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Thursday 15 August 2013

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Cartoon Picture Of Me Biography
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Cartoon Picture Of Me Despicable Me is a 2010 American computer-animated 3D comedy film from Universal Pictures and Illumination Entertainment that was released on July 9, 2010 in the United States. It is Illumination Entertainment's first film. It was directed by Pierre Coffin and Chris Renaud, based on an original story by Sergio Pablos.The film stars the voice of Steve Carell as Gru, a super-villain who adopts three girls (the voices of Miranda Cosgrove, Dana Gaier, and Elsie Fisher) from an orphanage; and the voice of Jason Segel as Vector, a rival of Gru who steals the Great Pyramid of Giza. When Gru learns of Vector's heist, he plans an even greater heist: to shrink and steal the Earth's moon.was entirely animated by the French animation studio Mac Guff, which was later acquired by Illumination Entertainment.The film earned positive reviews from critics, and grossed over $543 million worldwide, against a budget of $69 million.[1] A sequel, Despicable Me 2, released on July 3, 2013, is to be followed by a spin-off featuring Gru's Minions as the main characters on December 19, 2014.[3]Gru, a super-villain, has his pride injured when an unknown super-villain steals the Great Pyramid of Giza, an action that is described by his colleague Dr. Nefario as making "all other villains look lame." Gru decides to do better, with the assistance of Dr. Nefario, by shrinking and stealing the moon, an idea based on his childhood dream of being an astronaut, which was always discouraged by his mother Marlena. The plan is quite expensive and Gru seeks a loan from the Bank of Evil, where the president Mr. Perkins is impressed by the plan, but will only provide the money if Gru can obtain the necessary shrink ray first.Gru and his minions steal the shrink ray from a secret base in Asia but the up-and-coming super-villain, Vector, who was also responsible for the Pyramid theft, immediately steals it from Gru, as revenge for freezing his head earlier. Gru attempts to break into Vector's fortress to get the shrink ray back, but is defeated by numerous booby traps. However, he notices three orphan girls Margo, Edith, and Agnes easily walk into the base to sell Vector cookies. Gru, faking his credentials as a dentist, adopts the girls from Miss Hattie's Home for Girls, planning on using them to infiltrate Vector's base so he can get the shrink ray back. However, Gru has difficulty nurturing them properly between their rambunctiousness, their ballet classes, and his own ineptitude as a parent.Eventually, Gru and the girls arrive at Vector's fortress and Gru manages to steal the shrink ray. The girls then suggest a day at a theme park; Gru agrees, believing he can leave the girls there, but he is told by an attendant that they must be accompanied by an adult. He is then dragged around the theme park for the day, eventually warming up to the girls after they compliment him over blowing up a rigged carnival game. Later, Gru contacts Mr. Perkins, stating that he finally has the shrink ray in his possession. Margo, Edith, and Agnes interrupt the meeting, and Perkins announces that he has lost confidence in Gru and will no longer fund his operations. As Gru tells the minions about the bad news, the girls offer the contents of their piggy bank to fund the plan. His minions then hand over their own savings. Gru, inspired, sacrifices parts of his lair to construct a spacecraft. Gru plans to steal the moon when it is nearest the Earth but this ends up being the same day as the girls' ballet recital. Gru becomes conflicted and Dr. Nefario, seeing this as interfering with the plan, arranges for the girls to be returned to the orphanage. At the same time, Mr. Perkins informs Vector (who is actually Mr. Perkins' son) of Gru's possession of the shrink ray and the adoption of the three girls, inciting Vector to take action.Gru successfully shrinks and steals the moon, but is too late to attend the recital—finding a note from Vector, who has kidnapped the girls, and will exchange the moon for them. After arriving at Vector's lair, Gru readily makes the trade, but Vector reneges on the deal, flying off with the girls and the moon, much to Gru's anger. Meanwhile, Dr. Nefario has discovered that the effects of the shrink ray are temporary; the bigger the object was originally, the faster it will regain its original size. As the moon starts to expand in Vector's ship, Gru, Dr. Nefario, and the minions pull off a daring mid-air rescue of the girls just as the moon explodes out of Vector's ship and launches itself back into orbit, with Vector trapped on it.time later, Gru has readopted the girls and treats them as his daughters, writing them a bedtime storybook framed around his own experience. The film ends with the girls performing their own ballet recital for Gru, Marlena, Dr. Nefario, and the minions.Released on July 9, 2010, in the United States, Despicable Me opened at the number one spot at the box office and pulled in $56.3 million, making it the third biggest opening grossing for an animated film in 2010 behind Toy Story 3 and Shrek Forever After.[20] In its second weekend, the film dipped 42% to second place behind Inception with $32.8 million earned. The film then had another drop of 27% in its third weekend and finished in third place with $23.8 million. On August 5, 2010, the film crossed the $200 million mark, becoming the first Universal film to reach the milestone since 2007's The Bourne Ultimatum.On the weekend lasting from September 3–5, 2010, it surpassed Shrek Forever After to become the second highest-grossing animated film of 2010 in the United States and Canada, behind Toy Story 3. It is also the highest-grossing non-DreamWorks/non-Disney·Pixar animated film of all time in these territories. The film has made $251,513,985 in the United States and Canada as well as an estimated $291,600,000 overseas for a worldwide total of $543,010,705, against its $69 million budget.[1] This film is also Universal's sixth highest-grossing film (unadjusted for inflation)[22] and the tenth-highest-grossing animated feature of all-time in North America.[23] In worldwide earnings, it is the sixth biggest film of Universal Studios,[24] the fourth highest-grossing animated film of 2010 trailing Toy Story 3, Shrek Forever After, and Tangled, the 24th highest-grossing animated film of all time and the 9th highest-grossing film of 2010It was entirely animated by the French animation studio Mac Guff, which was later acquired by Illumination Entertainment.The film earned positive reviews from critics, and grossed over $543 million worldwide, against a budget of $69 million.[1] A sequel, Despicable Me 2, released on July 3, 2013, is to be followed by a spin-off featuring Gru's Minions as the main characters on December 19, 2014.[3]Gru, a super-villain, has his pride injured when an unknown super-villain steals the Great Pyramid of Giza, an action that is described by his colleague Dr. Nefario as making "all other villains look lame." Gru decides to do better, with the assistance of Dr. Nefario, by shrinking and stealing the moon, an idea based on his childhood dream of being an astronaut, which was always discouraged by his mother Marlena. The plan is quite expensive and Gru seeks a loan from the Bank of Evil, where the president Mr. Perkins is impressed by the plan, but will only provide the money if Gru can obtain the necessary shrink ray first.and his minions steal the shrink ray from a secret base in Asia but the up-and-coming super-villain, Vector, who was also responsible for the Pyramid theft, immediately steals it from Gru, as revenge for freezing his head earlier. Gru attempts to break into Vector's fortress to get the shrink ray back, but is defeated by numerous booby traps. However, he notices three orphan girls Margo, Edith, and Agnes easily walk into the base to sell Vector cookies. Gru, faking his credentials as a dentist, adopts the girls from Miss Hattie's Home for Girls, planning on using them to infiltrate Vector's base so he can get the shrink ray back. However, Gru has difficulty nurturing them properly between their rambunctiousness, their ballet classes, and his own ineptitude as a parent.Eventually, Gru and the girls arrive at Vector's fortress and Gru manages to steal the shrink ray. The girls then suggest a day at a theme park; Gru agrees, believing he can leave the girls there, but he is told by an attendant that they must be accompanied by an adult. He is then dragged around the theme park for the day, eventually warming up to the girls after they compliment him over blowing up a rigged carnival game. Later, Gru contacts Mr. Perkins, stating that he finally has the shrink ray in his possession. Margo, Edith,

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Wednesday 14 August 2013

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Emo Cartoon Pictures Biography
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Emo Cartoon Pictures Alfred Matthew "Weird Al" Yankovic (born October 23, 1959) is an American -songwriter, musician, parodist, record producer, satirist, music video director, film producer, actor, and author. Yankovic is known for his humorous songs that make light of popular culture and often parody specific songs by contemporary musical acts. Since his first-aired comedy song in 1976, he has sold more than 12 million albums (as of 2007),[2] recorded more than 150 parody and original songs,[3][4][5] and has performed more than 1,000 live shows.[6] His works have earned him three Grammy Awards among nine nominations, four gold records, and six platinum records in the United States. Yankovic's first top ten Billboard album (Straight Outta Lynwood) and single ("White & Nerdy") were both released in 2006, nearly three decades into his career.Yankovic's success comes in part from his effective use of music video to further parody popular culture, the song's original artist, and the original music videos themselves, scene-for-scene in some cases. He directed later videos himself and went on to direct for other artists including Ben Folds, Hanson, The Black Crowes, and The Presidents of the United States of America. In addition to recording his albums, Yankovic wrote and starred in the film UHF and The Weird Al Show. He has also made guest appearances on many television shows, in addition to starring in Al TV specials on MTV.[1]Alfred was born in Downey, California, and raised in the town of Lynwood. He is the only child of Nick Louis Yankovic (June 4, 1917 – April 9, 2004)[7] and Mary Elizabeth (née Vivalda; February 7, 1923 – April 9, 2004).[7] His father was born in Kansas City, Kansas of Yugoslavian[7][8] descent, and began living in California after serving during World War II;[9][10] he believed "the key to success" was "doing for a living whatever makes you happy" and often reminded his son of this philosophy.[9] Nick Yankovic married Mary Elizabeth Vivalda in 1949. Mary, who was of Italian and English descent, and had come to California from Kentucky, gave birth to Alfred ten years later.Al's first accordion lesson, which sparked his career in music, was on the day before his sixth birthday. A door-to-door salesman traveling through Lynwood offered the Yankovic parents a choice of accordion or guitar lessons at a local music school. Yankovic claims the reason his parents chose accordion over guitar was "They figured there should be at least one more accordion-playing Yankovic in the world", referring to Frankie Yankovic, to whom he is not related directly.[11] Yankovic said that "[his] parents chose the accordion because they were convinced it would revolutionize rock."[8] He continued lessons at the school for three years before continuing to learn on his own.[7] Yankovic's early accordion role models include Frankie Yankovic (no relation) and Myron Floren (the accordionist on The Lawrence Welk Show).In the 1970s, Yankovic was a big fan of Elton John and claims John's Goodbye Yellow Brick Road album "was partly how I learned to play rock 'n roll on the accordion."[9] As for his influences in comedic and parody music, Yankovic lists artists including Tom Lehrer, Stan Freberg, Spike Jones, Allan Sherman, Shel Silverstein and Frank Zappa "and all the other wonderfully sick and twisted artists that he was exposed to through the Dr. Demento Radio Show."[7][12] Other sources of inspiration for his comedy come from Mad magazine,[9] Monty Python,[13] and the Zucker, Abrahams and Zucker parody movies.[14]Yankovic began kindergarten a year earlier than most children, and he skipped the second grade. "My classmates seemed to think I was some kind of rocket scientist so I was labeled a nerd early on", he recalls.[9] As his unusual schooling left him two years younger than most of his classmates, Yankovic was not interested in sports or social events at school. He was valedictorian of his senior class.[9] Yankovic was active in his school's extracurricular programs, including the National Forensic League, a play based upon Rebel Without a Cause, the yearbook (for which he wrote most of the captions), and the Volcano Worshippers club, "which did absolutely nothing. We started the club just to get an extra picture of ourselves in the yearbook."Yankovic attended California Polytechnic State University in San Luis Obispo where he earned a degree in architecture.[8]Yankovic received his first exposure via southern California and syndicated comedy radio personality Dr. Demento's radio show, saying "If there hadn't been a Dr. Demento, I'd probably have a real job now."[15] In 1976, Dr. Demento spoke at Yankovic's school where the then 16-year-old Yankovic gave him a homemade tape of original and parody songs performed on the accordion in Yankovic's bedroom into a "cheesy little tape recorder". The tape's first song was "Belvedere Cruisin'", about his family's Plymouth Belvedere, was played on Demento's comedy radio show, launching Yankovic's career. Demento said, "'Belvedere Cruising' might not have been the very best song I ever heard, but it had some clever lines [...] I put the tape on the air immediately."[9][16] Yankovic also played at local coffeehouses, saying: It was sort of like amateur music night, and a lot of people were like wannabe Dan Fogelbergs. They'd get up on stage with their acoustic guitar and do these lovely ballads. And I would get up with my accordion and play the theme from 2001. And people were kind of shocked that I would be disrupting their mellow Thursday night folk fest.During Yankovic's sophomore year as an architecture student at Cal Poly at San Luis Obispo, he became a disc jockey at the university's radio station, KCPR. Yankovic said he had been nicknamed Weird Al by fellow students and "took it on professionally" as his persona for the station.[9] In 1978, he released his first recording (as Alfred Yankovic), "Take Me Down", on the LP, Slo Grown, as a benefit for the Economic Opportunity Commission of San Luis Obispo County. The song mocked famous nearby landmarks such as Bubblegum Alley and the fountain toilets at the Madonna Inn.In mid-1979, shortly before his senior year, "My Sharona" by The Knack was on the charts and Yankovic took his accordion into the restroom across the hall from the radio station (to take advantage of the echo chamber acoustics) and recorded a parody titled "My Bologna". He sent it to Dr. Demento, who played it to good response from listeners. Yankovic met The Knack after a show at his college and introduced himself as the author of "My Bologna". The Knack's lead singer, Doug Fieger, said he liked the song and suggested that Capitol Records vice president Rupert Perry release it as a single.[9] "My Bologna" was released as a single with "School Cafeteria" as its B-side, and the label gave Yankovic a six-month recording contract. Yankovic, who was "only getting average grades" in his architecture degree, began to realize that he might make a career of comedic music.On September 14, 1980, Yankovic was a guest on the Dr. Demento Show, where he was to record a new parody live. The song was called "Another One Rides the Bus", a parody of Queen's hit, "Another One Bites the Dust". While practicing the song outside the sound booth, he met Jon "Bermuda" Schwartz, who told him he was a drummer and agreed to bang on Yankovic's accordion case to help Yankovic keep a steady beat during the song. They rehearsed the song just a few times before the show began.[9] "Another One Rides the Bus" became so popular that Yankovic's first television appearance was a performance of the song on The Tomorrow Show (April 21, 1981) with Tom Snyder. On the show, Yankovic played his accordion, and again, Schwartz banged on the accordion case and provided comical sound effects.1981 brought Yankovic on tour for the first time as part of Dr. Demento's stage show. His stage act in a Phoenix, Arizona, nightclub caught the eye of manager Jay Levey, who was "blown away".[9] Levey asked Yankovic if he had considered creating a full band and doing his music as a career. Yankovic admitted that he had, so Levey held auditions. Steve Jay became Yankovic's bass player, and Jay's friend Jim West played guitar. Schwartz continued on drums. Yankovic's first show with his new band was on March 31, 1982.[6] Several days later, Yankovic and his band were the opening act for Missing Persons.
recorded "I Love Rocky Road", (a parody of "I Love Rock 'n' Roll" as recorded by Joan Jett and The Blackhearts) which was produced by Rick Derringer, in 1982. The song was a hit on Top 40 radio, leading to Yankovic's signing with Scotti Brothers Records. In 1983, Yankovic's first self-titled album was released on Scotti Bros. The song Ricky was released as a single and the music video received exposure on the still-young MTV. Yankovic released his second album "Weird Al" Yankovic in 3-D in 1984. The first single "Eat It", a parody of the Michael Jackson song "Beat It", became popular, thanks in part to the music video, a shot-for-shot parody of Jackson's "Beat It" music video, and what Yankovic described as his "uncanny resemblance" to Jackson. Peaking at number 12 on the Billboard Hot 100 on April 14, 1984,[18] "Eat It" remained Yankovic's highest-charting single until "White & Nerdy" placed at number 9 in October 2006.[19]In 1985, Yankovic co-wrote and starred in a mockumentary of his own life titled The Compleat Al, which intertwined the facts of his life up to that point with fiction. The movie also featured some clips from Yankovic's trip to Japan and some clips from the Al TV specials. The Compleat Al was co-directed by Jay Levey, who would direct UHF four years later. Also released around the same time as The Compleat Al was The Authorized Al, a biographical book based on the film. The book, resembling a scrapbook, included real and fictional humorous photographs and documents.Yankovic and his band toured as the opening act for The Monkees in mid-1987 for their second reunion tour of North America. Yankovic claims to have enjoyed touring with The Monkees, even though "the promoter gypped us out of a bunch of money."[20]Yankovic also appeared on the Wendy Carlos recording of Prokofiev's "Peter and the Wolf" as the narrator in 1988. The album also included a sequel to Camille Saint-Saëns's composition The Carnival of the Animals titled "The Carnival of the Animals Part II", with Yankovic providing humorous poems for each of the featured creatures in the style of Ogden Nash, who had written humorous poems for the original.Rubén Valtierra joined the band on keyboards in 1991, allowing Yankovic to concentrate more on singing and increasing his use of the stage space during concerts.A factual biographical booklet of Yankovic's life, written by Dr. Demento, was released with the 1994 box set compilation Permanent Record: Al in the Box.[9] The Dr. Demento Society, which issues yearly Christmas re-releases of material from Dr. Demento's Basement Tapes, often includes unreleased tracks from Yankovic's vaults, such as "Pacman", "It's Still Billy Joel To Me" or the live version of "School Cafeteria".

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Cartoon Penguin Pictures Biography
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Penguin cartoon picture was founded in 1935 by Sir Allen Lane,[2] as a line of publishers The Bodley Head, only becoming a separate company the following year.[3] Penguin revolutionised publishing in the 1930s through its high quality, inexpensive paperbacks, sold through Woolworths and other high street stores for sixpence. Penguin's success demonstrated that large audiences existed for serious books. Penguin also had a significant impact on public debate in Britain, through its books on politics, the arts, and science.[4]Penguin Books is now an imprint of the worldwide Penguin Random House, a newly emerging conglomerate which was formed in 2012 by the merger of the two publishers.[5] Formerly Penguin Group was wholly owned by Pearson PLC, the global media company which also own the Financial Times,[6] but it now retains only a minority holding of 47% of the stock against Random House owner Bertelsmann who controls the majority stake.The first Penguin paperbacks were published in 1935,[7] but at first only as an imprint of The Bodley Head[3] (of Vigo Street) with the books originally distributed from the crypt of Holy Trinity Church Marylebone. Only paperback editions were published until the "King Penguin" series debuted in 1939,[8] and latterly the Pelican History of Art was undertaken: these were unsuitable as paperbacks because of the length and copious illustrations on art paper so cloth bindings were chosen instead. Penguin Books has its registered office in the City of Westminster, London, England.Lane recounted how it was his experience of the poor quality of reading material on offer at Exeter train station that inspired him to create cheap, well designed quality books for the mass market.[11] Though the publication of literature in paperback was then associated mainly with poor quality, lurid fiction the Penguin brand owed something to the short lived Albatross imprint of British and American reprints that briefly traded in 1932.[12] Inexpensive paperbacks did not initially appear viable to Bodley Head, since the deliberately low price of 6d. made profitability seem unlikely. This helped Allen Lane purchase publication rights for some works more cheaply than he otherwise might have done since other publishers were convinced of the short term prospects of the business. In the face of resistance from the traditional book trade[13] it was the purchase of 63,000 books by Woolworth[14] that paid for the project outright, confirmed its worth and allowed Lane to establish Penguin as a separate business in 1936. By March 1936, ten months after the company's launch on 30 July 1935, one million Penguin books had been printed. This early flush of success brought expansion and the appointment of Eunice Frost, first as a secretary then as editor and ultimately as a director, who was to have a pivotal influence in shaping the company.[15] It was Frost who in 1945 was entrusted with the reconstruction of Penguin Inc after the departure of its first managing director Ian Ballantine.[16] Penguin Inc had been incorporated in 1939 in order to satisfy US copyright law, and had enjoyed some success under its vice president Kurt Enoch with such titles as What Plane Is That and The New Soldier Handbook despite being a late entrant into an already well established paperback market.From the outset, design was essential to the success of the Penguin brand. Eschewing the illustrated gaudiness of other paperback publishers, Penguin opted for the simple appearance of three horizontal bands, the upper and lower of which were colour-coded according to which series the title belonged to; this is sometimes referred to as the horizontal grid. In the central white panel, the author and title were printed in Gill Sans and in the upper band was a cartouche with the legend "Penguin Books". The initial design was created by the then 21-year-old office junior Edward Young, who also drew the first version of the Penguin logo. Series such as Penguin Specials and The Penguin Shakespeare had individual designs (by 1937 only S1 and B1-B18 had been published).The colour schemes included: orange and white for general fiction, green and white for crime fiction, cerise and white for travel and adventure, dark blue and white for biographies, yellow and white for miscellaneous, red and white for drama; and the rarer purple and white for essays and belles lettres and grey and white for world affairs. Lane actively resisted the introduction of cover images for several years. Some recent publications of literature from that time have duplicated the original look.From 1937 and on, the headquarters of Penguin Books was at Harmondsworth west of London and so it remained until the 1990s when a merge with Viking involved the head office moving into London (27 Wrights Lane, W8 5TZ).The Second World War saw the company established as a national institution, and though it had no formal role, Penguin was integral to the war effort thanks in no small part to the publication of such bestselling manuals as Keeping Poultry and Rabbits on Scraps and Aircraft Recognition and supplying books for the services and POWs. Penguin printed some 600 titles and started nineteen new series in the six years of the war[17] and a time of enormous increase in the demand for books,[18] consequently Penguin enjoyed a privileged place among its peers.Paper rationing was the besetting problem of publishers during war-time with the fall of France cutting off supply of esparto grass, one of the constituents of the pulp Penguin used. As such when rationing was introduced in March 1940 a quota was allocated by the Ministry of Supply to each publisher as a percentage of the amount used by that firm between August 1938 and August 1939.[19] This was particularly advantageous to Penguin who as a volume printer had enjoyed a very successful year that year. Further in a deal with the Canadian Government Penguin had agreed to exclusively publish editions for their armed forces for which they were paid in tons of paper.[20] By January 1942 the Book Production War Economy Agreement regulations came into force which determined rules on paper quality, type size and margins, consequently Penguin eliminated dust jackets, trimmed margins and replaced sewn bindings with metal staples. Aside from the noticeable deterioration in the appearance of paperbacks it became a practical impossibility to publish books of more than 256 pages resulting in some titles falling out of print for want of material.[21] In addition to their paper allocation Penguin secured a deal in late 1941, through Bill William's connections with ABCA and CEMA, with the War Office to supply the troops with books through what would be known as the Forces Book Club. Penguin would receive 60 tons a month from Paper Supply in return for 10 titles a month in runs of 75,000 at 5d.[22] Previously every paperback carried the message "FOR THE FORCES Leave this book at a Post Office when you have read it, so that men and women in the Services may enjoy it too" at the bottom of the back cover inviting the reader to take advantage of the free transmission of books to the forces by the Post Office. However demand was exceeding supply on the home front leading Lane to seek a monopoly on army books made specifically for overseas distribution. This dominance over the paper supply put Penguin in an especially strong position after the war as rationing continued. Many of its competitors were forced to concede paperback reprint rights to Penguin for this reason as well as the popular prestige the company enjoyed.[22]In 1945 Penguin began what would become one of its most important branches, the Penguin Classics, with a translation of Homer's Odyssey by E. V. Rieu. Between 1947 and 1949, the German typographer Jan Tschichold redesigned 500 Penguin books, and left Penguin with a set of influential rules of design principles brought together as the Penguin Composition Rules, a four page booklet of typographic instructions for editors and compositors. Tschichold's work included the woodcut illustrated covers of the classics series (also known as the medallion series), and with Hans Schmoller, his eventual successor at Penguin, the vertical grid covers that became the standard for Penguin fiction throughout the 1950s. By this time the paperback industry in the UK had begun to grow, and Penguin found itself in competition with then fledgeling Pan Books. Many other series were published such as the Buildings of England, the Pelican History of Art and Penguin Education.

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Pig Cartoon Pictures Images Pics Photos Wallpapers Pictures

Pig Cartoon Pictures Biography
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This Pig Cartoon Pictures article is about the western European folk belief of the 17th to 19th centuries. For the Hindu goddess with a woman's body and a pig's head, see Varahi. For the 2006 film about a woman with a pig's snout, see Penelope (2006 film).An elegantly dressed woman with the ears and face of a pigAn 1882 print of a pig-faced woman, from the Illustrated Police NewsStories of pig-faced women originated roughly simultaneously in Holland, England and France in the late 1630s. The stories told of a wealthy woman whose body was of normal human appearance, but who had the face of a pig.In the earliest forms of the story, the woman's pig-like appearance was the result of witchcraft. Following her wedding day, the pig-faced woman's new husband was granted the choice of having her appear beautiful to him but pig-like to others, or pig-like to him and beautiful to others. When her husband told her that the choice was hers, the enchantment was broken and her pig-like appearance vanished. These stories became particularly popular in England, and later in Ireland.The magical elements gradually vanished from the story, and the existence of pig-faced women began to be treated as fact. The story became particularly widespread in Dublin in the early 19th century, where it became widely believed that reclusive 18th-century philanthropist Griselda Steevens had kept herself hidden from view because she had the face of a pig. In late 1814 and early 1815, rumour swept London that a pig-faced woman was living in Marylebone. Her existence was widely reported as fact, and numerous alleged portraits of her were published. With belief in pig-faced women commonplace, unscrupulous showmen exhibited living "pig-faced women" at fairs. These were not genuine women, but shaven bears dressed in women's clothing.Belief in pig-faced women declined, and the last significant work to treat their existence as genuine was published in 1924. Today, the legend is almost forgotten.While stories of pig-faced women vary in detail, they have the same basic form. A pregnant noblewoman would be approached by a beggar accompanied by her children, and would dismiss the beggar, and in so doing would in some way compare the beggar's children to pigs. The beggar would curse the pregnant noblewoman, and come the birth of the child it would be a girl, healthy and perfectly formed in every respect other than having the face of a pig.The child would grow up healthy, but with some of the behaviours of a pig. She would eat from a silver trough, and speak only in grunts or with a grunting sound to her speech. The only child of her parents, she would stand to inherit a large fortune, but her parents would be concerned about what would become of her after their death. They would thus make arrangements either to find a man willing to marry her, or to use their fortune to endow a hospital on condition that the hospital take care of her for the remainder of her life.Although originating roughly simultaneously in Holland, England, and France, it was only in England, and later in Ireland, that the legend became well known and widely believed.[2] In 1861 Charles Dickens remarked on the longevity of the belief in pig-faced women in England, commenting that "In every age, I suppose, there has been a pig-faced lady".[3]While earlier stories of humans with the appearance of animals are common, prior to the 17th century there are no recorded European stories of humans with the faces of pigs.[1][4] (An 1829 paper in the Quarterly Journal of Science, Literature, and the Arts claims that the legend was circulating in Paris in 1595 but offers no detail or corroborating evidence.[5]) The earliest versions of the story of the pig-faced woman appear to have originated roughly simultaneously in England, Holland and France, and to have become prevalent in England in late 1639.[2] A 1904 paper in Volkskunde magazine by Dutch historian and antiquarian Gerrit Jacob Boekenoogen traces the earliest forms of the legend as appearing in 1638 or 1639.[The earliest surviving version of the legend is a Dutch print about an Amsterdam woman named Jacamijntjen Jacobs. In 1621 Jacobs, while pregnant, was approached one day by a female beggar accompanied by three children, who pleaded that her children were starving. Jacobs told the beggar "Take away your filthy pigs, I will not give you anything". The woman replied "Are these my children pigs? May God then give you such pigs as I have here!" Jacobs' daughter was born with the head and face of a pig, and at the time of publication in 1638–39 the daughter, by then in her teens, supposedly ate from a trough and spoke in a grunting voice.[Bondeson (2006) speculates that the pig-faced woman myth originated as a fusion of two earlier stories. The mediaeval Dutch legend of Margaret of Henneberg tells of a wealthy noblewoman who turned away a beggar with twins, and was herself punished by giving birth to 365 children. In a similar French folk tale, the noblewoman in question described the beggar's children as "piglets", and gave birth to a litter of nine piglets.[The other significant theory about the origin of the legend, proposed by Robert Chambers in 1864, is that a genuine child was born in the early 17th century with facial deformities resembling a pig's face and a speech impediment causing her to grunt.[1] The science of teratology (the study of birth defects and physiological abnormalities) was then in its infancy, and the theory of maternal impression (that the thoughts of a pregnant woman could influence the future appearance of her children) was widely accepted. It is possible that the birth of a genuinely deformed child led to the story of the beggar as a possible explanation for her appearance, with other elements of the story being later additions or distortions by publishers.[1] Chambers speculates that the original child may have had a similar appearance to Julia Pastrana, a woman with hypertrichosis and distorted (although not pig-like) facial features,[1] who was widely exhibited in Europe and North America from the 1850s until the 1970s.[7] However, while a 1952 stillbirth with a face resembling a pig is documented, there has never been a reliably documented case of a human with deformities of this kind surviving outside the womb, while all versions of the pig-faced woman legend describe her as a healthy adult.[8]The first recorded reference in England to the legend of the pig-faced woman is the fable of Tannakin Skinker, a 17th-century variation on the traditional loathly lady story, in particular on The Wife of Bath's Tale and The Marriage of Sir Gawain.[9] The Skinker story is generally considered the basis for later English stories of pig-faced women.[10] Between 4 and 11 December 1639, five ballads about Skinker were published in London,[note 1] all of which are now lost.[9] (A 1640 ballad, A Monstrous Shape: or, A Shapelesse Monster, a Description of a female creature born in Holland compleat in every part, save only a head like a swine, who hath travelled in many parts and is now to be seen in London, shees loving, courteous and effeminate and nere as yet could find a loving mate, is preserved in Samuel Pepys's extensive collection of ballads.[11]) The earliest surviving record of the Tannakin Skinker story is that given in A Certaine Relation of the Hog-faced Gentlewoman called Mistris Tannakin Skinker, a 1640 chapbook.[12]A Certaine Relation claims that Tannakin Skinker was born to Joachim and Parnel Skinker in 1618 in "Wirkham, a neuter towne betweene the Emperour and the Hollander, scituate on the river Rhyne".[13][note 2] Joachim Skinker is described as "a man of good revenue, but of a great estate in money and cattle." During Parnel's pregnancy, an elderly woman had begged her for money. Parnel was busy and refused to pay, and the old woman had left, "muttering to her selfe the Divells pater noster, and was heard to say 'As the Mother is Hoggish, so Swinish shall be the Child shee goeth withall'". At Tannakin's birth her body and limbs were correctly proportioned, but her face had a pig's snout, "not only a stain and blemish, but a deformed uglinesse, making all the rest loathsome, contemptible and odious to all that lookt upon her in her infancie." The midwife who had delivered the baby was sworn to secrecy, and the Skinkers raised her in a private room. She ate from a silver trough, "to which she stooped and ate, just like a Swine doth in his swilling tub".annakin's deformity was soon discovered, and many locals came to hear her pig-like speech or to watch her feed from the trough.[14] The old woman was located, tried and convicted for witchcraft, but even at the stake refused or was unable to reverse the enchantment.When Tannakin was between 16 and 17 years old, her father consulted Vandermast, "a famous Artist, who was both a Mathematician, and an Astrologian [...] a man who was suspected to have been well versed in blacke and hidden Arts", as to how the curse might be undone.[note 3] Vandermast concluded that as long as Tannakin remained a virgin she would retain her pig's face, but were she married, and not to "a Clowne, Bore or Pesant", she might be cured.One thinkes to him selfe, so the body bee handsome, though her countenance be never so coarse and ugly, all are alike in the night; and in the day time, put her head but in a blacke bagge, and what difference betwixt her and another woman? Another comforteth him selfe thus: That if shee cannot speake, shee cannot chide; and therefore hee shall be sure not to have a scold to his wife.A Certaine RelationThe Skinker family announced that any gentleman who "would take her to his bed after loyall Matrimony" would receive a dowry of £40,000. The dowry, a huge sum for the time, prompted a large number of would-be husbands. A Scottish captain arrived, having spent the greater part of a month's pay on a new suit, and was taken by Tannakin's figure and deportment. On lifting the veil to view her face, however, "hee would stay no other conference, but ran away without further answer, saying; they must pardon him, for hee could indure no Porke." An English sow-man (pig farmer) assured the family that his familiarity with pigs meant he would accept Tannakin's appearance, but after meeting her he left the building, saying that "so long as I have known Rumford, I never saw such a Hogsnout".Several further would-be suitors visited the Skinkers, but all were repulsed by Tannakin's face and she remained unmarried.[17] Despairing of finding a suitable husband in Wirkham, the Skinker family moved to London, and took up residence in either Blackfriars or Covent Garden. (The anonymous author of A Certaine Relation says that the family did not wish to divulge their address, to discourage curiosity-seekers from gathering.) Many who met her were taken by her elegant dress and excellent demeanour.Eventually, the Skinkers found a man in London willing to marry Tannakin. On the day of the wedding, and despite all efforts to improve her appearance, her face was as pig-like as ever. With the wedding service concluded, the newly-wed couple retired to the bedroom. When they lay in bed together for the first time, Tannakin reached for her husband's arm, saying that she would release him from his vows provided that he would look at her in the face. He turned to look at her, and saw "a sweet young Lady of incomparable beauty and feature, the like to whom to his imagination he never had in his whole life time beheld". He reached to kiss her, but she refused, saying: Sir, I am indeed no other than I now seeme unto you; and of these two things I give you free choice, whether I shall appeare to you thus as you now see me, young, faire, and lovely in your bed, and all the daytime, and abroad, of my former deformity: or thus beautifull in the day, to the sight of your friends, but in your armes every night of my former Age and Uglinesse: of these two things I give you free choice of, which till you have resolv'd me, there can be no other familiarity betwixt in: therefore without pause give me a speedy answer.A man bows before an elegantly dressed woman with a pig's head. The man says "God save you sweet mistress"; the woman replies "Ough".Tannakin Skinker and a suitor, from A Certaine Relation,Torn between the choice of a wife who would appear beautiful to him but hideous to all his friends, or hideous to him but beautiful to all his friends, he could not reach a decision but instead said to her "into you owne hands and choyse I give the full power and soveraignty to make election of which you best please." On hearing this, Tannakin turned to him and said:Now Sir, you have given me that which all women most desire, my Will, and Soveraignty; and know I, was by a wicked and sorcerous step-dame inchanted, never to returne to my pristine shape, till I was first married, and after had received such power from my Husband · And now from henceforth I shall be the same to you night and day, of that youth and lively-hood which you now see mee; till Time and Age breed new alteration, even to the last period of my life.[14]

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Cartoon Chicken Pictures Biography
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The cartoon chicken picture is a domesticated fowl, a subspecies of the Red Junglefowl. As one of the most common and widespread domestic animals with a population of more than 24 billion in 2003,[1] there are more chickens in the world than any other species of bird[citation needed]. Humans keep chickens primarily as a source of food, consuming both their meat and their eggs.The traditional poultry farming view of the domestication of the chicken is stated in Encyclopædia Britannica (2007): "Humans first domesticated chickens of Indian origin for the purpose of cockfighting in Asia, Africa, and Europe. Very little formal attention was given to egg or meat production... "[2] Recent genetic studies have pointed to multiple maternal origins in Southeast, East, and South Asia, but with the clade found in the Americas, Europe, the Middle East and Africa originating in the Indian subcontinent. From India the domesticated fowl made its way to the Persianized kingdom of Lydia in western Asia Minor, and domestic fowl were imported to Greece by the fifth century BC.[3] Fowl had been known in Egypt since the 18th Dynasty, with the "bird that gives birth every day" having come to Egypt from the land between Syria and Shinar, Babylonia, according to the annals of Tutmose III.[4][5]In the UK and Ireland adult male chickens over the age of 12 months are primarily known as cocks, whereas in America, Australia and Canada they are more commonly called roosters. Males less than 1 year old are cockerels.[6] Castrated roosters are called capons (surgical and chemical castration are now illegal in some parts of the world). Females over a year old are known as hens and younger females as pullets[7] although in the egg-laying industry, a pullet becomes a hen when she begins to lay eggs at 16 to 20 weeks of age. In Australia and New Zealand (also sometimes in Britain), there is a generic term chook /ˈtʃʊk/ to describe all ages and both sexes.[8] The young are called chicks and the meat is called chicken.In some breeds the adult rooster can be distinguished from the hen by his larger comb"Chicken" originally referred to chicks, not the species itself. The species as a whole was then called domestic fowl, or just fowl. This use of "chicken" survives in the phrase "Hen and Chickens", sometimes used as a British public house or theatre name, and to name groups of one large and many small rocks or islands in the sea (see for example Hen and Chicken Islands).In the Deep South of the United States chickens are also referred to by the slang term yardbird.[9]Chickens are omnivores.[10] In the wild, they often scratch at the soil to search for seeds, insects and even larger animals such as lizards or young mice.[11]Chickens may live for five to ten years, depending on the breed.[12] The world's oldest chicken, a hen, died of heart failure at the age of 16 according to the Guinness Book of World Records.[13]Roosters can usually be differentiated from hens by their striking plumage of long flowing tails and shiny, pointed feathers on their necks (hackles) and backs (saddle) which are typically of brighter, bolder colours than those of females of the same breed. However, in some breeds, such as the Sebright, the rooster has only slightly pointed neck feathers, the same colour as the hen's. The identification can be made by looking at the comb, or eventually from the development of spurs on the male's legs (in a few breeds and in certain hybrids, the male and female chicks may be differentiated by colour). Adult chickens have a fleshy crest on their heads called a comb, or cockscomb, and hanging flaps of skin either side under their beaks called wattles. Collectively, these and other fleshy protuberances on the head and throat are called caruncles. Both the adult male and female have wattles and combs, but in most breeds these are more prominent in males. A muff or beard is a mutation found in several chicken breeds which causes extra feathering under the chicken's face, giving the appearance of a beard.Red JunglefowlDomestic chickens are not capable of long distance flight, although lighter birds are generally capable of flying for short distances, such as over fences or into trees (where they would naturally roost). Chickens may occasionally fly briefly to explore their surroundings, but generally do so only to flee perceived danger.Chickens are gregarious birds and live together in flocks. They have a communal approach to the incubation of eggs and raising of young. Individual chickens in a flock will dominate others, establishing a "pecking order", with dominant individuals having priority for food access and nesting locations. Removing hens or roosters from a flock causes a temporary disruption to this social order until a new pecking order is established. Adding hens, especially younger birds, to an existing flock can lead to fighting and injury.[14] When a rooster finds food, he may call other chickens to eat first. He does this by clucking in a high pitch as well as picking up and dropping the food. This behaviour may also be observed in mother hens to call their chicks and encourage them to eat.Roosters crowing (a loud and sometimes shrill call) is a territorial signal to other roosters. However, crowing may also result from sudden disturbances within their surroundings. Hens cluck loudly after laying an egg, and also to call their chicks. Chickens also give a low "warning call" when they think they see a predator approaching.Hens will often try to lay in nests that already contain eggs and have been known to move eggs from neighbouring nests into their own. The result of this behaviour is that a flock will use only a few preferred locations, rather than having a different nest for every bird. Hens will often express a preference to lay in the same location. It is not unknown for two (or more) hens to try to share the same nest at the same time. If the nest is small, or one of the hens is particularly determined, this may result in chickens trying to lay on top of each other. There is evidence that individual hens prefer to be either solitary or gregarious nesters.[16] Some farmers use fake eggs made from plastic or stone (or golf balls) to encourage hens to lay in a particular location.Under natural conditions, most birds lay only until a clutch is complete, and they will then incubate all the eggs. Many domestic hens will also do this–and are then said to "go broody". The broody hen will stop laying and instead will focus on the incubation of the eggs (a full clutch is usually about 12 eggs). She will "sit" or "set" on the nest, protesting or pecking in defense if disturbed or removed, and she will rarely leave the nest to eat, drink, or dust-bathe. While brooding, the hen maintains the nest at a constant temperature and humidity, as well as turning the eggs regularly during the first part of the incubation. To stimulate broodiness, an owner may place many artificial eggs in the nest, or to stop it they may place the hen in an elevated cage with an open wire floor.At the end of the incubation period (about 21 days),[15] the eggs, if fertile, will hatch. Development of the egg starts only when incubation begins, so they all hatch within a day or two of each other, despite perhaps being laid over a period of two weeks or so. Before hatching, the hen can hear the chicks peeping inside the eggs, and will gently cluck to stimulate them to break out of their shells. The chick begins by "pipping"; pecking a breathing hole with its egg tooth towards the blunt end of the egg, usually on the upper side. The chick will then rest for some hours, absorbing the remaining egg yolk and withdrawing the blood supply from the membrane beneath the shell (used earlier for breathing through the shell). It then enlarges the hole, gradually turning round as it goes, and eventually severing the blunt end of the shell completely to make a lid. It crawls out of the remaining shell, and its wet down dries out in the warmth of the nest.A day-old chickThe hen will usually stay on the nest for about two days after the first egg hatches, and during this time the newly hatched chicks live off the egg yolk they absorb just before hatching. Any eggs not fertilized by a rooster will not hatch, and the hen eventually loses interest in these and leaves the nest. After hatching, the hen fiercely guards the chicks, and will brood them when necessary to keep them warm, at first often returning to the nest at night. She leads them to food and water; she will call them to edible items, but seldom feeds them directly. She continues to care for them until they are several weeks old, when she will gradually lose interest and eventually start to lay again.Modern egg-laying breeds rarely go broody, and those that do often stop part-way through the incubation. However, some "utility" (general purpose) breeds, such as the Cochin, Cornish and Silkie, do regularly go broody, and they make excellent mothers, not only for chicken eggs but also for those of other species—even those with much smaller or larger eggs and different incubation periods, such as quail, pheasants, turkeys or geese. Chicken eggs can also be hatched under a broody duck, with varied success.

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