of the new song appear on the second "This Is It" album's first disc, which also features original masters of Michael Jackson's hits in the order in which they appear in the movie. The album's second disc features previously unreleased versions of more Jackson hits, as well as a previously unheard spoken word poem entitled "Planet Earth." [153]
Death and memorial
Main articles: Death of Michael Jackson and Michael Jackson memorial service
Jackson's fans paid tribute to him at his star on the Hollywood Walk of Fame, shortly after the announcement of his death.

On June 25, 2009, Jackson collapsed at his rented mansion at 100 North Carolwood Drive in the Holmby Hills district of Los Angeles. Attempts at resuscitating him by his personal physician were unsuccessful.[154] Los Angeles Fire Department paramedics received a 911 call at 12:22 p.m. (PDT), arriving three minutes later at Jackson's location.[155][156] He was reportedly not breathing and CPR was performed.[157] Resuscitation efforts continued en route to the Ronald Reagan UCLA Medical Center, and for an hour after arriving there at 1:13 p.m. (20:13 UTC).[154] He was pronounced dead at 2:26 p.m. local time (21:26 UTC).[158][159]

The memorial was held on July 7, 2009, at the Staples Center in Los Angeles, preceded by a private family service at Forest Lawn Memorial Park's Hall of Liberty. Jackson's casket was present during the memorial but no information was released about the final disposition of the body. While some unofficial reports claimed a worldwide audience as high as one billion people [160] the U.S. audience was estimated by Nielsen to be 31.1 million, an amount comparable to the estimated 35.1 million that watched the 2004 burial of President Ronald Reagan, and the estimated 33.1 million Americans who watched the 1997 funeral for Princess Diana.[161]

Stevie Wonder, Lionel Richie, Mariah Carey, John Mayer, Jennifer Hudson, Usher, Jermaine Jackson, and Shaheen Jafargholi performed at the event. Berry Gordy and Smokey Robinson gave eulogies, while Queen Latifah read, "We had him," a poem written for the occasion by Maya Angelou.[162] The Reverend Al Sharpton received a standing ovation with cheers when he told Jackson's children, "Wasn't nothing strange about your Daddy. It was strange what your Daddy had to deal with. But he dealt with it anyway."[163] Jackson's 11-year-old daughter, Paris Katherine, cried as she told the crowd, "Ever since I was born, Daddy has been the best father you could ever imagine ... I just wanted to say I love him ... so much."[164]

On August 24, multiple news outlets quoted anonymous sources as stating that the Los Angeles coroner had decided to treat Jackson's death as a homicide; this was later confirmed by the coroner on August 28.[165][166] At the time of death, Jackson had been administered propofol, lorazepam and midazolam.[167] Law enforcement officials are currently conducting a manslaughter investigation of his personal physician, Conrad Murray.[168] Jackson was buried on September 3, 2009, at Forest Lawn Memorial Park in Glendale, California.[169]
Artistry
Influences

Jackson's music genre takes roots in R&B, Motown's music, pop and soul. He had been influenced by the work of contemporary musicians such as Little Richard, James Brown, Jackie Wilson, Diana Ross, David Ruffin, Gene Kelly, Fred Astaire, Sammy Davis, Jr. and the Bee Gees. [170] He was also an admirer of performers from the English music hall tradition, such as Benny Hill and Charlie Chaplin.

While Little Richard had a huge influence on Jackson,[17] James Brown was for him and since early childhood, his greatest inspiration: "the master" or "a genius" especially when he was playing with its group, the Famous Flames, qualifying its performance of "phenomenal". He declared: "Ever since I was a small child, no more than like six years old, my mother would wake me no matter what time it was, if I was sleeping, no matter what I was doing, to watch the television to see the master at work. And when I saw him move, I was mesmerized. I had never seen a performer perform like James Brown, and right then and there I knew that was exactly what I wanted to do for the rest of my life because of James Brown."[171]

At first, the young Michael Jackson owes his vocal technique in large part to Diana Ross. In October 1969, it was decided that Michael would live with Diana Ross. Not only a mother figure to him, he often observed her in rehearsal as an accomplished performer. He later confessed: "I got to know her well. She taught me so much. I used to just sit in the corner and watch the way she moved. She was art in motion. I studied the way she moved, the way she sang - just the way she was." He told her: 'I want to be just like you, Diana'. She said: 'You just be yourself.'"[172] But Michael especially owned his oooh's from Diana Ross. At first, Michael almost always punctuated his verses of oooh. Not a long oooh but rather a sudden exclamation. Diana Ross used this effect on many of the songs recorded with the The Supremes, and young Michael was delighted to take ownership.[173]
Musical themes and genres

Steve Huey of Allmusic said that, throughout his solo career, Jackson's versatility allowed him to experiment with various themes and genres.[174] As a musician, he ranged from Motown's dance fare and ballads to techno and house-edged new jack swing to work that incorporates both funk rhythms and hard rock guitar.[11]

Unlike many artists, Jackson did not write his songs on paper. Instead he would dictate into a sound recorder; when recording he would sing from memory.[16][175] Several critics observed Off the Wall was crafted from funk, disco-pop, soul, soft rock, jazz and pop ballads.[174][176][177] Prominent examples include the ballad "She's Out of My Life", and the two disco tunes "Workin' Day and Night" and "Get on the Floor".[176]

According to Huey, Thriller refined the strengths of Off the Wall; the dance and rock tracks were more aggressive, while the pop tunes and ballads were softer and more soulful.[174] Notable tracks included the ballads "The Lady in My Life", "Human Nature" and "The Girl Is Mine"; the funk pieces "Billie Jean" and "Wanna Be Startin' Somethin'"; and the disco set "Baby Be Mine" and "P.Y.T. (Pretty Young Thing)".[174][178][179][180] With Thriller, Christopher Connelly of Rolling Stone commented that Jackson developed his long association with the subliminal theme of paranoia and darker imagery.[180] Allmusic's Stephen Thomas Erlewine noted this is evident on the songs "Billie Jean" and "Wanna Be Startin' Somethin'".[179] In "Billie Jean", Jackson sings about an obsessive fan who alleges he has fathered a child of hers.[174] In "Wanna Be Startin' Somethin'" he argues against gossip and the media.[180] The anti-gang violence rock song "Beat It" became a homage to West Side Story, and was Jackson's first successful rock cross-over piece, according to Huey.[11][174] He also observed that the title track "Thriller" began Jackson's interest with the theme of the supernatural, a topic he revisited in subsequent years.[174] In 1985, Jackson co-wrote the charity anthem "We Are the World"; humanitarian themes later became a recurring theme in his lyrics and public persona.[174]

"Thriller"
Play sound
One of Jackson's signature pieces, "Thriller", released as a single in 1984, utilizes cinematic sound effects, horror film motifs and vocal trickery to convey a sense of danger.[15]
"Smooth Criminal"
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A single from the album Bad, released 1988, "Smooth Criminal" features digital drum sounds, keyboard-created bass lines and other percussion elements designed to give the impression of a pulsing heart.[181]
Problems listening to these files? See media help.

In Bad, Jackson's concept of the predatory lover can be seen on the rock song "Dirty Diana".[182] The lead single "I Just Can't Stop Loving You" is a traditional love ballad, while "Man in the Mirror" is an anthemic ballad of confession and resolution.[53] "Smooth Criminal" was an evocation of bloody assault, rape and likely murder.[53] Allmusic's Stephen Thomas Erlewine states that Dangerous presents Jackson as a stark paradoxical individual.[183] He comments the album is more diverse than his previous Bad, as it appeals to an urban audience while also attracting the middle class with anthems like "Heal the World".[183] The first half of the record is dedicated to new jack swing, including songs like "Jam" and "Remember the Time".[184] The album is Jackson's first where social ills become a primary theme; "Why You Wanna Trip on Me", for example, protests against world hunger, AIDS, homelessness and drugs.[184] Dangerous contains sexually charged efforts like "In the Closet", a love song about desire and denial, risk and repression, solitude and connection, privacy and revelation.[184] The title track continues the theme of the predatory lover and compulsive desire.[184] The second half includes introspective, pop-gospel anthems such as "Will You Be There", "Heal the World" and "Keep the Faith"; these songs show Jackson finally opening up about various personal struggles and worries.[184] In the ballad "Gone Too Soon", Jackson gives tribute to his friend Ryan White and the plight of those with AIDS.[185]

HIStory creates an atmosphere of paranoia.[186] Its content focuses on the hardships and public struggles Jackson went through just prior to its production. In the new jack swing-funk-rock efforts "Scream" and "Tabloid Junkie", along with the R&B ballad "You Are Not Alone", Jackson retaliates against the injustice and isolation he feels, and directs much of his anger at the media.[187] In the introspective ballad "Stranger in Moscow", Jackson laments over his "fall from grace", while songs like "Earth Song", "Childhood", "Little Susie" and "Smile" are all operatic pop pieces.[186][187] In the track "D.S.", Jackson launched a verbal attack against Tom Sneddon. He describes Sneddon as an antisocial, white supremacist who wanted to "get my ass, dead or alive". Of the song, Sneddon said, "I have not — shall we say — done him the honor of listening to it, but I’ve been told that it ends with the sound of a gunshot".[188] Invincible found Jackson working heavily with producer Rodney Jerkins.[174] It is a record made up of urban soul like "Cry" and "The Lost Children", ballads such as "Speechless", "Break of Dawn" and "Butterflies" and mixes hip hop, pop and rap in "2000 Watts", "Heartbreaker" and "Invincible".[189][190]
Vocal style

Jackson sang from childhood, and over time his voice and vocal style changed noticeably. Between 1971 and 1975, Jackson's voice descended from boy soprano to high tenor.[191] Jackson first used a technique called the "vocal hiccup" in 1973, starting with the song "It's Too Late to Change the Time" from the Jackson 5's G.I.T.: Get It Together album.[192] Jackson did not use the hiccup technique— somewhat like a gulping for air or gasping— fully until the recording of Off the Wall: it can be seen in full force in the "Shake Your Body (Down to the Ground)" promotional video.[12]

With the arrival of Off the Wall in the late 1970s, Jackson's abilities as a vocalist were well regarded. At the time, Rolling Stone compared his vocals to the "breathless, dreamy stutter" of Stevie Wonder. Their analysis was also that "Jackson's feathery-timbred tenor is extraordinarily beautiful. It slides smoothly into a startling falsetto that's used very daringly".[176][177] 1982 saw the release of Thriller, and Rolling Stone was of the opinion that Jackson was then singing in a "fully adult voice" that was "tinged by sadness".[180]

"Black or White"
Play sound
The lead single from Dangerous, the danceable hard rock song "Black or White" was one of Jackson's most successful recordings.[193][194][195] It contains many features of Jackson's vocal style, including the vocal hiccup he is known for.

Gritty lead vocals on the verse were displayed by the release of "Bad" in 1987 and lighter tones employed on the chorus.[15] A distinctive deliberate mispronunciation of "come on", used frequently by Jackson, occasionally spelt "cha'mone" or "shamone", is also a staple in impressions and caricatures of him.[196] The turn of the 1990s saw the release of the introspective album Dangerous. The New York Times noted that on some tracks, "he gulps for breath, his voice quivers with anxiety or drops to a desperate whisper, hissing through clenched teeth" and he had a "wretched tone".[184] When singing of brotherhood or self-esteem the musician would return to "smooth" vocals.[184]

When commenting on Invincible, Rolling Stone were of the opinion that—at the age of 43—Jackson still performed "exquisitely voiced rhythm tracks and vibrating vocal harmonies".[197] Nelson George summed up Jackson's vocals by stating "The grace, the aggression, the growling, the natural boyishness, the falsetto, the smoothness—that combination of elements mark him as a major vocalist".[181]
Music videos and choreography

Steve Huey of Allmusic observed how Jackson transformed the music video into an art form and a promotional tool through complex story lines, dance routines, special effects and famous cameo appearances; simultaneously breaking down racial barriers.[174] According to director Vincent Paterson, who collaborated with the singer on several music videos, Jackson conceptualized many of the darker, bleak themes in his filmography.[198]
US patent 5255452, filed by Jackson, described the anti-gravity lean used in the music video for "Smooth Criminal".

Before Thriller, Jackson struggled to receive coverage on MTV, allegedly because he was African American.[199] Pressure from CBS Records persuaded MTV to start showing "Billie Jean" and later "Beat It", leading to a lengthy partnership with Jackson, also helping other black music artists gain recognition.[200] MTV employees deny any racism in their coverage, or pressure to change their stance. MTV maintains that they played rock music, regardless of race.[201] The popularity of his videos on MTV helped to put the relatively young channel "on the map"; MTV's focus shifted in favor of pop and R&B.[200][202] His performance on Motown 25: Yesterday, Today, Forever changed the scope of live stage show; "That Jackson lip-synced 'Billie Jean' is, in itself, not extraordinary, but the fact that it did not change the impact of the performance is extraordinary; whether the performance was live or lip-synced made no difference to the audience" thus creating an era in which artists re-create the spectacle of music video imagery on stage.[31] Short films like Thriller largely remained unique to Jackson, while the group dance sequence in "Beat It" has frequently been imitated.[203] The choreography in Thriller has become a part of global pop culture, replicated everywhere from Indian films to prisons in the Philippines.[204] The Thriller short film marked an increase in scale for music videos, and has been named the most successful music video ever by the Guinness World Records.[64]

In the 19-minute music video for "Bad"—directed by Martin Scorsese—Jackson began using sexual imagery and choreography not previously seen in his work. He occasionally grabbed or touched his chest, torso and crotch. While he has described this as "choreography," it garnered a mixed reception from both fans and critics; Time magazine described it as "infamous". The video also featured Wesley Snipes; in the future Jackson's videos would often feature famous cameo roles.[48][205] For "Smooth Criminal", Jackson experimented with an innovative "anti-gravity lean" in his performances, for which he was granted U.S. Patent No. 5,255,452.[206] Although the music video for "Leave Me Alone" was not officially released in the US, in 1989, it was nominated for four Billboard Music Video Awards, winning three; the same year it won a Golden Lion Award for the quality of the special effects used in its production. In 1990, "Leave Me Alone" won a Grammy for Best Music Video, Short Form.[62]

The MTV Video Vanguard Artist of the Decade Award was given to Jackson to celebrate his accomplishments in the art form in the 1980s; the following year the award was renamed in his honor.[77] "Black or White" was accompanied by a controversial music video, which, on November 14, 1991, simultaneously premiered in 27 countries with an estimated audience of 500 million people, the largest viewing ever for a music video.[76] It featured scenes construed as having a sexual nature as well as depictions of violence. The offending scenes in the final half of the 14-minute version were edited out to prevent the video from being banned, and Jackson apologized.[207] Along with Jackson, it featured Macaulay Culkin, Peggy Lipton and George Wendt. It helped usher in morphing as an important technology in music videos.[208]
Jackson and sister Janet angrily retaliate against the media for misrepresenting them to the public. The acclaimed video for "Scream" was shot primarily in black and white, and at a cost of $7 million.

"Remember the Time" was an elaborate production, and became one of his longest videos at over nine minutes. Set in ancient Egypt, it featured groundbreaking visual effects and appearances by Eddie Murphy, Iman and Magic Johnson, along with a distinct complex dance routine.[209] The video for "In the Closet" was Jackson's most sexually provocative piece. It featured supermodel Naomi Campbell in a courtship dance with Jackson. The video was banned in South Africa because of its imagery.[77]

The music video for "Scream", directed by Mark Romanek and production designer Tom Foden, is one of Jackson's most critically acclaimed. In 1995, it gained 11 MTV Video Music Award Nominations—more than any other music video—and won "Best Dance Video", "Best Choreography", and "Best Art Direction".[210] The song and its accompanying video are a response to the backlash Jackson received from the media after being accused of child molestation in 1993.[211] A year later, it won a Grammy for Best Music Video, Short Form; shortly afterwards Guinness World Records listed it as the most expensive music video ever made at a cost of $7 million.[101][212]

"Earth Song" was accompanied by an expensive and well-received music video that gained a Grammy nomination for Best Music Video, Short Form in 1997. The video had an environmental theme, showing images of animal cruelty, deforestation, pollution and war. Using special effects, time is reversed so that life returns, wars ends, and the forests re-grow.[101][213] Released in 1997 and premiering at the 1996 Cannes Film Festival, Ghosts was a short film written by Jackson and Stephen King and directed by Stan Winston. The video for Ghosts is over 38 minutes long and holds the Guinness World Record as the world's longest music video.[101][108][214][215]
Legacy and influence
See also: Records and achievements of Michael Jackson and List of awards received by Michael Jackson
Jackson's star on the Hollywood Walk of Fame, set in 1984

Jackson transformed the art of the music video and paved the way for modern pop music in his own country. Jackson's work, distinctive musical sound and vocal style have influenced scores of hip hop, rock, pop and R&B artists, including Beyonce,[216] Mariah Carey,[217] Usher,[218] Chris Brown,[219] Britney Spears,[217] Madonna,[220] Justin Timberlake,[111] Ludacris,[221] 50 Cent, The Game,[222] Fall Out Boy,[223] Green Day,[224] Miley Cyrus, John Mayer,[225] Lenny Kravitz,[226] and R. Kelly.[181] For much of his career, he had an "unparalleled" level of worldwide influence over the younger generation through his musical and humanitarian contributions.[227] Jackson's videos and music helped break down racial barriers when first shown on MTV, putting the relatively new channel on the map, changing its focus from rock to pop music and R&B, and therefore shaping it to what it is today. Jackson remained a staple on MTV through the 90s. In a way, he proved to be a good dancer was a must for any male star of pop music, as wrote the Brazilian journalist Sergio Martins in his article about the artist and his death on Veja magazine.[228]

Shortly after his death on June 25, 2009, MTV briefly returned to its original music video format to celebrate and pay tribute to his work.[229] The channel aired many hours of Jackson's music videos, accompanied by live news specials featuring reactions from MTV personalities and other celebrities. The temporary shift in MTV's programming culminated the following week with the channel's live coverage of Jackson's memorial service.[230] Years ago, the music video for Thriller showed the video clip as a key way of providing music and helped make MTV a decisive force among younger people.[231] Walter Yetnikoff, then president of CBS, insisted that the channel — which ignored the black music artists — exhibited the clip of 14 minutes.[231] Today, rap and rhytm'n'blues are the hegemonic style of MTV.[231]

Michael Jackson was inducted onto the Hollywood Walk of Fame in 1984. Throughout his career he received numerous honors and awards, including the World Music Awards' Best-Selling Pop Male Artist of the Millennium, the American Music Award's Artist of the Century Award and the Bambi Pop Artist of the Millennium Award.[113][232] He was a double-inductee of the Rock and Roll Hall of Fame, once as a member of The Jackson 5 in 1997 and later as a solo artist in 2001. Jackson was also an inductee of the Songwriters Hall of Fame in 2002.[113] His awards include multiple Guinness World Records (eight in 2006 alone), 13 Grammy Awards, 22 American Music Awards (20 only as a solo artist, including one for "artist of the century"), 13 number one singles in his solo career—more than any other male artist in the Hot 100 era—and estimated sales between 350 and 750 million records worldwide, making him the world's best selling male solo pop artist.[22][64][76][233][234][235][236]
Queues for a Michael Jackson concert in West Berlin in June 1988

He was characterized as "an unstoppable juggernaut, possessed of all the tools to dominate the charts seemingly at will: an instantly identifiable voice, eye-popping dance moves, stunning musical versatility and loads of sheer star power".[174] In the mid-1980s, Time noted "Jackson is the biggest thing since The Beatles. He is the hottest single phenomenon since Elvis Presley. He just may be the most popular black singer ever".[26] By 1990, Vanity Fair had already cited Jackson as the most popular artist in the history of show business.[62] Daily Telegraph writer Tom Utley called him an "extremely important figure in the history of popular culture" and a "genius".[237] In late 2007, Jackson said the following of his work and future influence, "Music has been my outlet, my gift to all of the lovers in this world. Through it, my music, I know I will live forever."[238]

His total lifetime earnings from royalties on his solo recordings and music videos, revenue from concerts and endorsements have been estimated at $500 million; some analysts have speculated that his music catalog holdings could be worth billions of dollars.[63][239] This speculation however is contradicted by financial documents obtained by the Associated Press, which showed that as of March 31, 2007, Jackson's 50 percent stake in the Sony/ATV Music Publishing catalog (his most prized asset) was worth $390.6 million and Michael Jackson’s net worth was $236 million.[240] As one of the world's most famous men, Jackson's highly publicized personal life, coupled with his successful career, made him a part of popular culture for the last four decades.[76][241]

Furies

2009-11-02T20:36:00.000-08:00

List of gangs in The Warriors
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The 1979 film The Warriors and the 2005 video game of the same name, set circa 1978 and 1979, both revolve heavily around numerous fictional street gangs, biker gangs and crime syndicates. Each gang has a different background as well as members of different races or ethnic groups and control their own turf in New York City. The film revolves primarily around the Warriors gang, but the game is set in the months leading up to the events of the film and introduces more gangs in better detail.
Contents
[hide]

* 1 Rank
* 2 Gangs in The Bronx
o 2.1 Moonrunners
o 2.2 Orphans
o 2.3 Turnbull AC's
o 2.4 Van Cortlandt Rangers
* 3 Gangs in Brooklyn
o 3.1 Destroyers
o 3.2 Jones Street Boys
o 3.3 Saracens
o 3.4 Satan's Mothers
o 3.5 The Warriors
* 4 Gangs in Manhattan
o 4.1 Baseball Furies
o 4.2 Boppers
o 4.3 Electric Eliminators
o 4.4 Gramercy Riffs
o 4.5 Hi-Hats
o 4.6 Hurricanes
o 4.7 Lizzies
o 4.8 Panzers
o 4.9 Punks
o 4.10 Rogues
o 4.11 Savage Huns
* 5 External links

[edit] Rank

Gangs in The Warriors have a specific, military-like ranking system. The ranks, from highest to lowest, are as follows:

* Warlord: The Warlord, or Overlord, is the highest-ranking member of a gang. Warlords are usually older, more experienced and better fighters than other members. They must also be level-headed and have a good knowledge of combat.
* Warchief: A Warchief is a gang's second-in-command and often acts as leader when the Warlord is absent or if something bad happens to the Warlord.
* Lieutenant: A gang's lieutenants are the third-highest ranking members. There is usually more than one lieutenant.
* Soldier: A soldier, or full member of a gang is a low-ranking but official gang member. This is the most common rank that members rise to.
* New Blood: A new blood is a newly-recruited member. Every gang member must go through a period as a new blood to prove themselves to full members of the gang. Certain gangs will reward their members with a vest or patch when they complete this period.

[edit] Gangs in The Bronx
[edit] Moonrunners

The Moonrunners are a graffiti artist gang from Pelham Bay. They are predominantly Black, with a few White members and wear purple vests with silver jackets. Their Warchief and Lieutenants wear red jackets, however. Their hangout is the Pelham Bay Metropolitan Transit Authority depot, where they often spray their tags onto subway trains. They are bitter rivals of the Van Cortlandt Rangers.

In the film, they are shown making their way to Cyrus' meeting and in the video game, they appear in Level 6 (Writer's Block) where The Hi-Hats host a set-up graffiti art competition, invite a number of gangs and then attack them. They also appear in Level 13 (All-City) where The Warriors invade their turf in order to mark the newly manufactured trains.
[edit] Orphans

The Orphans are a bottom-of-the-barrel gang, led by Sully, a coward and poor fighter, and are known to be one of the weakest gangs in New York, with a maximum of around thirty members at full-strength. Their uniform consists of a green T-shirt with 'ORPHANS' written on the back in black, and blue jeans. All of their members appear to be White or Hispanic.

In the film, they confront The Warriors when they leave the local Subway station and walk through their turf, Tremont. The Warriors leader, Swan, explains that they were on their way home from the meeting but their train was stopped because of a fire, so they had to get off and walk. Sully is about to let them through, however, Sully's girlfriend Mercy Instigates a confrontation. It appears that The Orphans were not even told about the meeting. This implies that they are considered to be a joke to the gangs that are under the Gramercy Riffs' network.

In the game, the Orphans are encountered twice. The first time is in the fifth level (Real Heavy Rep), in which Sully, has told the DJ that the Orphans have wrecked the Warriors, hoping to gain even more reputation than he already has. The Warriors hear this claim on the radio, and Cleon and Fox take the newly-recruited Warriors to Tremont to test them as well as restore their growing reputation, and teach the Orphans a lesson, which obviously would never happen. The second encounter occurs in the fifteenth level (No Pemrits, No Parley), and the first and final parts of this level follow the encounter seen in the film. The middle of the level shows the Warriors fighting Orphans, in which case the Warriors win, the police and other gangs in an attempt to get to the next subway station.
[edit] Turnbull AC's

The Turnbull AC's, or simply Turnbulls or AC's, are an anarchistic, hardcore punk gang from Gun Hill Road. Their logo is a bull's head sandwiched between the words Turnbull and AC's. They have Black and White members, who all have shaven heads and drive around in an old, graffiti-covered school bus. Their hang-out is located in a truck yard but they also frequent a bar called The Red Devil. Some of their lieutenants are Birdie, Sid and Thrash. They commonly use knives and machetes as weapons.

During the events of the film as depicted in the game, the Turnbulls are the Warrior's most aggressive pursuers, hunting them as they attempt to make the train station. In the video game, Birdie was killed in retaliation for having his gang ambush two of the Warriors in Level 11 (Boys In Blue). They also appear in Level 14 (Desperate Dudes), which is simply a recreation of the events of the film.
[edit] Van Cortlandt Rangers

The Van Cortlandt Rangers, or VC Rangers, are a Black gang from Van Cortlandt Park. They wear white shirts with purple stripes (reverse for their Warchief and Lieutenants) and fedora hats. They were invited to the Gramercy Riffs' meeting, which was held on their home turf, and are bitter rivals of the Moonrunners.

They are shown very little in both the film and video game. So little that when used in Rumble mode in the video game they are addressed by the DJ as if they were a created or fictitious gang, and their name is abbreviated to VC Rangers using only ten spaces as you can only do when naming a created gang. While gangs such as Electric Eliminators uses well over ten spaces.
[edit] Gangs in Brooklyn
[edit] Destroyers

The Destroyers were once the most powerful gang in Coney Island but lost control and eventually disbanded after their leader, Virgil, a cocaine-addicted alcoholic, attempted to get Cleon, his Warchief, killed in a set-up drug deal with the Satan's Mothers. After surviving the assault, Cleon then rebelled and established his own gang, the Warriors, made up of several former Destroyers. Virgil was eventually violently deposed and his gang destroyed in retaliation for the murder of Ash, one of the Warrior's New Bloods. Their members wore sleevless denim jackets with the Destroyers logo embroided on the back. Their hang-out was a large warehouse in Eastern Coney Island, with a mural of Virgil painted on the side.

They only appeared in the video game.
[edit] Jones Street Boys

The Jones Street Boys, or JSB's, are a cocky bunch of trust fund kids who live in a world where money is no object and petty crime is just a thrill ride. All of their members are White and wear black and gold-striped, or sometimes black and white, shirts. The JSB's turf is Bensonhurst and Bay Ridge, and they are led by Knox. They are bitter rivals of the Saracens and are known to commonly use wrenches, crowbars and lead pipes as weapons during fights.

They are shown at the meeting during the film. In the game, they appear in Level 12 (Set Up) and are working with dirty cops to keep the Saracens at bay. For an assist, the Saracens consult the Warriors, who proceed to kill two birds with one stone: they frame both the JSB's and the cops by planting stolen goods on them. In return for their help, the Saracens secure a place for the Warriors on the Gramercy Riffs' network. Lemmy, of The Destroyers, supplied them with drugs. It is unknown if this was on an industrial scale or simply for recreational use, however.
[edit] Saracens

The Saracens are a gang from Bensonhurst who have a long-running rivalry with the Jones Street Boys. They wear black vests with white trim but their Warchief and Lieutenants wear white vests with black trim, with the exception of their leader, Edge. It appears that most of the members are White, but there are some Black members. The Saracens' logo is a cobra with a scimitar in its mouth. The Saracens seem to have some form of a relationship with the Electric Eliminators. In the second flashback level, King of the Hill, the Saracens and Eliminators are seen patting each other on the backs. Later, during the conclave after Cyrus is murdered, two members of the Saracens are seen helping some Eliminators scale a wall to escape the park. They are also allies of the Gramercy Riffs.

The Saracens are seen during the intro of the film, walking down a subway platform. In the video game, they have a bigger role. They enlist the help of the Warriors to take down the Jones Street Boys, their rival gang in Level 12 (Set Up). The JSB's are working with some corrupt police officers to keep the heat on the Saracens. If the Warriors can break up the deal, the Saracens will put a word in for them with the Gramercy Riffs to invite them to a huge meet in the Bronx.
[edit] Satan's Mothers

The Satans Mothers Motorcycle Club (SMMC), commonly known as simply the Satan's Mothers or Mothers, are an outlaw motorcycle gang from Sheepshead Bay, responsible for drug distribution throughout Brooklyn and New Jersey. Their members dress in typical biker fashion and wear leather vests with their logo (Satan's face, sandwiched between the top rocker, reading Satans, and bottom rocker, reading Mothers) on the back. Their vests also have the letters MC (Motorcycle Club) on the back. They are one of the most powerful gangs in New York City and are led by Tiny and Spider. They are loosely based on the Hells Angels.

In the film, they can be seen at the meeting and in the video game, they pursue Cleon and Vermin of The Destroyers after they attempt to rip them off in a drug deal (actually a set-up by The Destroyers leader, Virgil). They chase them to a warehouse roof but are defeated by the pair in the ensuing fight. This happens in Flashback Level A (Roots). Their fights with the Savage Huns are often mentioned by the DJ on the radio, but it is implied that they were once allies.
[edit] The Warriors
Main article: The Warriors (gang)

The Warriors, sometimes referred to as the Coney Island Warriors, are the main gang in both the film and the video game. Their turf is Western Coney Island and it is mentioned in a deleted scene from the film that they are a "street family of 120, plus affiliates.". Their main hang-out is located near the amusements and Deno's Wonder Wheel. The Warriors have members of a number of races and wear red leather vests with the gang's logo (a death's head adorned with a Native American warbonnet patterned to resemble up-turned wings) on the back.

The Warriors were formed in 1978 when Cleon and Vermin split from The Destroyers, the original gang in Coney Island. The Destroyers and Warriors then became rivals and fought over the right to rule Coney Island. The Warriors eventually won the war and The Destroyers ceased to exist from that point on.

After hearing rumours about an upcoming gang meeting, The Warriors decided to increase their reputation by battling other gangs in the hope of being noticed. The Saracens promised to put a word in for them with the Gramercy Riffs to invite them to the meet if they helped them out by framing members of the Jones Street Boys. The Warriors planted drugs in the JSBs' hang-out and were eventually put on the 'Riffs' network'.

In 1979, The Warriors were invited to the midnight summit in Van Cortlandt Park, The Bronx by Cyrus, the leader of the Gramercy Riffs. All gangs invited were asked to send nine unarmed representatives to the conclave. The nine members sent by the Warriors were Cleon (Warlord), Swan (Warchief), Fox (scout), Rembrandt (the gang's graffiti artist), Ajax, Cochise, Cowboy, Snow and Vermin.

The Warriors then had to fight their way back to Coney Island after The Rogues shot and killed Cyrus, the leader of the Riffs, and blamed it on them. On the way back, they encountered numerous gangs including The Turnbull AC's, The Baseball Furies, The Orphans, The Punks and The Lizzies. Cleon and Fox were killed by gangs and the police and Ajax was arrested while trying to battle their way back home. When they finally reached Coney, they came face-to-face with The Rogues and were preparing to fight. The Riffs interrupted, however, and revealed that they had been told who really killed their leader. The Warriors then headed home as the Riffs swarmed The Rogues.
[edit] Gangs in Manhattan
[edit] Baseball Furies

The Baseball Furies, or simply The Furies, are a gang from Riverside Park, the baseball fields in particular. Their leader is Cobb. They are a New York Yankees-inspired gang in white pinstriped baseball uniforms with the Furies logo embroidered on the back, wielding baseball bats and wearing facial makeup similar to that of the rock group KISS, only multicolored instead of black and white. Their Warchief and Lieutenants wear black pinstriped uniforms. They are never heard to speak; this adds to their frightening presence and mysterious intentions. The Furies were created because of Walter Hill's love for baseball and the band KISS.

In the film, they chase the Warriors through Riverside Park, but prove ineffective fighters during the ensuing brawl. In the video game, The Furies are encountered twice. The first time is in Level 4 (Blackout) they are first spotted beating up a pair of Rogues and then chase three of the Warriors (Vermin, Snow and Ash) to the Subway station. The second encounter occurs in Level 16 (Home Run). The first two portions of this level are recreations of the iconic chase scene and Riverside park fight from the film. The final portion of the level takes place in the Riverside Park Rotunda and pits the Warriors against Cobb, the Furies' leader.
[edit] Boppers

The Boppers are an all-Black gang from West Harlem, and their usual hangout is a disco hall named Club 45. They are also found in a pool hall and The Black Cat Lounge, a strip club. Their members who mostly speak in jive and wear purple waistcoats and fedoras, black shirts and cream-coloured trousers. Their Warchief and Lieutenants wear gold long-sleeved shirts with their vests. They are bitter rivals of the Hurricanes, who hail from East Harlem.

The Boppers are seen in the film walking down a subway platform during the intro, and later at Cyrus' meeting. In the video game, they appear in Flashback Level E (Sharp Dressed Man), in which the Warriors must gain entry to a Boppers-owned night club before beating up Big Moe, their leader, and stealing his hat.
[edit] Electric Eliminators

The Electric Eliminators, or simply the Eliminators, are an all-White break dancing gang who wear purple t-shirts and shiny gold jackets with their logo on the back, and sometimes black fingerless gloves. They are bitter rivals of the Hi-Hats, who also hail from SoHo.

In the film, they are shown making their way to the meeting and scaring civilians in the subway. They appear in Level 6 (Writer's Block) in the video game, where the Hi-Hats host a set-up graffiti competition then attack the attending gangs.
[edit] Gramercy Riffs

The Gramercy Riffs, or simply the Riffs, are the largest and most important gang in New York City. They are disciplined, well-organized and based on martial arts. As their name suggests, their turf is Gramercy, but as they are the largest gang in the city, their influence most likely spans much further. The Riffs seem to be made up entirely of African-Americans. They dress in orange, karate gi garb, resembling those worn by Shaolin monks, but at the end of the film, they are seen wearing black T-shirts and matching jeans. It is never mentioned how many members the Gramercy Riffs have, but it is speculated that their numbers range from around 500 to 1,000.

At the start of the film, the Riffs' Warlord, Cyrus, is giving a speech to all of New York's heavier gangs, stating that if they all worked together they could run the city, outnumbering the police three to one. At the climax of the conclave, Cyrus is shot by the Rogues' leader, Luther, who then frames the Warriors for the crime. After Cyrus' death, the second-in-command, Masai, takes over, and has the Riffs hunt them down until the Rogues are proven guilty of the crime by an onlooker. In the video game, the last few missions follow the same story as the film, with the Riffs hunting down the Warriors. Earlier missions revolve around the Warriors' trying to get on the Riffs' network. Cyrus is also shown in several cutscenes explaining his idea to his Warchief, Masai. The Warriors never directly encounter the Riffs until the end of Level 18 (Come Out to Play), which plays out exactly as it did in the film.
[edit] Hi-Hats

The Hi-Hats are a mime gang from SoHo whose members sport red-and-black-striped shirts (black-and-white-striped for the Warchief and Lieutenants), painted faces and top hats. They are bitter rivals of the Electric Eliminators, who also hail from SoHo, and commonly use knives. They are led by Chatterbox, and later they are led by Crackerjack.

The Hi-Hats are only seen in the opening credits and at the conclave during the film. In the game, however, they are featured in two levels. In Level 6 (Writer's Block), they hold a writer's competition to find the best graffiti artist in New York City. This is a setup, however, to eliminate other gangs. The Warriors escape to Chatterbox's art gallery which they trash. In Level 8 (Encore), the Hi-Hats go to Coney Island to take revenge on the Warriors. After a prolonged battle, the Warriors kill Chatterbox and his invading soldiers. Crackerjack then becomes the Hi-Hats' Overlord.
[edit] Hurricanes

The Hurricanes are an all-Hispanic (mainly Puerto Rican) gang from Spanish Harlem. Hurricanes members are usually heavily tattooed and wear white muscle-shirts (or no shirts at all) with bowler hats and matching beige trousers. Lieutenants wear short-sleeved blue shirts and their Warchief, Sanchez, wears a short-sleeved brown shirt. Like the Satan's Mothers and the Turnbull AC's, the Hurricanes have two leaders, Diego and Vargas. Both of whom are very muscular, heavily tattooed and over 6 feet tall. They are bitter rivals of the West Harlem Boppers and their usual hangout is the "Stripes and Solids" pool hall.

The Hurricanes are seen in the film walking down a subway platform during the intro and later at Cyrus' meeting. They appear in level 7 (Adios Amigo) of the video game, in which the Warriors go to Spanish Harlem to collect money owed to them by Sanchez. A conflict ensues and the Warriors become surrounded, eventually fighting their way out.
[edit] Lizzies

The Lizzies are an all-female gang operating out of Bowery. Their hang-out is located near CBGB and for uniform they all wear a watercolor-patterned rainbow shirt, which can be seen under their hooded sweaters and jackets in the film. Apparently, some members also wear hooded sweaters with their logo embroidered on the back.

In the film, they meet Vermin, Cochise, and Rembrandt of the Warriors in the subway and bring them back to their hang out under the guise of partying and having sex. However, it soon becomes apparent that they lured them there in an attempt to take revenge on the Warriors, whom they believe shot the Riffs' leader, Cyrus. This scene is recreated in the video game.
[edit] Panzers

The Panzers are an all-Black, militant gang from Washington Heights. They are seemingly modeled on the Guardian Angels and Black Panthers as their members wear camouflage jackets or black turtle neck sweaters and sometimes red berets. They are essentially a neighborhood vigilance organization, and one of the city's least-respected gangs, but are still invited to the meeting.

In the film, they are shown making their way to the meeting during the intro, and in the video game they appear in Level 6 (Writer's Block), where The Hi-Hats host a set-up graffiti competition then attack the attending gangs.
[edit] Punks

The Punks are a gang operating out of the Bowery. They are mostly White, with at least one Black member, and wear traditional worker's outfits and their leader uniformly moves around on roller skates. They are known for the swiftness and savagery of their attacks. Their members carry knives.

In the film, they accidentally stumble into a skirmish with the Warriors inside a subway station washroom (while seeking to ambush Swan, alone) and are beaten up. This scene is recreated in the video game.
[edit] Rogues
The Rogues leader, Luther.

The Rogues are a gang from Hell's Kitchen. They dress like 1950s greasers and resemble stereotypical metalheads and wear biker-style uniforms consisting of leather "kutten" vests, with their logo - a hooded grim reaper in chains - embroidered on the back, and matching patrol caps and jeans and drive an old graffiti-scribbled Cadillac hearse. The leader, Luther, is a small man with extremely violent and psychopathic tendencies. He killed Cyrus merely because "I just like doing stuff like that!" Luther's Warchief is Cropsey.

In the video game, the Rogues follow the same storyline as the film, but you are introduced to them earlier on, via cut scenes before and after certain missions. At the beginning of Boys In Blue for example, you discover how their Luther got the gun and police badge in the first place. The cut scenes show more of Luther's character and mentality, and also the bullying of another member of the gang. At various points in the game, Luther is seen speaking to an unknown person on a payphone, however, portions of his conversation imply that some had put Luther up to killing the cop to retrieve the gun and badge, as well as the assassination of Cyrus. In the game, Rogues are encountered in Blackout alongside the Moonrunners, Panzers and Baseball Furies. They are encountered a second time in Come Out to Play, this level re-creates the climatic Hearse chase and final fight between Luther and Swan. The fight, however, is longer in the game, it starts with a one-on-one fist fight between the two, then, after being severely beaten, Luther hides behind a fence on the beach and shoots at Swan and Snow. The battle eventually ends when, as in the film, Mercy gives Swan a knife to throw at Luther. During the game's closing credits, the player takes control of the Gramercy Riffs and is able to waste the Rogues.
[edit] Savage Huns

The Savage Huns (Chinese: 野蠻的匈奴), or simply Huns, are a Chinese American gang loosely affiliated with the Triads in control of Chinatown. They wear traditional Chinese worker attire (apart from the gang leaders, who wear stylish martial arts outfits) and are responsible for enforcing the Triads' bookmaking, protection and gambling rackets in Chinatown. They are led by Ghost. They commonly use knives during fights.

In the film, they are shown waiting for a train in the subway, during the intro. In the video game, they appear in Flashback Level D (Scout's Honor) where two Warriors members travel to Chinatown to steal their gambling and protection books. Their fights with the Satan's Mothers are often mentioned by the DJ on the radio, but it is implied that they were once allies

The Warriors

2009-11-02T20:30:00.000-08:00

The Warriors (film)
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The Warriors

Theatrical poster
Directed by Walter Hill
Produced by Lawrence Gordon
Written by Sol Yurick (novel)
David Shaber
Walter Hill (screenplay)
Starring Michael Beck
James Remar
Deborah Van Valkenburgh
David Patrick Kelly
Music by Barry De Vorzon
Joe Walsh
Cinematography Andrew Laszlo
Editing by David Holden
Distributed by Paramount Pictures
Release date(s) February 9, 1979
Running time 93 minutes
Country United States
Language English
Gross revenue $22,490,039

The Warriors is a 1979 cult action/thriller film directed by Walter Hill and based on the 1965 novel by Sol Yurick. Much like the novel, the film borrows certain elements from the Anabasis by Xenophon.
Contents
[hide]

* 1 Plot
* 2 Cast and characters
o 2.1 The Warriors
o 2.2 Other notable gangs
* 3 Production
* 4 Reception
o 4.1 Reviews
o 4.2 Legacy
* 5 Merchandise
* 6 Remake
* 7 See also
* 8 References
* 9 External links

[edit] Plot

Cyrus, the leader of the most powerful gang in New York City, the Gramercy Riffs, calls a midnight summit for all the area gangs, with all asked to send nine unarmed representatives for the conclave in Pelham Bay Park. The Warriors, from Coney Island, Brooklyn, are one such gang.

The eloquent and intelligent Cyrus (Roger Hill) says,"Can you dig it?" tells the assembled crowd that a permanent citywide truce would allow the gangs to control the city, pointing out there are 60,000 of them and only 20,000 officers in the NYPD. Most of the gangs laud his idea, but members of The Rogues gang, who have smuggled a gun in, pass it to Luther, who then kills Cyrus. Panic ensues. Luther (David Patrick Kelly), leader of the Rogues, is seen in the act by one of the Warriors, Fox (Thomas G. Waites). Immediately after, the NYPD rushes in from all sides. During the chaos, Luther screams that the Warriors are responsible for killing Cyrus. While the Riffs beat the Warriors' leader Cleon (Dorsey Wright), the other eight Warriors escape the melee and debate their next move, knowing they are deep in enemy territory.

Meanwhile, the other locally-based gangs regroup at their respective headquarters. Masai, second-in-command of the Riffs, takes charge as their new leader, and declares a bounty on the Warriors. This sets the entire city's gang population out hunting for them, with a seemingly omniscient radio DJ (Lynne Thigpen) reporting on the events.

Regrouping in Woodlawn Cemetery, The Warriors begin their long journey from the Bronx back to Coney Island. The second-in-command, Swan (Michael Beck), takes charge, though the hot-headed Ajax (James Remar) openly voices his desire to be acting gang warlord. The Warriors slowly cross the dangerous Bronx and Manhattan territories, narrowly escaping police and other gangs every step of the way.

On their way to the subway, the Warriors find another gang, the Turnbull AC's, looking for them. They have no choice but to make a run to the train. The Turnbull AC's almost reach them but the Warriors make it to the train, just in time for the doors to close. However, on the ride back to Coney Island, the train is stopped by a fire on the tracks, dumping the Warriors in Tremont, in the Bronx. In the Bronx, they come across a gang called the Orphans. Parleying for safe passage, the Warriors convince the Orphans to let them through peacefully until they come across Mercy (Deborah Van Valkenburgh), a feisty girl who convinces the Orphans to try and put up a fight with the Warriors when they refuse to give her one of their gang-vests. When she challenges the manhood of the Orphans' leader (Paul Greco), he, to save face, tells the Warriors to remove their gang colors for safe passage. The Warriors refuse, resulting in a near fight quelled only by the Warriors' use of a Molotov cocktail. Mercy, impressed, follows the Warriors on impulse.

When the Warriors arrive at the 96th Street and Broadway station in Manhattan, they are separated when they are chased by the numerous patrolling cops who are trying to round up all the gangs after the "rumble" in the Bronx. Vermin, Cochise and Rembrandt make the train to Union Square. Fox is seen with Mercy running to catch up with the others. He is then tackled by a police officer and is strggling to escape but can't. Instead, he tells Mercy to go on without him. Mercy runs to catch up but then goes to Union Square with the police claiming they are looking for a, female with a pink top. Fox is seen again struggling with the cop but the cop notices a train is coming so he then throws Fox in the tracks. The train then runs him over. Swan, Ajax, Snow and Cowboy run outside, where a rival gang, the Baseball Furies, lay in wait for them. The gang chases the four into Riverside Park, where a fight ensues with the Warriors victorious.

Arriving at the Union Square station, Vermin, Cochise and Rembrandt are seduced by members of an all-female gang called the Lizzies. Back at the Lizzies' hangout, the women draw weapons to kill them, but the trio narrowly manages to escape again (with only Rembrandt's arm badly cut by a Lizzie gang member), learning in the process that everyone believes they killed Cyrus.

Leaving the park, Ajax breaks from the group in order to 'make it' with a woman on a park bench, in spite of the others' warnings. The woman (Mercedes Ruehl) is really an undercover police officer who handcuffs Ajax to the bench, and Ajax is arrested and taken to jail.

Swan arrives back at the 96th Street station and meets up with Mercy, who tells him of Fox's fate. On the platform, more police show up and Swan and Mercy flee into the subway tunnel. While there, Mercy expresses her interest in Swan, who doesn't like her because she doesn't respect herself. The pair end up kissing, but Swan pushes her away and leaves without her.

Swan makes it to the Union Square station, but is promptly tailed by members of the Punks. Mercy also arrives, followed by the remaining members of the Warriors who re-group. They lead the Punks into a nearby male public restroom, where another fight ensues. The Warriors, hurt but victorious once more, then catch the last train on their journey back to Coney Island.

The Riffs are visited by a gang member who attended the earlier gathering, a witness to Luther firing the gun. Meanwhile, on the train, the Warriors gripe that Cyrus' plan was all "a load of crap". When four clean-cut types, couples who are returning home from their senior prom, board the train, one of the prom dates drops her corsage upon leaving the train, and Swan gives it to Mercy.

When day breaks, the Warriors finally arrive home, but find Luther and the Rogues waiting for them (with Luther clinking empty bottles on his fingers and intentionally drawing the words, "Warriors, come out to play-yay!!!"). The two gangs meet on the beach, where Luther reveals he had no reason for killing Cyrus, other than his own gratification. Swan suggests he and Luther fight a one-on-one duel. Luther, rejecting this, pulls his gun, but Swan quickly throws a knife into Luther's wrist, disarming him the second he fires. Before more violence ensues, the Riffs arrive on the beach and acknowledge that they have learned the truth of Cyrus's murder. Masai compliments the remaining Warriors on their skills and lets them go. The Riffs then swarm onto the doomed Rogues.

The DJ makes her final appearance and informs everyone that the early reports were wrong. She announces that she is sorry for the Warriors and that "The only thing we can do is play you a song." She plays them Joe Walsh's "In The City" as the Warriors walk down their hometown beach with Mercy.
[edit] Cast and characters
Main article: List of characters in The Warriors
[edit] The Warriors

The Warriors is a street gang of many races and ethnicities based in the western neighborhoods of Coney Island, on the edge of Brooklyn. Their gang uniform consists of a red-orange pleather vest embroidered with the Warriors' logo on the back. The gang has an overall Native American theme, and their logo consists of a death's head with an Indian war bonnet shaped like eagle wings. This theme is accented by the Indian-style bead necklaces and armbands worn by some members. Their main stomping ground and base turf is among the many amusement park areas of Coney Island, particularly the landmark that is Deno's Wonder Wheel, a now-iconic symbol synonymous with Coney Island and The Warriors.

In a deleted scene, available on the special edition DVD and also included in some televised versions of the film, Cleon mentions that the Warriors is a street family of 120 members (plus affiliates), but only the nine chosen to go to Cyrus' meeting are shown in the film. The nine principal members in the film are:

* Cleon (Dorsey Wright): The Warlord, leader and founder of the gang. Named after the Ancient Greek politician. He wears a leopard-patterned cloth around his head as well as an Indian-style necklace. Immediately after Cyrus' assassination, he is attacked and overwhelmed by the Gramercy Riffs and presumed dead.

* Swan (Michael Beck): The Warchief, second-in-command of the gang, and the central focus of the film. Assuming control after the loss of Cleon, the level-headed Swan makes the decision for the gang to continue wearing their colors and fight their way back home. After successfully leading the group back to Coney, he wins a gunfight against Luther using only a knife. During filming, he was originally going to be captured by a homosexual gang, the Dingos, in Union Station and later revealed to have escaped, meeting up with the other Warriors when they reach Coney Island for the final showdown with the Rogues but in the finished script this does not happen.

* Ajax (James Remar): A fearless aggressive brawler always up for a fight. Possibly the toughest and strongest of the gang. After the loss of Cleon at the conclave, he engages in a short confrontation with Swan over who should assume command. He wears fingerless leather gloves and a black tank-top under his Warriors vest. Ajax is arrested by an undercover female police officer. He is named after the legendary Greek hero.

* Vermin (Terry Michos): Quick with a smile and a joke, Vermin is the most cynical member of the gang, but a solid soldier and extremely loyal. He is tasked with carrying the tokens and money to the meeting. In an early script, he is shot and killed by the Lizzies, but in the finished script he survives the attack.

* Cochise (David Harris): A born fighter who wears Native American-style jewelry, leather pants and boots. He sports an afro with a red bandanna tied around it. He is named after the Apache Chief. He was originally scripted to be beaten to death by the Baseball Furies and then to be thrown into the Hudson River, but in the finished film he survives.

* Fox (Thomas G. Waites): The gang's scout, Fox is very familiar with other gangs' tactics, territory, and numbers. He dies when thrown in front of a speeding train during a fight with police. In the script, Fox was originally the love interest of Mercy, but the two actors had no chemistry and the Mercy romance was transferred to Swan.

* Rembrandt (Marcelino Sánchez): The gang's graffiti artist, wears the standard Warrior's vest along with a messenger bag and an afro. The youngest member, Rembrandt is far less battle-hardened and is frequently looked after by the other members of the gang. He is named after the famous painter.

* Snow (Brian Tyler): A stoic, African American Warrior with an afro. He proves to be a talented fighter during the gang's brawls with the Baseball Furies and the Punks. In the script and deleted intro scene, Snow is referred to as "Snowball."

* Cowboy (Tom McKitterick): A young, optimistic and happy-go-lucky Warrior who wears a Stetson cowboy hat and a shirt underneath his vest. Like Rembrandt, Cowboy is far less battle-hardened and is frequently looked after by the other members of the gang.

* Mercy (Deborah Van Valkenburgh): A prostitute from Tremont who originally has ties to the Orphans. She joins the Warriors after their confrontation with the Orphans and shows romantic interest in Swan. She occasionally denies being a prostitute and shows embarrassment over her condition around normal people.

[edit] Other notable gangs
Main article: List of gangs in The Warriors
"Warriors... come out to play-eeeee!"

Along the way, the Warriors encounter the following fanciful gangs, from north to south:

* The Turnbull AC's - A gang with shaved heads, they travel in large numbers in a spray-painted bus and wear denim jackets with matching jeans and patches. Their turf is around Gun Hill Road in The Bronx. According to Rembrandt, even the Gramercy Riffs are afraid to go toe-to-toe with the Bulls.
* The Orphans - A poor, cowardly, and little-known gang from the Bronx. They are not part of the "network" of the Gramercy Riffs so therefore they are not invited to the meeting with Cyrus.
* The Baseball Furies - A gang who always wears baseball uniforms with uniquely painted faces and carries baseball bats. Their main building resembles a dugout with bats lining the exit of the building. Though a very respected and formidable gang, they are shown to be very poor fighters as they lose a fight against the Warriors despite having them outnumbered 8 to 4.
* The Lizzies - An all-female gang who seduce the Warriors and successfully lure some members into their Bowery apartment to kill them. Their name may double as a reference to Lizzie Borden. It may also suggest lesbian tendencies ("lezzies" being a derogatory slang word for lesbians), which are implied by a suggestive dance scene between two of the gang members. They also represent the mythical Sirens. The apartment they take the Warriors to is directly across the street from CBGB.
* The Punks - A gang with a leader who strolls around on rollerskates. The Warriors fight them in a mens' room in 14th Street–Union Square subway station. The members are all tall, broad, and white (though there is at least one African-American in the gang), resembling hockey players. They wear denim overalls over striped shirts. The Punks are only referred to by that name in the credits. They share the Bowery neighborhood with the Lizzies.
* The Rogues - A gang led by Luther who were responsible for Cyrus' assassination. The Rogues are the Warriors' primary enemies as they framed the Warriors for Cyrus' murder, starting the events of the film.
* The Gramercy Riffs - The largest and most respected gang in New York, led by Cyrus before his assassination at the hands of the Rogues. Each member wears orange karate Gi with the exception of their leader who wears black. It is assumed that they are skilled in martial arts due to their attire and the martial arts style kicks they employ in a fight with Warriors leader Cleon.

[edit] Production

Producer Lawrence Gordon sent director Walter Hill the screenplay for The Warriors with a copy of Sol Yurick's novel.[1] Gordon and Hill were originally going to make a western but when the financing on the project failed to materialize, they took The Warriors to Paramount Pictures because they were interested in youth films at the time. Hill was drawn to the "extreme narrative simplicity and stripped down quality of the script".[1] The script, as written, was a realistic take on street gangs but the director was a huge fan of comic books and wanted to divide the film into chapters and then have each chapter "come to life starting with a splash panel".[1] However, Hill was working on a low budget and a tight post-production schedule because of a fixed release date as the studio wanted to release The Warriors before a rival gang picture called The Wanderers. As a result, Hill was unable to realize this comic book look.[1]

The filmmakers did extensive casting in New York City.[1] Hill had screened an independent film called Madman for Sigourney Weaver to cast her in Alien and it also featured Michael Beck as the male lead. The director was impressed with Beck's performance and cast him in The Warriors. Deborah Van Valkenburgh's agent convinced the film's casting directors to see her. The filmmakers wanted to cast Tony Danza in the role of Vermin but he was cast in the sitcom Taxi and Terrence Michos was cast instead. In Yurick's book there were no white characters but, according to Hill, Paramount did not want an all black cast for "commercial reasons".[1]

Stunt coordinator Craig R. Baxley put the cast through stunt school because Hill wanted realistic fights depicted in the film.[1] In preparation for his role, James Remar hung out at Coney Island to find a model for his character. The entire film was shot on the streets in New York City with some interior scenes done at Astoria Studios. They would shoot from sundown to sunrise. The film quickly fell behind schedule and went over budget. While they shot in the Bronx, bricks were tossed at the crew. Actor Joel Weiss remembers that filming of his scene at Avenue A being canceled because there was a double homicide nearby. For the big meeting at the beginning of the film, Hill wanted real gang members in the scene with off duty police officers also in the crowd so that there would be no trouble.[1]

The studio would not allow Baxley to bring any stunt men from Hollywood and he needed someone to double for the character of Cyrus so he did the stunt himself dressed as the character.[1] Actual gang members wanted to challenge some of the cast members but were dealt with by production security. The actors playing The Warriors bonded early in the shoot, on and off the set. Originally, the character of Fox was supposed to end up with Mercy and Swan was captured by a rival gang known as the Dingos only to escape later. Actor Thomas G. Waites was fired eight weeks into principal photography for being difficult on the set and arguing with Hill. The director watched the dailies and realized that Beck and Van Valkenburgh had great chemistry. Their characters ended up together.[1]

Originally, at the Coney Island confrontation at the end of the film, actor David Patrick Kelly wanted to use two dead pigeons but Hill did not think that would work.[1] Kelly used three bottles instead and improvised his famous line, "Waaaaariors, come out to plaaaay". Kelly was influenced by a man he knew in downtown New York who would make fun of him. Hill wanted Orson Welles to do a narrated introduction about Greek themes but the studio did not like this idea and refused to pay for it.[1]
[edit] Reception

The Warriors opened on February 9, 1979 in 670 theaters without advance screenings or a decent promotional campaign and grossed USD $3.5 million on its opening weekend.[2] The following weekend the film was linked to sporadic outbreaks of vandalism and three killings - two in Southern California and one in Boston - involving moviegoers on their way to or from showings. This prompted Paramount to remove advertisements from radio and television completely and display ads in the press were reduced to the film's title, rating and participating theaters.[2] In reaction, 200 theaters across the country added security personnel. Due to safety concerns, theater owners were relieved of their contractual obligations if they did not want to show the film, and Paramount offered to pay costs for additional security and damages due to vandalism.[3] After two weeks free of incidents, the studio expanded the display ads to take advantage of reviews from reputable critics including Pauline Kael of The New Yorker. She wrote, "The Warriors is a real moviemaker's movie: it has in visual terms the kind of impact that 'Rock Around the Clock' did behind the titles of Blackboard Jungle. The Warriors is like visual rock".[4] In its sixth week, The Warriors had grossed $16.4 million, well above its estimated $6-7 million budget.[2]
[edit] Reviews

A mild commercial success on its initial release, the film was panned by many critics as exploitative and superficial. Gary Arnold, in his review for the Washington Post, wrote, "None of Hill's dynamism will save The Warriors from impressing most neutral observers as a ghastly folly".[5] In his review for Newsweek, David Ansen wrote, "Another problem arises when the gang members open their mouths: their banal dialogue is jarringly at odds with Hill's hyperbolic visual scheme".[6] Frank Rich, in his review for Time, wrote, "Unfortunately, sheer visual zip is not enough to carry the film; it drags from one scuffle to the next . . . But The Warriors is not lively enough to be cheap fun or thoughtful enough to be serious".[7] Yurick expressed his disappointment in the film version and speculated that it scared some people because "it appeals to the fear of a demonic uprising by lumpen youth", and appealed to many teenagers because it "hits a series of collective fantasies".[2] President Ronald Reagan was also a fan of the film, even calling the film's lead actor, Michael Beck, to tell him he had screened it at Camp David and enjoyed it.[4] In recent years, The Warriors has acquired the status of a cult film, along with a re-examination of its standing with some film critics. As of January 2008, the film has garnered a 93 percent "fresh" rating at Rotten Tomatoes.
[edit] Legacy

Over the years, The Warriors has developed a significant cult following. At Seattle’s Grand Illusion Cinema, programmer Zack Carlson remembers, “people were squeezed in, lying on the floor, cheering".[8] Entertainment Weekly named The Warriors the 16th greatest cult film on their "Top 50 Greatest Cult Films" list.[9] The magazine also ranked it the 14th Most Controversial Movie Ever.[10]
[edit] Merchandise

While itself adapted from a novel, the film has been adapted into a number of other products as well. The film's soundtrack was released in the same year as the film. In 2005, Mezco Toyz released Warriors action figures, including Swan, Cleon, Cochise, Ajax, Luther, and a Baseball Fury.[11]

The Warriors video game, based on the movie, was released by Rockstar Games on October 17, 2005. Levels 1 through 13 acts as a prequel to the film, creating backstory and elaborating on the characters from the film. Levels 14 through 18 recreates much of the film's events. Several of the actors from the movie returned to perform the voices for their original characters.

Warner Bros. Entertainment announced a downloadable title for the Xbox 360 titled The Warriors: Street Brawl. However, it will play differently from the Rockstar Games version, this time in a simple, side-scrolling brawler.

In 2009, Dabel Brothers Productions began a five issue comic book adaption of the film. Following that is a four issue mini series entitled The Warriors: Jail Break which takes place several months after the film.

King Kong

2009-11-02T20:24:00.000-08:00

King Kong
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see King Kong (disambiguation).
The original stop-motion animated King Kong from the 1933 movie, battling an airplane on top of the Empire State Building.

King Kong is a monster (a gigantic ape) that has appeared in several films since 1933. These include the groundbreaking 1933 film King Kong, the film remakes of 1976 and 2005, as well as various sequels. The character has become one of the world's most famous movie icons and, as such, has transcended the medium, appearing in other works outside of films, such as a cartoon series, books, comics, various merchandise and paraphernalia, video games, theme park rides, and even an upcoming stage play.[1] His role in the different narratives varies from source to source, ranging from rampaging monster to tragic antihero. The rights to the character are currently held by Universal Studios, with limited rights held by the estate of Merian C. Cooper, and perhaps certain rights in the public domain (see below).
Contents
[hide]

* 1 Overview
* 2 Filmography
* 3 Print media
* 4 Appearances and abilities
* 5 Character rights
* 6 King Kong (Toho)
* 7 Television
* 8 Related films
* 9 Electronic games
* 10 Pop culture references
* 11 Theme park rides
* 12 See also
* 13 Notes
* 14 External links

[edit] Overview
This World War I anti-German propganada poster anticipated some of the King Kong themes

In the original film, the character's name is Kong, a name given to him by the inhabitants of "Skull Island" in the Indian Ocean, where Kong lives along with other over-sized animals such as a plesiosaur, pterosaurs, and dinosaurs ("Konge" is actually the Danish and Norwegian word for "King", the cognate of the English word; there is no clear evidence on whether or not this was known to the filmmakers or influenced them). His name may also have been inspired by Sun Wukong, the Monkey King from Chinese mythology.

"King" is an appellation added by an American film crew led by Carl Denham, who captures Kong and takes him to New York City to be exhibited as the "Eighth Wonder of the World".

Kong escapes and climbs the Empire State Building (the World Trade Center in the 1976 remake) where he is shot and killed by aircraft. Nevertheless, as Denham comments, "it was beauty killed the beast", for he climbs the building in the first place only in an attempt to protect Ann Darrow, an actress originally offered up to Kong as a sacrifice. (In the 1976 remake, the equivalent character is named Dwan.)

A mockumentary about Skull Island on the DVD for the 2005 remake (but originally seen on the Sci-Fi Channel at the time of its theatrical release) gives Kong's scientific name as Megaprimatus kong, and states that his species may have evolved from Gigantopithecus.

The King Kong character was conceived and created by US filmmaker Merian C. Cooper.
[edit] Filmography

* King Kong (1933). The original, classic film, is remembered for its pioneering special effects using stop motion models, animatronics (the term is applied in retrospect) and evocative story.
* Son of Kong (1933). A sequel released the same year, it concerns a return expedition to Skull Island that discovers Kong's son. The critics' response to the film was generally mixed, but it was successful.
* King Kong vs. Godzilla (1962). A film produced by Toho Studios in Japan, it brought the titular characters to life (the first time for either character to be in a film in color) via the process of suitmation. The Toho version of Kong is at least five times the size of the one in the original film. This is more than likely because of a significant difference in size between the 1933 King Kong and Godzilla (and, for that matter, all of the company's giant monsters), with Kong automatically rescaled to fit Toho's existing miniature sets.
* King Kong Escapes (1967). Another Toho film (co-produced with Rankin/Bass) in which Kong faces both a mechanical double, dubbed Mechani-Kong, and a giant theropod dinosaur known as Gorosaurus (who would appear in Toho's Destroy All Monsters the next year). This movie was loosely based on the contemporaneous cartoon television program, as indicated by the use of its recurring villain, Dr. Who/Dr. Huu, in the same capacity, the Mechani-Kong as an enemy, Mondo Island as Kong's home and a female character named Susan.
* King Kong (1976). An updated remake by film producer Dino De Laurentiis, released by Paramount Pictures, and director John Guillermin. Jessica Lange, Jeff Bridges and Charles Grodin starred. The film received mixed reviews, but it was a commercial success, and its reputation has improved over the last few years. It was co-winner of an Oscar for special effects (shared with Logan's Run).
* King Kong Lives (1986). Released by De Laurentiis Entertainment Group (DEG). Starring Linda Hamilton, a sequel by the same producer and director as the 1976 film which involves Kong surviving his fall from the sky and requiring a coronary operation. It includes a female member of Kong's species, who, after supplying a blood transfusion that enables the life-saving surgery, escapes and mates with Kong, becoming pregnant with his offspring. Trashed by critics, this was a box-office failure.

King Kong and Naomi Watts in the 2005 remake

* King Kong (2005). A Universal Pictures remake of the original (set in the original film's 1933 contemporary setting) by Academy award-winning New Zealand director Peter Jackson, best known for directing the Lord of the Rings film trilogy. The most recent incarnation of Kong is also the longest, running three hours and eight minutes. Winner of three Academy Awards for visual effects, sound mixing, and sound editing.

[edit] Print media

The literary tradition of a remote and isolated jungle populated by natives and prehistoric animals was rooted in the Lost World genre, specifically Arthur Conan Doyle's 1912 novel The Lost World, which was itself made into a silent film of that title in 1925 that Doyle lived long enough to see. The special effects of that film were created by Willis O'Brien, who went on to do those for the 1933 King Kong. Another important book in that literary genre is Edgar Rice Burroughs' 1918 novel The Land That Time Forgot.

A novelization of the original King Kong film was published in December 1932 as part of the film's advance marketing. The novel was credited to Edgar Wallace and Merian C. Cooper, although it was in fact written by Delos W. Lovelace. Apparently, however, Cooper was the key creative influence, saying that he got the initial idea after he had a dream that a giant gorilla was terrorizing New York City. In an interview, comic book author Joe DeVito explains:

"From what I know, Edgar Wallace, a famous writer of the time, died very early in the process. Little if anything of his ever appeared in the final story, but his name was retained for its saleability ... King Kong was Cooper's creation, a fantasy manifestation of his real life adventures. As many have mentioned before, Cooper was Carl Denham. His actual exploits rival anything Indiana Jones ever did in the movies."[2]

This conclusion about Wallace's contribution agrees with The Making of King Kong, by Orville Goldner and George E. Turner (1975). Wallace died of pneumonia complicated by diabetes on February 10, 1932, and Cooper later said, "Actually, Edgar Wallace didn't write any of Kong, not one bloody word...I'd promised him credit and so I gave it to him" (p. 59).

In the October 28, 1933 issue of Cinema Weekly, the short story "King Kong" by Edgar Wallace and Draycott Montagu Dell (1888-1940) was published. The short story appears in Peter Haining's Movie Monsters (1988) published by Severn House in the UK. Dell was a journalist and wrote books for children, such as the 1934 story and puzzle book Stand and Deliver. He was a co-worker and close friend of Edgar Wallace.

Several differences exist in the novel from the completed film, as it reflects an earlier draft of the script that became the final shooting script. The novelization includes scenes from the screenplay that were cut from the completed movie, or were never shot altogether. These include the spider pit sequence, as well as a Styracosaurus attack, and Kong battling three Triceratops. It also does not feature the character of Charlie, the ship's Chinese cook, but instead a different one named Lumpy, subsequently used in both the 1991 comic book version and the 2005 big-screen remake.

The original publisher was Grosset & Dunlap. Paperback editions by Bantam (U.S.) and Corgi (UK) came out in the 1960s, and it has since been republished by Penguin and Random House.

In 1933, Mystery Magazine published a King Kong serial under the byline of Walter F. Ripperger. This is unrelated to the 1932 novel.

Over the decades, there have been numerous comic book adaptations of the 1933 King Kong by various comic-book publishers, and one of the 2005 remake by Dark Horse Comics.

Kong: King of Skull Island, an illustrated novel labeled as an authorized sequel to King Kong (1933), was published in 2004 by DH Press, a subsidiary of Dark Horse Comics. A large-paperback edition was released in 2005. Authorized by the family and estate of Merian C. Cooper, the book was created & illustrated by Joe DeVito, written by Brad Strickland with John Michlig, and includes an introduction by Ray Harryhausen. The novel's story ignores the existence of Son of Kong (1933) and continues the story of Skull Island with Carl Denham and Jack Driscoll in the late 1950s, through the novel's central character, Vincent Denham. (Ann Darrow does not appear, but is mentioned several times.) The novel also becomes a prequel that reveals the story of the early history of Kong, of Skull Island, and of the natives of the island. The book's official website claims a motion picture version is in development.[3]

The novelization of the 2005 movie was written by Christopher Golden, based on the screenplay by Fran Walsh, Philippa Boyens, & Peter Jackson, which was, of course, in turn based on the original story by Merian C. Cooper & Edgar Wallace. (The Island of the Skull, a "prequel" novel to the 2005 movie, was released at nearly the same time.)

In November 2005, to coincide with the release of the 2005 movie, Weta Workshop released a collection of concept art from the film entitled The World of Kong: A Natural History of Skull Island. While similar collections of production art have been released in the past to compliment other movies, The World of Kong is unusual - if not unique - in that it is written and designed to resemble and read like an actual nature guide and historical record, not a movie book.

Also in 2005, ibooks published Kong Reborn by Russell Blackford. Ignoring all films except the 1933 original, it is set in the present day. Carl Denham's grandson finds some genetic material from the original Kong and attempts to clone him. Late in 2005, the BBC and Hollywood trade papers reported that a 3-D stereoscopic version of the 2005 film was being created from the animation files, and live actors digitally enhanced for 3D display. This may be just an elaborate 3D short for Universal Studios Theme Park, or a digital 3D version for general release in the future.
[edit] Appearances and abilities

In his first appearance in King Kong (1933), Kong was a gigantic prehistoric ape, or as RKO's publicity materials described him, "A prehistoric type of ape".[4] While gorilla-like in appearance, he had a vaguely humanoid look and at times walked upright in an anthropomorphic manner. Indeed, Carl Denham describes him as being "neither beast nor man". Like most simians, Kong possess semi-human intelligence and great physical strength. Kong's size changes drastically throughout the course of the film. While creator Merian C. Cooper envisioned Kong as being "40 to 50 feet tall",[5] animator Willis O'Brien and his crew built the models and sets scaling Kong to be only 18 feet tall on Skull Island, and rescaled to be 24 feet tall in New York.[6] This did not stop Cooper from playing around with Kong's size as he directed the special effect sequences; by manipulating the sizes of the miniatures and the camera angles, he made Kong appear a lot larger than O'Brien wanted, even as large as 60 feet in some scenes.[7] Concurrently, the Kong bust made for the film was built in scale with a 40-foot ape,[8] while RKO's promotional materials listed Kong's official height as 50 feet.[4]

In the 1960s, Toho licensed the character from RKO for the films King Kong vs. Godzilla and King Kong Escapes. For more details on the Toho Kong see below.

In 1975, Producer Dino De Laurentiis paid RKO for the remake rights to King Kong. This resulted in King Kong (1976). This Kong was an upright walking anthropomorphic ape, appearing even more human-like than the original. Also like the original, this Kong had semi-human intelligence and vast strength. In the 1976 film, Kong was scaled to be 42 feet tall on Skull island and rescaled to be 55 feet tall in New York.[9] 10 years later, DDL received permission from Universal to do a sequel, King Kong Lives. Kong more or less had the same appearance and abilities, only he tended to walk on his knuckles more often and was enlarged, being scaled to be 60 feet.[10]

Universal Studios had planned to do a King Kong remake all the way back to 1976. They finally followed through almost 30 years later, with a three-hour film directed by Peter Jackson. Jackson opted to make Kong a gigantic silverback gorilla without any anthropomorphic features. Kong looked and behaved more like a real gorilla: he had a large herbivore's belly, walked on his knuckles without any upright posture, and even beat his chest with his palms as opposed to clenched fists. In order to ground his Kong in realism, Jackson and the Weta Digital crew gave a name to his fictitious species, Megaprimatus kong, which was said to have evolved from the Gigantopithecus. Kong was the last of his kind. He was portrayed in the film as being quite old with graying fur, and battle-worn with scars, wounds, and a crooked jaw from his many fights against rival creatures. He is the most dominant being on the island; the king of his world. Like his predecessors, he possesses considerable intelligence and great physical strength; he also appears far more nimble and agile. This Kong was scaled to be only 25 feet tall.[11]

Jackson describes his central character: “We assumed that Kong is the last surviving member of his species. He had a mother and a father and maybe brothers and sisters, but they’re dead. He’s the last of the huge gorillas that live on Skull Island, and the last one when he goes...there will be no more. He’s a very lonely creature, absolutely solitary. It must be one of the loneliest existences you could ever possibly imagine. Every day, he has to battle for his survival against very formidable dinosaurs on the island, and it’s not easy for him. He’s carrying the scars of many former encounters with dinosaurs. I’m imagining he’s probably 100 to 120 years old by the time our story begins. And he has never felt a single bit of empathy for another living creature in his long life; it has been a brutal life that he’s lived.”[12]
[edit] Character rights

While one of the most famous movie icons in history, King Kong's intellectual property status has been questioned since his creation, featuring in numerous allegations and court battles. The rights to the character have always been split up with no single exclusive rights holder. Different parties have also contested that various aspects are public domain material and therefore ineligible for trademark or copyright status.

When Merian C. Cooper created King Kong, he assumed that he owned the character, which he had conceived in 1929, outright. Cooper maintained that he had only licensed the character to RKO for the initial film and sequel but had otherwise owned his own creation. In 1935, Cooper began to feel something was amiss when he was trying to get a Tarzan vs King Kong project off the ground for Pioneer Pictures (where he had assumed management of the company). After David O. Selznick suggested the project to Cooper, the flurry of legal activity over using the Kong character that followed—Pioneer having become a completely independent company by this time and access to properties that RKO felt were theirs was no longer automatic—gave Cooper pause as he came to realize that he might not have full control over the figment of his own imagination.[13]

Years later in 1962, Cooper had found out that RKO was licensing the character through John Beck to Toho studios in Japan for a film project called King Kong vs Godzilla. Cooper had assumed his rights were unassailable and was bitterly opposed to the project. In 1963 he filed a lawsuit to enjoin distribution of the movie against John Beck as well as Toho and Universal (the films U.S copyright holder).[14] Cooper discovered that RKO had also profited from licensed products featuring the King Kong character such as model kits produced by Aurora Plastics Corporation. Cooper's executive assistant, Charles B FitzSimons, stated that these companies should be negotiating through him and Cooper for such licensed products and not RKO. In a letter Cooper wrote to Robert Bendick he stated:

"My hassle is about King Kong. I created the character long before I came to RKO and have always believed I retained subsequent picture rights and other rights. I sold to RKO the right to make the one original picture King Kong and also, later, Son of Kong, but that was all."[15]

Cooper and his legal team offered up various documents to bolster the case that Cooper had owned King Kong and only licensed the character to RKO for two films, rather than selling him outright. Many people vouched for Cooper's claims including David O. Selznick (who had written a letter to Mr. A Loewenthal of the Famous Artists Syndicate in Chicago in 1932 stating (in regards to Kong), "The rights of this are owned by Mr. Merian C. Cooper."[15] But unfortunately Cooper had lost key documents through the years (he discovered these papers missing after he returned from his WW2 military service) such as a key informal yet binding letter from Mr. Ayelsworth (then president of the RKO Studio Corp) and a formal binding letter from Mr. B. B. Kahane (the current president of RKO studio Corp) confirming that Cooper had only licensed the rights to the character for the two RKO pictures and nothing more.[16]

Unfortunately without these letters it seemed Cooper's rights were relegated to the Lovelace novelization that he had copyrighted (He was able to make a deal for a Bantam Books paperback reprint and a Gold Key comic adaptation of the novel, but that was all he could do). Cooper's lawyer had received a letter from John Beck's lawyer, Gordon E Youngman, that stated:

"For the sake of the record, I wish to state that I am not in negotiation with you or Mr. Cooper or anyone else to define Mr. Cooper's rights in respect of King Kong. His rights are well defined, and they are non-existent, except for certain limited publication rights."[17]

In a letter addressed to Douglas Burden, Cooper lamented:

"It seems my hassle over King Kong is destined to be a protracted one. They'd make me sorry I ever invented the beast, if I weren't so fond of him! Makes me feel like Macbeth: 'Bloody instructions which being taught return to plague the inventor'."[17]

The rights over the character didn't flare up again until 1975, when Universal Studios and Dino De Laurentiis were fighting over who would be able to do a King Kong remake for release the following year. De Laurentiis came up with $200,000 to buy the remake rights from RKO.[18] When Universal got wind of this, they filed a lawsuit against RKO claiming that they had a verbal agreement from them in regards to the remake. During the legal battles that followed, which eventually included RKO counter suing Universal, as well as De Laurentiis filing a lawsuit claiming interference, Colonel Richard Cooper (Merian's son and now head of the Cooper estate) jumped into the fray.[19]

During the battles, Universal discovered that the copyright of the Lovelace novelization had expired without renewal, thus making the King Kong story a public domain one. Universal argued that they should be able to make a movie based on the novel without infringing on anyone's copyright because the characters in the story were in the public domain within the context of the public domain story.[20] Richard Cooper then filed a cross-claim against RKO claiming while the publishing rights to the novel had not been renewed, his estate still had control over the plot/story of King Kong.[19]

In a four-day bench trial in Los Angeles, Judge Manuel Real made the final decision and gave his verdict on November 24 1976, affirming that the King Kong novelization and serialization were indeed in the public domain, and Universal could make its movie as long as it didn't infringe on original elements in the 1933 RKO film,[21] which had not passed into public domain.[22] (Universal postponed their plans to film a King Kong movie, called The Legend of King Kong, for at least 18 months, after cutting a deal with Dino De Laurentiis that included a percentage of box office profits from his remake.)[23]

However, on December 6 1976, Judge Real made a subsequent ruling, which held that all the rights in the name, character, and story of King Kong (outside of the original film and its sequel) belonged to Merian C Cooper's estate. This ruling, which became known as the "Cooper Judgment", expressly stated that it wouldn't change the previous ruling that publishing rights of the novel and serialization were in the public domain. It was a huge victory that affirmed the position Merian C. Cooper had maintained for years.[21] Shortly thereafter, Richard Cooper sold all his rights (excluding worldwide book and periodical publishing rights) to Universal in December 1976. In 1980 Judge Real dismissed the claims that were brought forth by RKO and Universal four years earlier and reinstated the Cooper judgement.[24]

In 1982 Universal filed a lawsuit against Nintendo, which had created an impish ape character called Donkey Kong in 1981 and was reaping huge profits over the video game machines. Universal claimed that Nintendo was infringing on its copyright because Donkey Kong was a blatant rip-off of King Kong.[24] During the court battle and subsequent appeal, the courts ruled that Universal did not have exclusive trademark rights to the King Kong character. The courts ruled that trademark was not among the rights Cooper had sold to Universal, indicating that "Cooper plainly did not obtain any trademark rights in his judgment against RKO, since the California district court specifically found that King Kong had no secondary meaning."[22] While they had a majority of the rights, they didn't outright own the King Kong name and character.[25] The courts ruling noted that the name, title, and character of Kong no longer signified a single source of origin. The courts also pointed out that Kong rights were held by three parties:

* RKO owned the rights to the original film and its sequel.
* The Dino De Laurentiis company (DDL) owned the rights to the 1976 remake.
* Richard Cooper owned worldwide book and periodical publishing rights.[25]

The judge then ruled that:

"Universal thus owns only those rights in the King Kong name and character that RKO, Cooper, or DDL do not own."[26]

The court of appeals would also note:

"First, Universal knew that it did not have trademark rights to King Kong, yet it proceeded to broadly assert such rights anyway. This amounted to a wanton and reckless disregard of Nintendo's rights. Second, Universal did not stop after it asserted its rights to Nintendo. It embarked on a deliberate, systematic campaign to coerce all of Nintendo's third party licensees to either stop marketing Donkey Kong products or pay Universal royalties. Finally, Universal's conduct amounted to an abuse of judicial process, and in that sense caused a longer harm to the public as a whole. Depending on the commercial results, Universal alternatively argued to the courts, first, that King Kong was a part of the public domain, and then second, that King Kong was not part of the public domain, and that Universal possessed exclusive trademark rights in it. Universal's assertions in court were based not on any good faith belief in their truth, but on the mistaken belief that it could use the courts to turn a profit."[27]

Because Universal misrepresented their degree of ownership of King Kong (claiming they had exclusive trademark rights when they knew they didn't) and tried to have it both ways in court regarding the "public domain" claims, the courts ruled that Universal acted in bad faith (see Universal City Studios, Inc. v. Nintendo Co., Ltd.). They were ordered to pay fines and all of Nintendo's legal bills from the lawsuit. That, along with the fact that the courts ruled that there was simply no likelihood of people confusing Donkey Kong with King Kong,[25] caused Universal to lose the case and the subsequent appeal.

Since the court case, Universal still retains the majority of the character rights. In 1986 they opened a King Kong ride called King Kong Encounter at their Universal Studios Tour theme park in Hollywood (which was destroyed in 2008 by a backlot fire), and followed it up with the Kongfrontation ride at their Orlando park in 1990 (which was closed down in 2002 due to maintenance issues). They also finally made a King Kong film of their own, King Kong (2005). In 2010, Universal will open a new 3D King Kong ride at their Hollywood park replacing the destroyed King Kong Encounter.[28]

The Cooper estate still retains publishing rights. In 1990 they licensed a six-issue comic book adaptation of the story to Monster Comics, and commissioned an illustrated novel in 1994 called Anthony Browne's King Kong. In 2004 and 2005, they commissioned a new novelization to be written called Merian C Cooper's King Kong to replace the original Lovelace novel (the original novel's publishing rights are still in the public domain) and Kong: King of Skull Island, a prequel/sequel novel that ties into the original story. Since the Cooper estate also retains control of the plot/story of King Kong, they are working on an upcoming stage play called King Kong Live on Stage[29][30] with Global Creatures, the company behind the Walking with Dinosaurs arena show.

RKO (whose rights consisted of only the original film and its sequel) had its film library acquired by Ted Turner in 1986 via his company Turner Entertainment. Turner merged his company into Time Warner in 1995, which is how they own the rights to those two films today.

DDL (whose rights were limited to only their 1976 remake) did a sequel in 1986 called King Kong Lives (but they still needed Universal's permission to do so.[31] Today most of DDL's film library is owned by Studio Canal, which includes the rights to those two films.
[edit] King Kong (Toho)
Toho character
Kongtoho.jpg
King Kong
Species Irradiated Gorilla
Alias Kong
Gorilla
Height 20-45 metres (65-147 feet)
Weight 1,000-25,000 tons
Relationships Mechani-Kong (Robot Replica)
King Kong (American Counterpart)
Major enemies Oodako
Godzilla
Gorosaurus
Mechani-Kong
Greenman
First appearance King Kong vs. Godzilla
Created by Merian C. Cooper
Portrayed by Shoichi Hirose
Haruo Nakajima

This King Kong is a Toho rendition of the original Hollywood version. He appeared in Toho Studios' successful film King Kong vs. Godzilla and later King Kong Escapes. This Kong differed greatly from the original in size and abilities.

Among kaiju, King Kong was suggested to be among the most powerful in terms of raw physical force, possessing strength and durability that rivaled that of Godzilla. As one of the few mammal-based kaiju, Kong's most distinctive feature was his intelligence. He demonstrated the ability to learn and adapt to an opponent's fighting style, identify and exploit weaknesses in an enemy, and utilize his environment to stage ambushes and traps.[32]

In King Kong vs. Godzilla (1962), Kong was scaled to be 45 meters (140 feet) tall. Like most kaiju, Kong was given a power weapon: he possessed the ability to become stronger by drawing power from electric energy. When fully charged, Kaiju Kong could direct this power against an opponent by means of an electric touch attack. [33]

In King Kong Escapes (1967), a stand-alone movie loosely based on the animated television series The King Kong Show, Kong was scaled to be 20 meters (65 feet) tall. He was more similar to the original Kong in that he had no special powers beyond his great strength and intelligence.[34]

Unlike the Hollywood version, this Kong did not reside on Skull Island. In the first film he lived on Faro Island, while in the second film he lived on Mondo Island.

The King Kong (from King Kong vs Godzilla) was originally set to return in a 1966 Toho project called Operation Robinson Curose: King Kong vs Ebirah to be co-produced with Rankin/Bass. However Arthur Rankin, Jr. rejected the script as it wasn't close enough to his cartoon series The King Kong Show which the project was to be based on. Toho and Rankin/Bass would then co-produce King Kong Escapes in 1967 instead, which was more in line with Rankin's cartoon. Instead of throwing out the King Kong vs Ebirah script, Toho simply replaced Kong with Godzilla and filmed it as Godzilla vs The Sea Monster instead, with almost no change to the script. This explains why Godzilla displays uncharacteristic behavior in the film, such as drawing strength from electricity and showing interest in the film's female protagonist, elements that had been originally written for King Kong.[35] Godzilla kept the electrical power attribute, and would expand on it in Godzilla vs. Mechagodzilla by becoming a living supermagnet in the film's climatic battle.

Toho Studios wanted to remake King Kong vs. Godzilla, which was the most successful of the entire Godzilla films, in 1991 to celebrate the thirtieth anniversary of the film as well as to celebrate Godzilla's upcoming fortieth anniversary. However they were unable to obtain the rights to use Kong, and inititially intended to use Mechani-Kong as the next best thing. However it was soon learned that even using a mechanical creature who resembled Kong would be just as problematic legally and financially for them. As a result, the film became Godzilla vs. King Ghidorah, with no further attempts to use Kong in any way.[36][37]
[edit] Television

* The King Kong Show (1966). In this cartoon series, the giant gorilla befriends the Bond family, with whom he goes on various adventures, fighting monsters, robots, mad scientists and other threats. Produced by Rankin/Bass, the animation was provided in Japan by Toei Animation, making this the very first anime series to be commissioned right out of Japan by an American company. This was also the cartoon that resulted in the production of Toho's Godzilla vs. the Sea Monster (originally planned as a Kong film) and King Kong Escapes.
* Kong: The Animated Series (2001). An unofficial animated production set many decades after the events of the original film. "Kong" is cloned by a female scientist. However this show, coming a few years after the release of Centropolis' Godzilla: the Series repeated at least two of the monsters (although with vastly different backgrounds) seen in the Godzilla series.
o A direct-to-DVD movie called Kong: King of Atlantis, based on the 2001 series, was released to try and cash in on the 2005 movie. Both the series and the movie were then included in Toon Disney's "Jetix" group for a time, also to take advantage of the 2005 movie's release. A year later, a follow up direct-to-DVD film was released called Kong: Return to the Jungle.
* King Kong made an appearance in the 2nd episode of Where My Dogs At? in the background of the MTV Movie Awards.
* The King Kong suit from King Kong Escapes appeared on Ike! Greenman episode 38 called Greenman vs Gorilla. Due to copyright reasons King Kong's name was changed to Gorilla.
* In the Kappa Mikey episode, Night of the Werepuff, the monster captures Lily (Ann Darrow). It then scales LilyMu studios (Empire State Building). Similar to the movies' ending, it is shot down, here by Guano.

[edit] Related films
A photo supposedly from the allegedly lost film Wasei Kingu Kongu

* The premise of a giant gorilla brought to the United States for entertainment purposes, and subsequently wreaking havoc, was recycled in Mighty Joe Young, (1949, through the same studio and with much of the same principal talent as the 1933 original. It was remade in 1998).
* King Kong bears some similarities with an earlier effort by special effects head Willis O'Brien, The Lost World (1925), in which dinosaurs are found living on an isolated plateau. Scenes from a failed O'Brien project, Creation, were re-used for the 1933 Kong. Creation was also about a group of people stumbling into an environment where prehistoric creatures have survived extinction.
* An obscure Japanese clone, Japanese King Kong (和製キングコング, Wasei Kingu Kongu?), directed by Torajiro Saito featuring an all-Japanese cast and produced by the Shochiku company, was also released in 1933. Detailed information outside of Japan about this film cannot be found.[38]
* King Kong Appears in Edo (江戸に現れたキングコング, Edo ni Arawareta Kingu Kongu?). A claimed Japanese-made monster/period piece that was allegedly produced by a company called Zensho Kinema in which King Kong attacks medieval Edo (modern Tokyo), and arguably Japan's first kaiju (giant monster) film, predating Godzilla by sixteen years.
* The Mighty Kong, an unofficial (this is why it was called Mighty Kong rather than King Kong) straight to video 1998 animated musical/remake of the 1933 film. It featured the voices of Jodi Benson and Dudley Moore. This film also featured a song score by the Sherman Brothers.
* Other similar films include the Korean A*P*E.[39] the Hong Kong made The Mighty Peking Man, the British Konga and Queen Kong, the Italian Kong Island (1968) (which capitalizes on the "Kong" name, even though the gorillas in the movie are normal size), and the American Mighty Gorga.
* The corpse of the 1976 King Kong makes an unauthorized appearance in the film Bye Bye Monkey.
* King Kong appears in the 1996 Imax film Special Effects: Anything Can Happen. In this film, the classic climax of the 1933 film is recreated with modern (at the time) digital special effects.
* King of the Lost World, a direct-to-video movie produced by The Asylum, taking elements from both King Kong and Sir Arthur Conan Doyle's The Lost World. The film was released on December 13, 2005, just one day before the theatrical release of Peter Jackson's version of King Kong.

[edit] Electronic games

Tiger Electronics released various King Kong games in the early 1980s. These include

* A Tabletop LCD game in 1981[40]
* A game for the Atari 2600 home video game system in 1982[41]
* A handheld game in 1982 in both a regular edition[42] and a large screen edition[43]
* An "Orlitronic" game (for the international markets) in 1983[44]
* A color "Flip-Up" game in 1984.[45]

Epoch Co. released two LCD games in 1982. One was King Kong: New York,[46] and the other was King Kong: Jungle[47]

Konami released 2 games based on the film King Kong Lives in 1986. The first game was King Kong 2: Ikari no Megaton Punch for the Famicom, and the second was King Kong 2,[48] for the MSX computer. These games were only released in Japan.

Data East released a pinball game[49] in 1990.

Bam! Entertainment released a Game Boy Advance game based on Kong: The Animated Series in 2002.[50]

Majesco Games released a Game Boy Advance game based on the straight to video animated film Kong: King of Atlantis in 2005.[51]

Peter Jackson's King Kong: The Official Game of the Movie which is based on the 2005 remake was released on all video game platforms. It was the first game released by Ubisoft on the Xbox 360. Another game called Kong: The 8th Wonder of the World was released for the Gameboy Advance.

Taiyo Elec Co released a King Kong Pachinko game in 2007.[52]
[edit] Pop culture references
Main article: King Kong in popular culture

King Kong, as well as the series of films featuring him, have been featured many times in popular culture outside of the films themselves, in forms ranging from straight copies to parodies and joke references, and in media from comics to video games.

An animated King Kong appears in The Beatles' 1968 movie Yellow Submarine, and The Simpsons spoofed King Kong during a segment of their "Treehouse of Horror III" Halloween episode, in which Homer was Kong.It ends with him marrying Marge and eating her father. King Kong appears among the good guys in an episode of South Park in "Imaginationland" Episode.

A science fiction short story, Andrew Fox's "The Man Who Would be Kong", is about an old man with memories of having starred - as Kong himself - in the 1933 film.

The controversial WWII Dutch resistance leader Christiaan Lindemans - eventually arrested on suspicion of having betrayed secrets to the Nazis - was nicknamed "King Kong" due to his being exceptionally tall.[53] Among Dutch people, the name "King Kong" is still often associated with him rather than with the fictional ape.
[edit] Theme park rides

Universal Studios had two popular King Kong rides at their theme parks in Hollywood and Orlando.

The first King Kong ride was called King Kong Encounter and was a part of the Universal Studios Studio Tour (Hollywood) in Hollywood. The ride opened in 1986 and was destroyed in 2008 in a major fire. Days after the fire it was announced that the Kong attraction would not be rebuilt and would be replaced by something else.[54] However, Universal changed their minds and are building a new 3D King Kong ride that will open in 2010.[55]

A second more elaborate ride was constructed at the Orlando park in 1990. It was called Kongfrontation. The ride was closed down in 2002, and was replaced with Revenge of the Mummy in 2004.

2009-10-12T00:32:00.000-07:00

Iron Man
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This article is about the superhero. For other uses, see Iron Man (disambiguation).
Iron Man
IM006.jpg
Cover of Iron Man Vol. 4, Issue #6
The Invincible Iron Man: Extremis Part 6 of 6; Iron Man in his Extremis armor.
Art by Adi Granov.
Publication information
Publisher Marvel Comics
First appearance Tales of Suspense #39 (April 1963)
Created by Stan Lee
Larry Lieber
Don Heck
Jack Kirby
In-story information
Alter ego Anthony "Tony" Edward Stark
Team affiliations Stark Industries
Avengers
Mighty Avengers
New Avengers
West Coast Avengers
Illuminati
S.H.I.E.L.D.
Department of Defense
Force Works
Notable aliases Iron Knight, Invincible Iron Man, Armored Avenger, Iron Avenger
Abilities

* Genius-level intellect
* Formerly a Cyberpathic link with powerful armored suit:
* Superhuman strength
* Supersonic flight at Mach 3
* Energy repulsors
* Missiles
* Durability and regenerative life support

Iron Man is a fictional character, a superhero that appears in comic books published by Marvel Comics. The character first appeared in Tales of Suspense #39 (March 1963), and was created by writer-editor Stan Lee, scripter Larry Lieber, and artists Don Heck and Jack Kirby.

Born Anthony Edward "Tony" Stark, he is an industrialist playboy and genius engineer who suffers a severe heart injury during a kidnapping and is forced to build a destructive weapon. He instead creates a powered suit of armor to save his life and escape captivity. He later decides to use the suit to protect the world as Iron Man.[1] Through his multinational corporation, Stark Industries, Tony created military weapons and his own metal suit is laden with technological devices that enable him to fight crime. Initially, Iron Man was a vehicle for Stan Lee to explore Cold War themes, particularly the role of American technology and business in the fight against communism. Subsequent re-imaginings of Iron Man have gradually removed the Cold War themes, replacing them with more contemporary concerns such as corporate crime and terrorism.

Throughout most of the comic's history, Iron Man has been a member of the superhero team the Avengers and has been featured in several incarnations of his own various comic book series. The character has been adapted for several animated TV shows and films. The character is portrayed by Robert Downey, Jr. in the live action film Iron Man and features briefly in The Incredible Hulk; Downey will reprise the role in the upcoming sequel, Iron Man 2.
Contents
[hide]

* 1 Publication history
o 1.1 Premiere
+ 1.1.1 Thematic origins
o 1.2 Recent years
* 2 Fictional character biography
o 2.1 Origins
o 2.2 Late 1980s and 1990s
o 2.3 2000s
+ 2.3.1 Avengers Disassembled
+ 2.3.2 Illuminati
+ 2.3.3 Civil War
+ 2.3.4 Secret Invasion
+ 2.3.5 Dark Reign
+ 2.3.6 Siege
* 3 Powers and abilities
o 3.1 Armor
o 3.2 Powers
o 3.3 Skills
* 4 Enemies
* 5 Other versions
* 6 In other media
* 7 Cultural influence
* 8 Bibliography
o 8.1 List of Iron Man titles
o 8.2 As a team Member
o 8.3 Collections
* 9 Notes
* 10 References
* 11 External links

[edit] Publication history
[edit] Premiere
Tales of Suspense #39 (March 1963): Iron Man debuts. Cover art by Jack Kirby and Don Heck.

Iron Man's premiere was a collaboration among editor and story-plotter Stan Lee, scripter Larry Lieber, story-artist Don Heck, and cover-artist and character-designer Jack Kirby. In 1963, Lee had been toying with the idea of a businessman superhero.[2] He wanted to create the "quintessential capitalist", a character that would go against the spirit of the times and Marvel's readership.[3] Lee said, "I think I gave myself a dare. It was the height of the Cold War. The readers, the young readers, if there was one thing they hated, it was war, it was the military ... So I got a hero who represented that to the hundredth degree. He was a weapons manufacturer, he was providing weapons for the Army, he was rich, he was an industrialist ... I thought it would be fun to take the kind of character that nobody would like, none of our readers would like, and shove him down their throats and make them like him ... And he became very popular."[4] He set out to make the new character a wealthy, glamorous ladies' man, but one with a secret that would plague and torment him as well.[5] Writer Gerry Conway said, "Here you have this character, who on the outside is invulnerable, I mean, just can't be touched, but inside is a wounded figure. Stan made it very much an in-your-face wound, you know, his heart was broken, you know, literally broken. But there's a metaphor going on there. And that's, I think, what made that character interesting".[4] Lee based this playboy's looks and personality on Howard Hughes,[6] explaining, "Howard Hughes was one of the most colorful men of our time. He was an inventor, an adventurer, a multi-billionaire, a ladies' man and finally a nutcase".[7] "Without being crazy, he was Howard Hughes," Lee said.[4]

While Lee intended to write the story himself, he eventually handed the premier issue over to Lieber, who fleshed out the story.[5] The art was split between Kirby and Heck. "He designed the costume," Heck said of Kirby, "because he was doing the cover. The covers were always done first. But I created the look of the characters, like Tony Stark and his secretary Pepper Potts."[6][8]

Iron Man first appeared in 13- to 18-page stories in Tales of Suspense, which featured anthology science fiction and supernatural stories. The character's original costume was a bulky gray armored suit, replaced by a golden version in the second story (issue #40, April 1963). It was redesigned as sleeker, red-and-golden armor in issue #48 (Dec. 1963); that issue's interior art is by Steve Ditko and its cover by Kirby. In his premiere, Iron Man was an anti-communist hero, defeating various Vietnamese agents. Lee later regretted this early focus.[2][9] Throughout the character’s comic book series, technological advancement and national defense were constant themes for Iron Man, but later issues developed Stark into a more complex and vulnerable character as they depicted his battle with alcoholism (Demon in a Bottle) and other personal difficulties.
Tales of Suspense #48 (Dec. 1963), the debut of Iron Man's red-and-gold armor. Cover art by Jack Kirby & Sol Brodsky.

From issue #59 (Nov. 1964) to its final issue #99 (March 1968), the anthological science-fiction backup stories in Tales of Suspense were replaced by a feature starring the superhero Captain America. After issue #99 (March 1968), the book's title was changed to Captain America. Iron Man stories moved to the title Iron Man and Sub-Mariner in April 1968, before the "Golden Avenger"[10] made his solo debut with The Invincible Iron Man #1 (May 1968). Lee said that "of all the comic books we published at Marvel, we got more fan mail for Iron Man from women, from females, than any other title ... We didn't get much fan mail from girls, but whenever we did, the letter was usually addressed to Iron Man."[4]

Writers have updated the war and locale in which Stark is injured. In the original 1963 story, it was the Vietnam War. In the 1990s, it was updated to be the first Gulf War,[11] and later updated again to be the war in Afghanistan. However, Stark's time with the Asian Nobel Prize-winning scientist Ho Yinsen is consistent through nearly all incarnations of the Iron Man origin, depicting Stark and Yinsen building the original armor together. One exception is the direct-to-DVD animated feature film The Invincible Iron Man, in which the armor Stark uses to escape his captors is not the first Iron Man suit.
[edit] Thematic origins

Like other Stan Lee creations in the early years of Marvel Comics, such as The Fantastic Four and The Incredible Hulk, the Iron Man story, in its original manifestations, was an exploration of Cold War themes. Where The Fantastic Four and The Incredible Hulk focused on the American domestic and government/bureaucratic responses to Cold War pressures, respectively, Iron Man looked to industry's role in the struggle against communism. Tony Stark's real-life model Howard Hughes was an archetype of American individualism as well as a significant defense contractor who helped develop new weapons technologies.[12]

Tony Stark/Iron Man's reliance on technology and intelligence, rather than the chance transformations of many other superheroes, reinforced the American faith in technological solutions to the military, political and ideological problems of the Cold War. Stark is an idealized portrait of the American inventor. By the 1960s, military weapons development was firmly in the realm of Big Science, with little role for the lone inventor. Issues of autonomy and government intervention in research and questions of loyalty — which real-life American physicists and engineers were also facing, if less dramatically — are prominent themes in early Iron Man storylines.[12]

According to historian Robert Genter, Stark is emasculated by his loss of autonomy as an inventor — a blow to his manhood symbolized by his chest wound — and "Iron Man centers on Stark's inability to reconcile with this wound to his masculinity."[12] Stan Lee used the playboy side of Stark to restore the character's sense of masculinity. Stark conquers women — either romantically or physically, and with female supervillains frequently both — and, writes Genter, "follows the lead of other cultural and literary figures such as Ian Fleming, Mickey Spillane, and Norman Mailer who made unregulated sexuality a form of authenticity."[12]
[edit] Recent years
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Please help improve this article by expanding it. Further information might be found on the talk page. (December 2008)

A new Iron Man series started in early 2005 with the Warren Ellis written storyline "Extremis" with artist Adi Granov.[13] The series tied-in with Civil War, before the title changed its name to The Invincible Iron Man with issue #17 and then Iron Man: Director of S.H.I.E.L.D. in issue #29, the last arc of which tied into Secret Invasion and resulted in the launch of a War Machine ongoing series.

Another series Invincible Iron Man started in July 2008 and tied into Dark Reign in issues #8-19.[14] The fallout from the Secret Invasion leads to a low point for the character of Tony Stark, according to Fraction:
“ Public opinion is against Tony, but he still wants to put on a brave face and a good show for the rest of the world and hope for the best. As the former preeminent superhuman lawmaker and law enforcer, he wants to be seen as obeying the law. So Tony really tries to play by the rules and long story short, Osborn makes it clear that there’s no place for him and then goes after the superhero identity database that kicked off Civil War. Tony realizes that Norman is not pretending at all to be law abiding and that in fact the keys to the kingdom have just been handed over to a madman. So Tony kicks off his plan . . . his doomsday plan.[14] ”
[edit] Fictional character biography
[edit] Origins

The son of a wealthy industrialist and head of Stark Industries, Howard Stark, and Maria Stark, Anthony Stark is born on Long Island. A boy genius, he enters MIT at the age of 15 to study electrical engineering. After his parents' accidental deaths in a car crash, he inherits his father's company.

While observing the effects of his experimental technologies on the American war effort, Tony Stark is injured by a booby trap and captured by the enemy, who then orders him to design weapons for them. However, Stark's injuries are dire and shrapnel in his chest threatens to pierce his heart. His fellow prisoner, Ho Yinsen, a Nobel Prize-winning physicist whose work Stark had greatly admired during college, constructs a magnetic chest plate to keep the shrapnel from reaching Stark's heart, keeping him alive. In secret, Stark and Yinsen use the workshop to design and construct a suit of powered armor, which Anthony uses to escape. But during the escape attempt, Yinsen sacrifices his life to save Tony's by distracting the enemy. Stark takes revenge on his kidnappers and heads back to rejoin the American forces, on his way meeting a wounded American Marine Corps helicopter pilot, James "Rhodey" Rhodes.

Back home, Stark discovers the shrapnel lodged in his chest cannot be removed without killing him, and he is forced to wear the armor's chestplate beneath his clothes to act as a regulator for his heart. He must also recharge the chestplate every day or else risk the shrapnel killing him. The cover for Iron Man is that he is Stark's bodyguard and corporate mascot. To that end, Iron Man fights threats to his company, such as Communist opponents Black Widow, the Crimson Dynamo and the Titanium Man, as well as independent villains like the Mandarin. No one suspects Stark of being Iron Man as he cultivates an image as a rich playboy and industrialist. Two notable members of Stark's supporting cast at this point are his personal chauffeur Harold "Happy" Hogan and secretary Virginia "Pepper" Potts, to both of whom he eventually reveals his dual identity. Meanwhile, Jim Rhodes would find his own niche as Stark's personal pilot of extraordinary skill and daring.

The comic took an anti-Communist stance in its early years, which was softened as opposition rose to the Vietnam War.[2] This change evolved in a series of stories with Stark profoundly reconsidering his political opinions and the morality of manufacturing weapons for the military. Stark, however, shows himself to be occasionally arrogant and willing to let the ends justify the means.[15][16] This leads to personal conflicts with the people around him, both in his civilian and superhero identities. Stark uses his personal fortune not only to outfit his own armor, but to develop weapons for S.H.I.E.L.D. and other technologies such as the Quinjets used by the Avengers, and the image inducers used by the X-Men.

Eventually, Stark's heart condition is discovered by the public and cured with an artificial heart transplant. However, Stark also develops a serious dependency on alcohol. The first time it becomes a problem is when Stark discovers that the national security agency S.H.I.E.L.D. has been buying a controlling interest in his company in order to ensure Stark's continued weapons development for them. At the same time, Stark's business rival Justin Hammer hires several supervillains to attack Stark. At one point, the Iron Man armor is even taken over and used to murder a diplomat. Although Iron Man is not immediately under suspicion, Stark is forced to hand the armor over to the authorities. Eventually Stark and Rhodes, who is now his personal pilot and confidant, track down and defeat those responsible, although Hammer would return to bedevil Stark again. With the support of his then-girlfriend, Bethany Cabe, his friends and his employees, Stark pulls through these crises and overcomes his dependency on alcohol. These events were collected and published as Demon in a Bottle.

Some time later, a ruthless rival, Obadiah Stane, manipulates Stark emotionally into a serious relapse. As a result, Stark loses control of Stark International, becomes a homeless alcoholic vagrant and gives up his armored identity to Rhodes, who becomes the new Iron Man for a lengthy period of time. Eventually, Stark recovers and joins a new startup, Circuits Maximus. Stark concentrates on new technological designs, including building a new set of armor as part of his recuperative therapy. Rhodes continues to act as Iron Man but steadily grows more aggressive and paranoid, due to the armor not being calibrated properly for his use. Eventually Rhodes goes on a rampage, and Stark has to don a replica of his original armor to stop him. When Circuits Maximus comes under assault from Stane, Stark uses the completed next-generation Silver Centurion armor to confront Stane in personal combat. Stark's skill proves superior over Stane's unpracticed use of his own variant suit (known as the Iron Monger). Rather than give Stark the satisfaction of taking Stane to trial, Stane commits suicide.[17] Shortly thereafter, Stark regains his personal fortune, but decides against repurchasing Stane International until much later; he instead creates Stark Enterprises, headquartered in Los Angeles.
[edit] Late 1980s and 1990s

In an attempt to stop other people from misusing his designs, Stark goes about disabling other armored heroes and villains who are using suits based on the Iron Man technology, the designs of which were stolen by his enemy Spymaster. His quest to destroy all instances of the stolen technology severely hurts his reputation as Iron Man. After attacking and disabling a series of minor villains such as Stilt-Man, he attacks and defeats the government operative known as Stingray. The situation worsens when Stark realizes that Stingray's armor does not incorporate any of his designs. He publicly "fires" Iron Man while covertly pursuing his agenda. He uses the cover story of wanting to help disable the rogue Iron Man to infiltrate and disable the armor of the S.H.I.E.L.D. operatives known as the Mandroids, and disabling the armor of the Guardsmen, in the process allowing some of the villains that they guard to escape. This leads the United States government to declare Iron Man a danger and an outlaw. Iron Man then travels to Russia where he inadvertently causes the death of the Soviet Titanium Man during a fight. Returning to the U.S., he faces an enemy commissioned by the government named Firepower. Unable to defeat him head on, Stark fakes Iron Man's demise, intending to retire the suit forever. When Firepower goes rogue, Stark creates a new suit, claiming that a new person is in the armor.

Stark's health continues to deteriorate, and he discovers the armor's cybernetic interface is causing irreversible damage to his nervous system. His condition is aggravated by a failed attempt on his life by a mentally unbalanced former lover which injures his spine, paralyzing him. Stark has a nerve chip implanted into his spine to regain his mobility. Still, Stark's nervous system continues its slide towards failure, and he constructs a "skin" made up of artificial nerve circuitry to assist it. Stark also begins to pilot a remote-controlled Iron Man armor, but when faced with the Masters of Silence, the telepresence suit proves inadequate. Stark then designs a more heavily-armed version of the suit to wear, the "Variable Threat Response Battle Suit", which becomes known as the War Machine armor. Ultimately, the damage to his nervous system becomes too extensive. Faking his death, Stark places himself in suspended animation to heal as Rhodes takes over the running of Stark Enterprises and the mantle of Iron Man using the War Machine armor. Stark ultimately makes a full recovery by using a chip to reprogram himself and resumes the Iron Man identity. When Rhodes learns that Stark has manipulated his friends by faking his own death, he becomes enraged and the two friends part ways, Rhodes continuing as War Machine in a solo career.

The story arc "The Crossing" reveals Iron Man as a traitor among the Avengers' ranks, due to years of manipulation by the time-traveling dictator Kang the Conqueror. Stark, as a sleeper agent in Kang's thrall, kills Marilla, the nanny of Crystal and Quicksilver's daughter Luna, as well as Rita DeMara, the female Yellowjacket, then an ally of the Avengers (the miniseries Avengers Forever later retcons these events as the work of a disguised Immortus, not Kang, and that the mental control had gone back only a few months).

Needing help to defeat both Stark and the ostensible Kang, the team travels back in time to recruit a teenaged Anthony Stark from an alternate timeline to assist them. The young Stark steals an Iron Man suit in order to aid the Avengers against his older self. The sight of his younger self shocks the older Stark enough for him to regain momentary control of his actions, and he sacrifices his life to stop Kang. The young Stark later builds his own suit to become the new Iron Man, and, remaining in the present day, gains legal control of "his" company.

During the battle with the creature called Onslaught, the teenaged Stark dies, along with many other superheroes. However, Franklin Richards preserves these "dead" heroes in the "Heroes Reborn" pocket universe, in which Anthony Stark is once again an adult hero; Franklin recreates the heroes in the pocket universe in the forms he is most familiar with rather than what they are at the present. The reborn adult Stark, upon returning to the normal Marvel Universe, merges with the original Stark, who had died during "The Crossing", but was resurrected by Franklin Richards. This new Anthony Stark possesses the memories of both the original and teenage Anthony Starks, and thus considers himself to be essentially both of them. With the aid of the law firm Nelson & Murdock, he successfully regains his fortune and, with Stark Enterprises having been sold to the Fujikawa Corporation following Stark's death, sets up a new company, Stark Solutions. He also returns from the pocket universe with a restored and healthy heart. After the Avengers reform, Stark demands a hearing be convened to look into his actions just prior to the Onslaught incident. Cleared of wrongdoing, he rejoins the Avengers.