Ontario Hydro, established in 1906 as the Hydro-Electric Power Commission of Ontario, was a publicly owned electricity utility in the Province of Ontario. It was formed to build transmission lines to supply municipal utilities with electricity generated by private companies operating at Niagara Falls, soon developed its own generation resources by buying private generation stations and becoming a major designer and builder of new stations; as most of the developed hydroelectric sites became exploited, the corporation expanded into building coal-fired generation and nuclear-powered facilities. Renamed as "Ontario Hydro" in 1974, by the 1990s it had become one of the largest integrated electricity corporations in North America; the notion of generating electric power on the Niagara River was first entertained in 1888, when the Niagara Parks Commission solicited proposals for the construction of an electric scenic railway from Queenston to Chippawa. The Niagara Falls Park & River Railway was granted the privilege in 1892, by 1900 it was using a dynamo of 200,000 horsepower, the largest in Canada.
Starting in 1899, several private syndicates sought privileges from the commission for generating power for sale, including: the Canadian Niagara Power Company, backed by British investors the Ontario Power Company, backed by American investors the Electrical Development Company, backed by the Toronto Street Railway and the Toronto Electric Light Company By 1900, a total capacity of 400,000 horsepower was in development at Niagara, concern was expressed as to whether such natural resources were being best exploited for the public welfare. In June 1902, an informal convention was held at Berlin, which commissioned a report by Daniel B. Detweiler, Elias W. B. Snider and F. S. Spence, who recommended in February 1903 that authority be sought from the Ontario Legislature to allow municipal councils to organize a cooperative to develop, transmit and sell electrical energy; the provincial government of George William Ross refused to allow this, it was only after its loss in the 1905 election that work began on creating a public utility.
During that election campaign, James Pliny Whitney declared: In May 1906, the Hydro-Electric Power Commission of Ontario was formed and its first commissioners were Adam Beck, John S. Hendrie, Cecil B. Smith, HEPCO was a unique hybrid of a government department, crown corporation and municipal cooperative that coexisted with the existing private companies, it was a "politically rational" rather than a "technically efficient" solution that depended on the watershed election of 1905. On January 1, 1907, referendums in Toronto and 18 other municipalities approved the provisional contracts that their councils had concluded with HEPC, subsequent referendums one year authorized utility bond issues for the construction of local distribution systems; the victories in Toronto were in large part due to the leadership and commitment of Adam Beck's ally, William Peyton Hubbard. The first transmission lines began providing power to southwestern Ontario in 1910. Berlin would be the first city in Ontario to get hydroelectric power in long-distance transmission lines from Niagara Falls, on October 11, 1910.
The commission's process of expansion was from municipality to municipality in the following manner: the municipal council would approach the commission, expressing its interest in establishing a local distribution system. During the 1920s, Hydro's network expanded significantly: In September 1921, Hydro acquired the Toronto Electric Light Company and various railway interests, making it the largest electric power system in the world, legislation passed in 1922 provided that any claims arising before December 1920 against the acquired companies or their properties, if not notified to the Commission in prescribed manner and pursued on or before October 1, 1923, would "be forever barred." In 1921 and 1924, legislative amendments authorized grant-in-aid programs that encouraged rural electrification in Ontario by reducing unit rates in the areas to be served. By the end of the 1920s, most remaining private power producers were unable to withstand any expansion by Hydro into their service area, some survived only because Hydro did not see the need to enter their markets.
In 1926, the Ferguson government gave its approval for Abitibi Power and Paper Company to develop the Abitibi Canyon, the largest such development since the Niagara River, in preference to incurring more debt for Ontario Hydro. The development was encouraged through secret commitments for long-term purchases of electricity and indemnification of Hydro against any losses. Questions were asked at the time as to how the additional 100,000 horsepower in capacity would be used, as there were no customers for it; when Abitibi was placed in receivership in 1932, legislation was passed over the following years to allow Ontario Hydro to take control of several Abitibi power developments. Certain d
"Sexy Bitch" is a song by French DJ David Guetta recorded for his fourth studio album One Love. The song features vocals from Senegalese-American recording artist Akon, it was released as the second single from One Love internationally. The song was serviced to mainstream and rhythmic crossover radios on 1 September 2009 in the United States, through Astralwerks, together with Capitol Records, it was written by Aliaune Thiam, David Guetta, Jean-Claude Sindres and Sandy Vee. The song was made in one night; the lyrics of "Sexy Bitch" deal with the protagonist's infatuation with a woman. "Sexy Bitch" garnered mixed to positive reviews from music critics, who commended the song's production. The song achieved commercial success worldwide, peaking inside the top five in several countries, including topping the charts in Australia, Canada, New Zealand, the United Kingdom. "Sexy Bitch" peaked at number five on the Billboard Hot 100 and became Guetta's first top five hit in the United States. The song became his best selling song in the United States, earning a triple platinum certification by the Recording Industry Association of America, with sales of 3,507,000 copies as of March 2014.
The music video for "Sexy Bitch" features Guetta and Akon at a house party and performing in a concert. "Sexy Bitch" was written by Giorgio Tuinfort, Aliaune Thiam, David Guetta, Jean-Claude Sindres and Sandy Vee. The production was helmed by Guetta and Vee. Guetta, in an interview for MTV News, said the collaboration with Akon came after they met during a performance of "When Love Takes Over" with Kelly Rowland. Akon approached him, asking if they could work together, Guetta suggested that they should start so they rented a studio in London and made the song in one night. "Sexy Bitch" was released as the second single from One Love, after the international success of "When Love Takes Over". It was released worldwide as a digital promotional single, which preceded the release One Love, on 24 July 2009. Astralwerks, together with Capitol Records, solicited the song to mainstream and rhythmic radios on 1 September 2009 in the United States under the name "Sexy Chick". On 7 September 2009, an extended play was serviced to digital retailers, containing an extended version of the song and two remixes by Chuckie, Lil Jon and Koen Groeneveld.
That same day, a remixes extended play was released featuring remixes by disc jockeys Afrojack, Abel Ramos, Groeneveld. On 13 September 2009, an extended play of "Sexy Bitch" was released in the United Kingdom featuring the clean edit and remixes by DJ Footloose, Lil Jon, Abel Ramos, Groeneveld. "Sexy Bitch" runs for 14 seconds. It features a driving, 8-bit style beat. According to the digital music sheet published at Musicnotes.com by Faber Music, the song is written in a key of B minor. It is set in common time with a fast tempo of 130 beats per minute. Akon's vocals range from a high note of B3 to a low note of G5; the song has a basic accompaniment pattern consisting of open fifths instead of chords, in a pattern of B5-D5-G5-D5-E5. The lyrics deal with the protagonist's infatuation with a female, demonstrated in lines like "I'm trying to find the words to describe this girl without being disrespectful," and "nothing like the neighbourhood whore". Eric Lyndal Martin of PopMatters commented that the song's lines would serve best in "Take Back the Night" ballads than on electronica songs.
Michael Menachem of Billboard praised the song, writing "Don't be surprised if this track takes over dancefloors as the summer ends." Nick Levine of Digital Spy gave "Sexy Bitch" a three star rating, expressing some discontent towards the lyrical content but cited the hook and beats as factors that make the song "bearable". In the review of One Love for the same publication, David Balls offered a less optimistic view of the song, calling it "a throwaway affair with a sell-by-date to rival a pint of milk." David Jeffries of AllMusic noted it as one of the album's highlights, writing that "Akon and guilty pleasure lyrics... make for a perfect match." Eric Lyndal Martin of PopMatters commented, "the final product makes you wonder just how sexy this bitch is," and commended the track for its driving beats, writing that they "make this song a lot of fun." "Sexy Bitch" was released as the follow up single to "When Love Takes Over", experiencing international success during the time of the single's release.
It proved to surpass "When Love Takes Over" in the United States when it debuted on the Billboard Hot 100 at number 56 on the week ending 15 August 2009, becoming Guetta's highest peaking single on the chart at the time. The song reappeared on the Hot 100 following the single's release to mainstream and rhythmic crossover radio. Within months, the song entered the top 10 tier, where it ascended and descended until 13 February 2010, when it peaked at number five. "Sexy Bitch" exited the Billboard Hot 100 after 40 weeks, earned a double-platinum certification by the Recording Industry Association of America on 11 February 2010 and a triple-platinum certification on 9 July 2012. It has amassed sales of 3,507,000 digital downloads in the United States by March 2014. In Canada, the song debuted on the Canadian Hot 100 at number nine, becoming the week's "highest debut", it fell down the chart up until its fourth week, when it hit number 35. The song got its "second wind" in its fifth week, rising to number 21, reached the summit of the chart, where it stalled for two weeks."Sexy Bitch" replicated the chart success of the previous single in international territories.
In the Australasian countries
In 1977, the Texas State Bar Association invited country singer Anita Bryant to perform at a meeting in Houston, Texas. In response to Bryant's outspoken anti-gay views and her Save Our Children campaign, thousands of members of the Houston LGBT community and their supporters marched through the city to the venue in protest on June 16, 1977; the protests have been called "Houston's Stonewall" and set into motion the major push for LGBT rights in Houston. Houston's LGBT community has existed since the beginning of the city, but did not take off in full swing until the 1960s. Montrose became the city's gayborhood. By 1968, 26 gay bars were located in Montrose. Like for much of the United States, the 1969 Stonewall riots did not forward LGBT rights in Houston as much as they did in New York City. In 1970, a chapter of the Gay Liberation Front formed at the University of Houston but disbanded in 1973. Political groups were formed; this was followed in 1975 by the Gay Political Caucus. One other event spurred movement within the LGBT Houston community.
Harris County Comptroller of the Treasury Gary van Ooteghem attended a county commissioner's court meeting to support gay and lesbian rights in response to Leonard Matlovich's struggle in the United States Army. In the meeting, van Ooteghem publicly came out as gay, although his employer Harris County Treasurer Harsell Gray told van Ooteghem beforehand that he was not allowed to participate in politics. Van Ooteghem was dismissed from his position, an event, publicized and led to van Ooteghem being elected the GPC's first president. Additionally, police raids on gay bars were common at this time. In 1976, police shot and killed Gary Wayne Stock, a bartender at the gay bar Inside/Outside, stating Stock had run a red light and was shot in self-defense. In the planning for the Anita Bryant demonstration every leader in the community participated. Designers created logos and fliers, Fred Paez and Ray Hill negotiated with the Houston Police Department for a non-confrontational and orderly event. Hill was assigned to co-ordinate the marshals and liaison with the police during the march and demonstration.
The Hyatt Hotel in downtown Houston was chosen for the Texas State Bar Association's meeting on June 16, 1977. The TSBA invited country singer Anita Bryant to speak at the meeting. Bryant was an outspoken opponent of gay rights and had led a campaign called Save Our Children in Dade County, Florida to repeal an anti-discrimination ordinance that protected gay people; the TSBA distributed 28,500 pamphlets advertising Bryant's appearance. Many members of the LGBT community denounced the invitation, it was rescinded. However, shortly after a second invitation was sent to Bryant, inviting her only to sing. With the LGBT community not politically sound enough to prevent her from attending, Bryant was scheduled to appear at the meeting. On the day of the meeting on June 16, 1977, Reverend Joe West held an anti-gay meeting at Houston City Hall. At 8:00 pm, about 3,000 protesters, consisting of members of the LGBT community and their allies, gathered in the Depository Bar parking lot in Montrose at the corners of Bagby and McGowen Streets.
Members of the crowd wore black armbands with pink triangles. They peacefully marched past the Hyatt Hotel to the Houston Public Library. There, then-publisher of The Advocate David B. Goodstein, actress Liz Torres, founder of the Metropolitan Community Church Reverend Troy Perry addressed the crowd. By the time the crowd reached the HPL, numbers had grown to between 10,000 protesters. 10 attorneys in attendance walked out of the TSBA meeting and joined the crowd, themselves wearing armbands. The protest turned into a candlelight vigil. Police in riot gear were stationed at the protest site. Inside the Hyatt Hotel, Bryant's performance received a standing ovation. Former GPC president Larry Bagneris called the demonstration "the first major political act that we, as gay people, took on in Houston." A minister at Houston's Gay Pride Parade in 1978 said, "It took Anita Bryant to bring this many of our brothers and sisters out of their closets." Gay activist Ray Hill stated, "Houston's gay and lesbian community became a community.
Before Anita, gay community meant. In 1978, an event called Town Meeting I was held, during which Houston gays and lesbians met to discuss political and social issues they faced. By 1980, the community had gained an unprecedented amount of recognition, gay ally Kathy Whitmire won the race for City Controller on a GPC endorsement; the march itself became the Houston Gay Pride Parade. It was covered in Bruce Remington's 1983 thesis, "Twelve Fighting Years: Homosexuals in Houston, 1969-1981,", one of the few existing pieces of literature about the early Houston LGBT community. LGBT rights in Texas
Dark of the Moon: Poems of Fantasy and the Macabre is a poetry anthology edited by August Derleth and published in 1947 by Arkham House in an edition of 2,634 copies. It is a pioneering anthology of odd poetry from the Middle Ages to the present, arranged chronologically. A publishing curiosity is that this book had two different dustjackets – the only Arkham House book to have this feature. Both states of the jacket feature a background photograph of a mountain, although on the two jackets the image is reversed as compared with each other; the first-state jacket has lettering in green, whereas the second state jacket is lettered in orange and white. The jacket with the green lettering is the first state of the dustjacket, its lettering was rendered by Wisconsin artist Frank Utpatel. This state is the rarer of the two jackets, since a large number of the Utpatel jackets were destroyed by silverfish during storage; the second state dustjacket was redesigned by Gary Gore, who from 1959 on, became more active in working with August Derleth on Arkham House covers.
William Blake Robert Burns James Hogg Sir Walter Scott Samuel Taylor Coleridge Thomas Moore Richard Harris Barham Johann Wolfgang von Goethe John Keats Thomas Lovell Beddoes Rabbi Ben Levi Henry Wadsworth Longfellow Edgar Allan Poe Alfred, Lord Tennyson William Bell Scott J. Sheridan Le Fanu Charles Kingsley Sidney Thompson Dobell William Allingham Charles Godfrey Leland Fitz-James O'Brien Dante Gabriel Rossetti James Thomson William Morris Richard Garnett Robert Buchanan Christina Rossetti A. P. Graves James Whitcomb Riley Lizette Woodworth Reese A. E. Housman José Asunción Silva Dora Sigerson Shorter Edwin Arlington Robinson Arthur Guiterman Walter de la Mare Amy Lowell Robert Frost Josephine Daskam Bacon Joyce Kilmer William Rose Benet Vincent Starrett Roy Helton H. P. Lovecraft Robert P. Tristam Coffin Clark Ashton Smith Timeus Gaylord Mark Van Doren Arthur Inman Stephen Vincent Benet Frank Belknap Long Yetza Gillespie Francis Flagg Dorothy Quick Robert E. Howard Donald Wandrei August Derleth Anthony Boucher Byron Herbert Reece Duane W. Rimel Mary Elizabeth Counselman Leah Bodine Drake Harvey Wagner Flink Coleman Rosenberger 1947, US, Arkham House OCLC 1298843, Pub date 1947, Hardback 1969, US, Books for Libraries Press ISBN 0-8369-6056-4, Pub date 1969 1976, US, Granger OCLC 2565352, Pub date 1976 Jaffery, Sheldon.
The Arkham House Companion. Mercer Island, Washington: Starmont House, Inc. pp. 24–25. ISBN 1-55742-005-X. Chalker, Jack L.. The Science-Fantasy Publishers: A Bibliographic History, 1923–1998. Westminster and Baltimore: Mirage Press, Ltd. pp. 30–31. Joshi, S. T.. Sixty Years of Arkham House: A History and Bibliography. Sauk City, Wisconsin: Arkham House. Pp. 38–42. ISBN 0-87054-176-5. Nielsen, Leon. Arkham House Books: A Collector's Guide. Jefferson, North Carolina and London: McFarland & Company, Inc. pp. 61–63. ISBN 0-7864-1785-4
Beindersheim is a municipality in the Rhein-Pfalz-Kreis, in Rhineland-Palatinate, Germany. Beindersheim is home to the Wohnplätze Bentriteshof, Lilienhof, Oberfeld-Hof and Sonnenhof; the name "Bentritesheim" was used in the Lorsch Codex in 855. It is composed of the basic word "heim" and the word "Bentrites", derived from the Proto-Germanic name Bandarit, existed in the 6th century, it was spelled as "Bentersheim". A 7300-year-old settlement was detected by aerial photo-evaluations in 2005 of known archaeological sites in the Gemarkung Beindersheim. Beindersheim is located on Speyer on Worms the Roman road from Speyer on the western bank of the Rhine. Foundations of the foundations of two Roman villas in the area of the Jubengewanne and Osterlanggewann are the Roman settlement in Beindersheim. In the changing history of the patrocinium is at the beginning "Holy Cross", gladly given in the Gallo-Roman time. In the pre-Franconian period, the patristic of the church community changes to "Saint Peter" since it is only in the following Franconian-Carolingian period of worshiping Saint Peter together with Saint Paul.
Frankish settlements were frequent in the vicinity of Roman settlements. This is the case in Beindersheim, indicated by the characteristic name "-heim"; the first documentary mention of Beindersheim of April 13, 855 in the Lorscher Codex manifests a property exchange in the district of the village of Bentritesheim in the Wormsgau. From the second documentary mention 874 in the "Mainz Declaration "Shows that between 629 and 656, a Franconian king from Bendirdisheim had surrendered his property to the Cologne Episcopal Church. From this it can be concluded that the village was founded by bandarite shortly after the Franconian occupation in the 6th century. There are no written sources for the next 400 years. Under Konrad II, the Leiningen received the Landgrafschaft as Fief of the bishop of Worms. In 1254, the patronage and decree of the Church to the Holy Cross and to Saint Peter was transferred to the knight Diezo of Enselntheim. Ten years Diezo von Einselthum was able to sell the assurance of the Worm Bishop Eberhard the Tenrecht for 600 pounds of light to the Andreasstift in Worms.
Until the French Revolution, the Andreasstift Worms is patron saint and tenherr of the church at Beindersheim. The third church patron saint is St. Nicholas, whose worship of the Cluny monastery dates from the 12th century. A document from 1307 documents an existing village court together with apprentices in Beindersheim. In 1398, Beindersheim was one of three lemming dishes. In 1438 Count Emich von Leiningen presented the Hans Kranich of Dirmstein, called Bock, with a good of 102 1/2 acres. In 1481, Leiningen retired from the Electoral Palatinate following the death of Count Hesso Beindersheim. In 1562 Arnold Aquila became the first Lutheran pastor in the church, his date of entry coincides with the beginning of the confiscation of the spiritual goods, carried out by the administration of the Kurpfalz. In 1577, the Reformed Faith was introduced in Beindersheim, this group became the largest religious community. Lutherans and Catholics form the minority; the Lutheran priest Hubertus Sturmius had to leave Beindersheim in 1579 and became a professor of theology at the newly founded Leiden University / Netherlands.
In the Thirty Years' War, Beindersheim has a hard time since it is in the immediate vicinity of the fortified town of Frankenthal. In 1621, the Spanish army besieged Spinolas Frankenthal. In Beindersheim the supplies are plundered and buildings are set on fire. In 1632, the Swedes laid the foundations for Frankenthal and in 1635 the Spaniards took over the city. In 1644-1646 the whole of the desolation of Beindersheim by the French, which laid siege on the Frankenthal occupied by the Spaniards. In 1654 40 Walloon faith refugees were taken in Beindersheim. In the coming years this group will grow to 200 persons, they build a school in French. The large number of foreign residents must have led to a serious change in the cohabitation, since at the beginning difficulties of understanding existed. In addition, the people, taken over had little real estate and had to make a living as day laborer and craftsman. When, on the 2nd Advent of 1688, French troops massacred Beindersheimer in the course of the Palatinate succession war, the majority of the Walloons left the village in order to secure themselves on the right side of the Rhine in the area of Hanau and Frankfurt.
In October 1689 the village has only 111 inhabitants. On 26 August 1705, the elector of the Palatinate of Beindersheim came to the bishopric of Worms. With the new rule the remaining Catholics are in a more favorable position; the population is growing but the suffers of the years 1784 and 1785 lead to catastrophic plight for poorer population groups, as documented by the disturbing liquidation protocols. There are departures to the surrounding area and West Galicia. In the course of the coalition war French troops came to Beindersheim in 1792. On February 2, 1794, the French requisitioned 47 pieces of cattle in the parish; the detach the French. On May 1, 1794, there were fights about Frankenthal, the Prussians must retreat. Several civilians flee to the right side of the Rhine. On 17 October 1797 Austria left the left bank of the Rhine to France. Beindersheim is part of the department of the Mont-Tonnerre. 1808 condemned a special chamber of the jury court Mainz 18 Beindersheimer citizens to six years of imprisonment.
They had refused to pay the high French property tax and snatched the camp-book from the taxpayer and des
George S. Wunder was a cartoonist best known for his 26 years illustrating the Terry and the Pirates comic strip. Born in Manhattan, Wunder grew up in New York; as a youth, he planned a career as a professional comics artist. Other than correspondence courses, including the International Correspondence School art course, he was a self-taught artist. At the age of 24, he began as a staff artist at the Associated Press, where he worked alongside illustrator Noel Sickles and sports cartoonist Tom Paprocki. At AP, Wunder illustrated fiction and various editorial cartoon features, such as "Can Hitler Beat the Russian Jinx?"During World War II, he served in the Army from 1942 to 1946. Returning to the Associated Press after World War II, he drew the strip See for Yourself in 1946 for AP Newsfeatures. In 1946, when Milton Caniff left Terry and the Pirates, there were about 100 artists who applied for the job, according to Caniff. Wunder submitted samples, the Tribune-News Syndicate chose Wunder as Caniff's replacement.
Wunder's first Terry and the Pirates appeared in newspapers on December 30, 1946, launching the story "Trouble in Tibet". Comics historian Don Markstein noted the transition: Terry was left in the hands of George Wunder, a skilled cartoonist who maintained a high level of quality, but Caniff was a unique talent, nobody could truly replace him. Terry Lee had joined the U. S. Air Force during World War II. Wunder left him there, let him mature as an Air Force officer. During the Vietnam Era, military-oriented entertainment declined in popularity; the strip was discontinued in 1973. By that time, too, had stopped doing it — although it still bore his byline, it was ghosted by Al Plastino, better known for his work on Superman. Wunder drew the strip so it was similar to that of Caniff and Sickles, but he soon developed his own distinctive style. Hotshot Charlie, for example, was drawn in a more humorous manner than before. In 1953, Canada Dry offered a "premium giveaway" with a case of its ginger ale — one minibook in a trilogy series of Terry and the Pirates strips by Wunder, printed by Harvey Comics.
Throughout the 1950s, the Sunday pages used color for psychological effect. One Wunder panel from that period has no green shadows as one might expect. In another, Terry is colored green in front, his back is a yellow-orange. Wunder drew dramatic and detailed pictures, but comics historian Maurice Horn claimed it was difficult to tell one character from another and wrote that Wunder's stories lacked Caniff's essential humor. At the end of the 1950s, Hotshot Charlie was dropped from the strip, drawn and colored in a more sedate manner with careful attention to the airplanes flown by Terry Lee and his friends. Writer-artist Bill Pearson noted that Wunder spent "decades producing a solid adventure strip, he drew ugly people young women, a curious trait, but he was one of the best inkers in the business. His technique was flawless." With his clean and precise inking style, Wunder filled his panels with numerous foreground and background details, as landscape painter Bob Foster observed: I read Wunder's Terry when I was a kid and then was impressed by all the work he put into it.
Every single panel was loaded with detailed backgrounds and detailed wrinkles and hairs on all the characters in the background, all the woodgrain in all the wood, all those black shadows that lent an air of foreboding to each panel. I could never get over his 3/4 rear view of a character's eyeball straining to see something behind him, and all those overly bridged noses on both gals all crying out for rhinoplasty. For many years I resented the overloaded panels and decided I didn't like Wunder's rendering of Terry and the Pirates, it was only in the last few years. One day I realized, he gave us everything in infinite detail in every panel and never deprived us of any wrinkles, tiles, woodgrain, hairs, cloth patterns or buttons. Yeah, the look-alike facial features of all his characters in the years of Terry was stylistic and bothersome, but he never cheated. In mid 1962 former EC Comics and Classics Illustrated artist George Evans came on board as Wunder's assistant on the daily strip; as Evans related in an interview in The Comics Journal #177, "George would lay out the strip and ink the characters's heads, I would finish the strip."
Evans said. In the same interview he told how he had drawn a daily strip where a general's uniform varied from the way Wunder drew the character in the Sunday for that week, necessitating re-drawing parts of the Sunday. Evans offered to help, but Wunder wouldn't let him saying, "It wasn't your mistake." He dug out his electric eraser and went to work on the Sunday. Evans worked on the strip until it was cancelled in 1973. Other artists who stepped in to assist Wunder included Lee Elias, Russ Heath, Fred Kida, Don Sherwood, Frank Springer and Wally Wood; the strip was being carried in 100 newspapers when Wunder retired in 1973. The New York Daily News ran every Terry and the Pirates daily and Sunday except for the final three weeks by Wunder in 1973. At the time of his retirement, Wunder commented: It's a strip I've enjoyed doing, but on the other hand, it has been, oh, a chore; the sheer mechanics of producing that much work week in and week out ties you down