Leap-Frog is two fictional supervillains appearing in American comic books published by Marvel Comics. The characters use a frog suit containing electrical coils on the soles of each of the two flippers which allow the wearer to leap great distances up to 60 ft high or 100 ft long; the boots' power source is worn on his back like a back pack, triggered via hidden buttons in his gloves. Additionally, the costume had a strength-boosting exoskeleton along with substantial internal padding and a computer-guided system for leaping accuracy; the first Leap-Frog appeared in Daredevil #25-26, was created by Stan Lee, Gene Colan, Frank Giacoia. The character subsequently appears in Daredevil Annual #1, The Defenders #64, Iron Man #126-127, Marvel Team-Up #121, #131, The Defenders #131, Marvel Fanfare #31-32, Damage Control #2, The Spectacular Spider-Man #185, Daredevil #16, Spider-Man's Tangled Web #12, Wolverine #27; the second Leap-Frog debuted in Daredevil Vol. 2 #16 and was created by Brian Michael Bendis and David W. Mack.

Tired of his lack of success as an inventor of novelty items for toy companies, Vincent Patilio designed himself electrically powered coils that could be used for leaping great distances and incorporated them into a frog-like costume. Calling himself Leap-Frog, Patilio was not known for being lucky in his criminal career. For example, he started by taking blind lawyer Matt Murdock hostage, he was recruited by Electro to serve in his Emissaries of Evil in a revenge against Daredevil for previous defeats. However, Daredevil defeated them. Other attempts at being a criminal failed at the hands of Daredevil, before Leap-Frog was defeated by Iron Man and sent to jail. Patilio served his time in prison and returned to his wife Rose and young son Eugene. Rose's salary kept the family financially solvent. Making enough money to support himself and his son, Patilio fell into despair. At this time, his son Eugene donned a version of his costume to attempt to create a heroic career as "Frog-Man." Patilio was at first proud of his son for capturing the villain Speed Demon, but his pride turned to disapproval as Eugene continued to serve as a superhero.

Patilio forbade his son to adventure as Frog-Man. Patilio went undercover in the villainess White Rabbit's gang on behalf of the police, which brought him into conflict with his son, who, as Frog-Man, tried to take down the White Rabbit. Patilio defeated the White Rabbit with the help of his son and got a reward that eased his financial worries; when the White Rabbit reappeared, she teamed up with the Walrus to create mayhem which would not stop until the Frog-Man surrendered to her. Spider-Man went after the two. Meanwhile, Vincent ordered Eugene to stay at home while he donned a revamped version of his costume, announced himself as Frog-Man and joined Spider-Man. However, Eugene donned his own costume and joined the struggle, the trio managed to stop the criminals. Patilio remains retired from adventuring. Buford Lange is an abusive father who lived in Hell's Kitchen with his wife Allison and their autistic son Timmy, he stumbled upon an abandoned Leap-Frog costume and began a short-lived criminal career by robbing small businesses.

Lange fought Daredevil on a rooftop only to be electrocuted by Timmy, who didn't want to see his hero, hurt. Lange fell off the rooftop and into a garbage truck on the street below and died, he was killed and resurrected by the Hand and joined an assault on the S. H. I. E. L. D. Helicarrier which resulted in its destruction, he was killed again by Wolverine, as were most of the super-villains and heroes the Hand were using in the attack. Leap-Frog has no superpowers but wears an exoskeleton frog suit that gives him enhanced strength and agility; the suit is equipped with electrically powered leaping coils that allow him to reach a height of 6 stories per jump. The boots' power source is worn on his back like a back pack, his suit has an internal padding to protect him from impacts and a computer-guided system for leaping accuracy. Leap-Frog at the Appendix to the Handbook of the Marvel Universe Leap-Frog at the Appendix to the Handbook of the Marvel Universe

Marcin Tarczyński is a Polish swimmer, who specialized in freestyle and backstroke events. He is a silver medalist at the 2008 European Junior Swimming Championships in Belgrade and represented Poland at the 2012 Summer Olympics in London. While studying in the United States, Tarczynski holds a school record and 200 m individual medley title at the 2012 NCAA Men's Swimming and Diving Championships. Tarczynski reached his first international spotlight at the 2008 European Junior Swimming Championships in Belgrade, where he earned a silver medal in the 100 m freestyle. In 2010, Tarczynski attended UC Berkeley in Berkeley, where he majored in molecular biology, played for the California Golden Bears swimming and diving team under head coach Dave Durden, his sporting hero Bartosz Kizierowski, an alumnus and a four-time Olympian inspired him to come to the United States, prompting Tarczynski's decision to experience college life of balancing academics and sport. While swimming for the Golden Bears, Tarczynski posted a time of 1:41.97, the eleventh fastest of all-time, to claim a 200 m individual medley title at the 2012 NCAA Men's Swimming and Diving Championships in Federal Way, Washington.

Tarczynski competed in the 100 m backstroke at the 2012 Summer Olympics in London. He cleared both a national record and a FINA A-cut of 54.12 from the Polish Long Course Championships in Olsztyn. He challenged seven other swimmers in heat five, including France's top favorite Camille Lacourt and Russia's Arkady Vyatchanin, bronze medalist in Beijing four years earlier. Tarczysnki saved a seventh spot over Lacourt's teammate Benjamin Stasiulis by three-tenths of a second, in a time of 55.06. Tarczysnki failed to advance into the semifinals, as he placed twenty-seventh overall on the second day of prelims. Player Bio – California Golden Bears NBC Olympics Profile Marcin Tarczyński on Twitter

Siskiwit Lake is a small eutrophic lake on the Bayfield Peninsula in Bayfield County in northern Wisconsin in the United States. The lake is located about 4.5 miles south of Siskiwit Bay, an arm of Lake Superior, about 2 miles north of the northern boundary of Chequamegon National Forest. Duluth-Superior is about 48 miles to the west. Parts of the small town of Bell border the lake, there are several houses and vacation cabins on the lake, most on the north shore; the nearest major road, Wisconsin Highway 13, is about 3.5 miles to the north, the nearest large town, Washburn, is about 14 miles to the southeast, down County Highway C. Siskiwit Lake is 285 acres in area with a maximum depth of 13 feet and a shoreline circumference of four miles; the lake contains Long Island. The deeper part of the lake is to the east, with a long narrow bay stretching northwest of Long Island; the lake drains at the eastern end into the Siskiwit River which flows into Siskiwit Bay at Cornucopia. Siskiwit Lake is used for fishing.

Northern pike Panfish is present. Walleye is present in abundance. Present are Smallmouth Bass, Crappie, Pumpkinseed and Yellow Perch, Brook Trout. There is a boat ramp

If You Swear, You'll Catch No Fish is the second full-length album by the Canadian hardcore punk band SNFU. It was recorded in April 1986 at Power Zone Studio in Edmonton, although the album's liner notes claim the studio is located in Istanbul and was released on BYO Records in 1986. More diverse than their debut album, If You Swear, You'll Catch No Fish helped solidify SNFU's status in the North American hardcore punk community and influenced the formation of the skate punk subgenre; the lineup of SNFU appearing on If You Swear, You'll Catch No Fish formed in June 1985 for touring in support the band's debut album... And No One Else Wanted to Play, it was during this period that material from If You Swear, You'll Catch No Fish was first performed live, including early songs like "The Ceiling" and "Mind Like a Door". The group assembled the rest of the material over the next few months before recording their second album in April 1986; the band opted to record with Dave Mockford at his Power Zone Studio in their home city of Edmonton, with whom they had twice recorded compilation material.

They recorded basic tracks in a single day, focused on overdubs and mixing thereafter. The album featured more experimental composition and recording than did their debut, including the use of sound effects, keyboard effects, general "studio wizardry" by Mockford and the band members; as with their debut album, many songs featured music written by guitarist Marc Belke and lyrics by vocalist Ken Chinn, both founding members. But the new band members contributed material as well, such as bassist Dave Bacon's composition of the music in "The Devil's Voice" and "Where's My Legs?", drummer Jon Card's "Snapping Turtle". Card left the band during recording sessions to attend to familial commitments, but rejoined the band in 1991 for his second of three stints with SNFU. Chinn took the album's title from a fortune cookie; when he realized that each of the first two records inadvertently contained seven-word titles, he established the tradition of maintaining seven-word titles for all albums. The album, their second with BYO Records, was slated to be released in September 1986.

Card was replaced by Winnipeg drummer Ted Simm for the supporting tours, which would be largest upon which the band had embarked at that time. When the album's release date was delayed, they self-issued the She's Not on the Menu EP as a stopgap release; the album was released late in 1986. Its cover features a sculpture by Edmonton artist Blake Senini and graphics by longtime SNFU associate Ken Hansen; the band filmed a music video for the track "Black Cloud" at the BYO warehouse early in 1987. This was SNFU's first music video, would be their only video from the 1980s; the album has received positive reviews since its initial release. In 1986, Maximumrocknroll described the material on the album as "much stronger than the tunes on debut L. P." In a retrospective review, critic Vincent Jeffries wrote for AllMusic that the record is "onsidered by many to be the band's finest release" and that it "deservedly ranks high on many all-time punk lists." Jeffries awarded the album four out of five stars.

But as SNFU biographer Chris Walter suggests, the album's thin and experimental sound alienated some listeners, as the band itself would express mixed feelings about the album's post-production mastering. All songs written by SNFU. Mr. Chi Pig – vocals Muc – guitar Brent Bunthoven – guitar Dave Bacon – bass guitar J. Seth Card – drums

The 15 October 2011 global protests were part of a series of protests inspired by the Arab Spring, the Icelandic protests, the Portuguese "Geração à Rasca", the Spanish "Indignants", the Greek protests, the Occupy movement. The protests were launched under the slogan "United for #GlobalChange", to which the slogan "United for Global Democracy" was added by many people's assemblies; the protest was first called for by the Spanish Plataforma ¡Democracia Real YA! in May 2011 and endorsed by people's assemblies across the world. Reasons were varied but targeted growing economic inequality, corporate influence over government and international institutions, the lack of democratic institutions allowing direct public participation at all levels, local to global. Global demonstrations were held on 15 October in more than 950 cities in 82 countries; the date was chosen to coincide with the 5-month anniversary of the first protest in Spain. General assemblies, the social network n-1, mailing lists, Mumble voice chat, open pads such as Pirate Pad and Titan Pad, Facebook were used to coordinate the events.

Some protests were only a few hundred in number, whereas others numbered in the hundreds of thousands, with the largest in Madrid numbering half a million and the second largest city Barcelona with 400,000. As a continuation of the 2011 Spanish Protests, the largest protests took place in Spain, where more than a million people took the streets on 15 October, including 500,000 in Madrid, 400,000 in Barcelona, 150,000 in Zaragoza. In Madrid, protesters reoccupied the Puerta del Sol square where the Indignados had camped five months earlier on 15 May; as in protests elsewhere, slogans on signs included "We are the 99%", "United for Global Change" and "Human Rights for Everybody". At least 300,000 under the banner of "People of Europe: Rise Up!" Gathered in the centre of Rome, according to the organizers. During the peaceful march against corporate greed and austerity measures, a group of people broke away from the main demonstration and threw rocks and incendiary devices at banks and riot police.

Riot police charged and clashed with the protesters firing water cannons and tear gas. At least 135 people were injured, including 105 police officers. 12 people were arrested. 5,000 people gathered outside the London Srock Exchange, ending up setting a camp that remained there for three months, in what became known as Occupy London. In the following weeks, camps were set up in dozens of cities around the UK. 10,000 people gathered at the Neptune Fountain in Alexanderplatz between 13:00 and 14:00. At 14:00 the march set off towards the Brandenburg Gate, arriving to a police barrier at the Pariser Platz square at about 15:00; the march thus made a detour around Brandenburger Tor and marched towards the Kanzleramt, the seat of the federal government of Germany. In front of the Kanzleramt, an open microphone was put in place where anybody could come up and give their thoughts; the sound system was not loud enough for such a big gathering and so it was proposed to use the human microphone technique of Occupy Wall Street.

The plan had been for everyone to go to Mariannenplatz in the evening where stages and food had been prepared. However the people spontaneously decided to assemble in front of the Reichstag and held an assembly there. Tents were put out, the food was brought from Mariannenplatz; the police told the people to disperse. The people continued their assembly using the human mic; the police proceeded to destroy the tents, put up. After all the tents had been destroyed or confiscated by the police, the police made rounds around the assembly and stole the blankets and mats of the people. At around midnight the police made a final call to disperse and threatened serious consequences for those who stayed; the people decided to stay. The police proceeded to violently and forcibly remove the peaceful gathering of people in the park in front of the parliamentarian; the police told the dislodged people on the streets around Platz der Republik to go to Brandenburgertor. More than 100 people regrouped at Pariserplatz near Brandenburgertor to make a new assembly.

In that assembly it was decided to come back the next day at 13:00 at Pariserplatz to continue the movement. As soon had this decision been made that the police made renewed threats to the people; the people decided to leave for the moment and come back the next day. People from the protest reported that the police blocked sms and Twitter communication containing certain key words such as "occupyreichtag" or "occupywallst" during periods of the day; the protest continues as Occupy Berlin. Frankfurt in Germany, where 8000 people gathered in front of the European Central Bank Frankfurt headquarters on the first day of a worldwide protest against income disparity and corporate greed. Organizers declared they would occupy and blockade the square in front of the ECB "for an undefined period of time." Demonstrators set up a protest camp like those in Madrid and New York with 109 tents and 9 pavilions, soup kitchen and bread line, facility's, generators, W-Lan and live stream and a media team with its own podcast called Klargestellt.

Around 5000 people supported the global protest at the "schlossplatz" Between 2,000 and 5,000 people joined the rally on 15 October. Since a protest camp with around 15 tents is located in front of the HSH Nordbank headquarter. A small number of Greek and Turkish Cypriot activists gathered in Eleftheria Square in Nicosia as a response to the global call for a protest. Through discussion, they decided to move their protest to the buffer zone located in the Ledra/Lokmac

Melanie Smith is an artist based in Mexico City. Her work has been characterized by a certain re-reading of the formal and aesthetic categories of avant-gardes and post-avant-garde movements, problematized at the sites and within the horizons of heterotopias, her production is intimately related to a certain expanded vision of the notion of modernity, maintaining a relationship both with what this means in Latin America in Mexico, with the implication this has for her formal explorations as a critical moment in the aesthetic-political structure of modernity and late modernity. Melanie Smith was born in 1965 in England, she studied painting at the University of Reading and she developed a post-minimalist aesthetics, received her Bachelor of Arts. Since 1989 she has lived and worked in Mexico City, an experience that has enormously influenced her works since. "1989, she moved to Mexico City, joining an international community of writers there. Her work was included in the first exhibition of installation art in Mexico, curated by Guillermo Santamarina at the Museum of the Ex-Convento de los Leones.”

From on, the city played an important role in her performances and art works. In Mexico City, she experimented with installations, films and paintings with redoing and retouching to her endless imaginary world. Smith’s works have the tension between chaos, order forms of violence within the industrial society, the economy, her earlier pieces considered Mexico City itself, recording its multitudes, its violence, its banality, its clandestine nature and at the same time its inherent decomposition. The most outstanding piece from this cycle is the video Spiral City. In another of her works, she broadens the notions of place and non-place by documenting the small town of Parres on the outskirts of the city, she produced a trilogy of 35mm films and a series of paintings and installations that rework the modernist idea of the monochromatic. For her 2002 film, Spiral City, Smith rented a helicopter to fly over east of Mexico City, her film is based on an abstract grid of the city following the movements of a helicopter flying in widening spirals.

Her videos and films are made in collaboration with cinematographer Rafael Ortega and include a series of paintings and photographs. Smith’s work engages directly with the city from above. From a great height and as its configurations dissolve in the light there is no end to this city; the starting point was Ixtapalapa, a poor, satellite city of endless identical streets of low-rise houses. Spiral City alienates the world below, the world, known, abstracts it from the lens of a helicopter; this video draws attention to various image patterns and abstractions that would be invisible to the naked eye. According to The Guardian, this film is meant to be “a testament to a city, subject to a crystalline-like erosion, whereby structures build upon each other and collapse, as well as being a haunting cartography of the future.” What Smith means by this is that the city is continuously being built upon. Since this cycle is repeated, she argues, it is a map for. Another work of Smith’s, Orange Lush, is a series of several installations of objects on boards.

These installations contained “bright orange plastic objects, among them life-preservers, extension cords, cheerleader’s pom-poms, water-wings, flip-flops, light bulbs and water rafts.” Although the objects seem to be placed randomly, their placement is well thought out. There are slight contrasts between rounded objects that are deflated and flattened. This, argues art historian Amanda Boetzkes, is meant to convey “a broader stalemate between sensorial plenitude and economic exhaustion.” Orange Lush performs an aesthetic critique of Mexico’s consumerist economy and the overflowing need for “stuff”. Smith chose the chemical orange color because to her it always screamed “for sale”, fitting for the statement she is making about Mexican consumerism. Boetzkes says the color orange “marked the invasion of Mexico City with cheap commodities in the 1990s, after inflation and bailouts from the United States and the Bank for International Settlements caused a devaluation of the peso.” This event describes the exhaustion of economics that Smith tries to bring into her Orange Lush piece.

Orange is known as the color of fake value and meaningless products. This is something that Smith calls “chemically induced enthusiasm,” which means it is fabricated happiness or excitement—it is not reality; this is. Lastly, one of Smith’s big collaborative performance pieces is Aztec Stadium, done with 3,000 secondary school students, the whole process was filmed. Smith partnered with Rafael Ortega on this project; each student had a tile, once held up, created large mosaics based on the history of Mexico. Some examples of the images used were “Malevich’s Red Square, as well as from Mexican nationalist imaginaries and from the popular imaginaries of mass culture, such as the mythical wrestler Santo, wearer of the silver mask.” This process was experimental. As the process went on, students had difficulty following instructions, causing the images to become. There were waves of chaos and control throughout the whole piece, which ended up becoming a large part of the piece; this tension between chaos and order reflects the how Mexico City functions and how the economy re