Central Intelligence Agency
The Central Intelligence Agency is a civilian foreign intelligence service of the federal government of the United States, tasked with gathering and analyzing national security information from around the world through the use of human intelligence. As one of the principal members of the United States Intelligence Community, the CIA reports to the Director of National Intelligence and is focused on providing intelligence for the President and Cabinet of the United States. Unlike the Federal Bureau of Investigation, a domestic security service, the CIA has no law enforcement function and is focused on overseas intelligence gathering, with only limited domestic intelligence collection. Though it is not the only agency of the Federal government of the United States specializing in HUMINT, the CIA serves as the national manager for coordination of HUMINT activities across the U. S. intelligence community. Moreover, the CIA is the only agency authorized by law to carry out and oversee covert action at the behest of the President.
It exerts foreign political influence through its tactical divisions, such as the Special Activities Division. Before the Intelligence Reform and Terrorism Prevention Act of 2004, the CIA Director concurrently served as the head of the Intelligence Community. Despite transferring some of its powers to the DNI, the CIA has grown in size as a result of the September 11 attacks. In 2013, The Washington Post reported that in fiscal year 2010, the CIA had the largest budget of all IC agencies, exceeding previous estimates; the CIA has expanded its role, including covert paramilitary operations. One of its largest divisions, the Information Operations Center, has shifted focus from counter-terrorism to offensive cyber-operations; when the CIA was created, its purpose was to create a clearinghouse for foreign policy intelligence and analysis. Today its primary purpose is to collect, analyze and disseminate foreign intelligence, to perform covert actions. According to its fiscal 2013 budget, the CIA has five priorities: Counterterrorism, the top priority Nonproliferation of nuclear and other weapons of mass destruction.
Warning/informing American leaders of important overseas events. Counterintelligence Cyber intelligence; the CIA has an executive office and five major directorates: The Directorate of Digital Innovation The Directorate of Analysis The Directorate of Operations The Directorate of Support The Directorate of Science and Technology The Director of the Central Intelligence Agency is appointed by the President with Senate confirmation and reports directly to the Director of National Intelligence. The Deputy Director is formally appointed by the Director without Senate confirmation, but as the President's opinion plays a great role in the decision, the Deputy Director is considered a political position, making the Chief Operating Officer the most senior non-political position for CIA career officers; the Executive Office supports the U. S. military by providing it with information it gathers, receiving information from military intelligence organizations, cooperates on field activities. The Executive Director is in charge of the day-to-day operation of the CIA.
Each branch of the military service has its own Director. The Associate Director of military affairs, a senior military officer, manages the relationship between the CIA and the Unified Combatant Commands, who produce and deliver to the CIA regional/operational intelligence and consume national intelligence produced by the CIA; the Directorate of Analysis, through much of its history known as the Directorate of Intelligence, is tasked with helping "the President and other policymakers make informed decisions about our country's national security" by looking "at all the available information on an issue and organiz it for policymakers". The Directorate has four regional analytic groups, six groups for transnational issues, three that focus on policy and staff support. There is an office dedicated to Iraq; the Directorate of Operations is responsible for collecting foreign intelligence, for covert action. The name reflects its role as the coordinator of human intelligence activities between other elements of the wider U.
S. intelligence community with their own HUMINT operations. This Directorate was created in an attempt to end years of rivalry over influence and budget between the United States Department of Defense and the CIA. In spite of this, the Department of Defense organized its own global clandestine intelligence service, the Defense Clandestine Service, under the Defense Intelligence Agency; this Directorate is known to be organized by geographic regions and issues, but its precise organization is classified. The Directorate of Science & Technology was established to research and manage technical collection disciplines and equipment. Many of its innovations were transferred to other intelligence organizations, or, as they became more overt, to the military services. For example, the development of the U-2 high-altitude reconnaissance aircraft was done in cooperation with the United States Air
Demi the Demoness
Demi the Demoness is a fictional, erotic comics character whose fantasy adventures have been published since 1992. Demi was created by SS Crompton. Demi has appeared in numerous comics crossovers with other characters, including Shaundra, Captain Fortune, Vampirooni, Cassiopeia the Witch, Crimson Gash, adult film stars Tracey Adams, Tabitha Stevens, Deja Sin, Bonnie Michaels. Over 35 different Demi the Demoness comics have been published. Numerous artists and authors have worked on Demi comics over the years, including Frank Brunner, Tim Vigil, Seppo Makinen, Ryan Vella, Gus Norman, Enrico Teodorani, Diego Simone, Jay Allen Sanford, many others. Demi has been the subject of T-shirts, dice, a trading card set, a resin model kit, a movie. Demi the Demoness first appeared in Demi the Demoness #1 by Revolutionary Comics' Carnal Comics imprint in 1992. After the publisher, Todd Loren was murdered, the series moved to underground comic publisher Rip Off Press from 1993 to 1997, where eight more Demi comics were published, including a trade paperback collection and a choose-your-own-adventure book.
Demi was published by Revisionary Press, the company that took over the Carnal Comics imprint. Revisionary published six more Demi titles from 1997 to 2000. Demi's ribald adventures were published in full-color in Oui magazine from 1996-1998. Carnal spun off from Revisionary in 2000 and Demi has been published in more than a dozen more comics by Carnal since then. Demi has appeared in comics published by Eros Comix, MU Press, Hippy Comix, several smaller publishing ventures. Demi stories have been translated into Italian. Raised in one of the few "sanctuaries" in Hell, the Rookery was a hidden, safe place to be compared to the more gruesome inner areas of Hell. Demi was raised there, so she never experienced the cruelty that all demons possess, thus her personality is naïve. After a Demon army attacked the Rookery, Demi escaped and found the pyramid of Kit-Ra, a banished cat goddess. Kit-Ra took Demi in and she has lived there since, she uses Kit-Ra’s mystical transport mirrors to visit other worlds and times outside of Hell.
A Demi the Demoness movie was released on DVD in May 2008. The film was co-written by SS Crompton and Steve Steele, directed by Steele; the film stars Ellie Idol as Demi, Sinn Sage as Vampirooni, Audrey Elson as Lyssa the Witch. Demi the Demoness #1 Demi the Demoness #2–4 Demi the Demoness #5 Demi the Demoness #6–7 Demi Adventure Special Demi: Erotic Saga Graphic Novel Demi Saga of a Demoness Pantheon #1–3 Demi Meets Cassiopeia #1 Demi & Capt. Fortune #1 Demi & Shaundra #1 Demi's Wild Kingdom Adventure Sex Squad #1–2 Demi & Vampirooni #1 Demi Hardcore #1–3 Demi’s Strange Bedfellows #1–5 Carnal Comics: The Inside Story Demi’s Rear Entry #11 Demi’s Pin-Up Diary Demi the Demoness Movie Demi meets the Crimson Gash Girl meets Tentacle #1 Demi & the Sex Squad Giant Size #1 Roxy Ramjet One Day in Hell #1 SS Crompton's Lost Comics #1 Demi vs the Monsters of the 3rd Reich #1 Demi's Rarities #1 Don & Maggie Thompson, Comic Book Superstars, 1993, pg. 47 Loren, Crompton, Carnal Comics: The Inside Story of Art Sex & Porn Stars, 2004 Brent Frankenhoff, The Standard Catalog of Comic Books, 2002, pg. 333 Fogel's Underground Comix Price Guide, 2006 Comic Buyers Guide #1621, pg.
87, 2006 Demi: Saga of a Demoness, Vol. 1, 2006 Carnal Comics & Demi official website Demi the Demoness movie site Interview with SS Crompton, Search my Trash, 2008
San Francisco Chronicle
The San Francisco Chronicle is a newspaper serving the San Francisco Bay Area of the U. S. state of California. It was founded in 1865 as The Daily Dramatic Chronicle by teenage brothers Charles de Young and Michael H. de Young. The paper is owned by the Hearst Corporation, which bought it from the de Young family in 2000, it is the only major daily paper covering the county of San Francisco. The paper benefited from the growth of San Francisco and was the largest circulation newspaper on the West Coast of the United States by 1880. Like many other newspapers, it has experienced a rapid fall in circulation in the early 21st century, was ranked 24th by circulation nationally for the six months to March 2010; the newspaper publishes two web sites: and sfchronicle.com, which reflects the articles that appear in the print paper, SFGate, which has a mixture of online news and web features. The Chronicle was founded by brothers Charles and M. H. de Young in 1865 as The Daily Dramatic Chronicle, inside of 10 years, it had the largest circulation of any newspaper west of the Mississippi River.
The paper's first office was in a building at the corner of Kearney Streets. The brothers commissioned a building from Burnham and Root at 690 Market Street at the corner of Third and Kearney Streets to be their new headquarters, in what became known as Newspaper Row; the new building, San Francisco's first skyscraper, was completed in 1889. It was damaged in the 1906 earthquake, but it was rebuilt under the direction of William Polk, Burnham's associate in San Francisco; that building, known as the "Old Chronicle Building" or the "DeYoung Building", still stands and was restored in 2007. It is the location of the Ritz-Carlton Club and Residences. In 1924, the Chronicle commissioned a new headquarters at 901 Mission Street on the corner of 5th Street in what is now the South of Market neighborhood of San Francisco, it was designed by Charles Peter Weeks and William Peyton Day in the Gothic Revival architecture style, but most of the Gothic Revival detailing was removed in 1968 when the building was re-clad with stucco.
This building remains the Chronicle's headquarters in 2017, although other concerns are located there as well. Between World War II and 1971, new editor Scott Newhall took a bold and somewhat provocative approach to news presentation. Newhall's Chronicle included investigative reporting by such journalists as Pierre Salinger, who played a prominent role in national politics, Paul Avery, the staffer who pursued the trail of the self-named "Zodiac Killer", who sent a cryptogram in three sections in letters to the Chronicle and two other papers during his murder spree in the late 1960s, it featured such colorful columnists as Pauline Phillips, who wrote under the name "Dear Abby," "Count Marco", Stanton Delaplane, Terence O'Flaherty, Lucius Beebe, Art Hoppe, Charles McCabe, Herb Caen. The newspaper grew in circulation to become the city's largest, overtaking the rival San Francisco Examiner; the demise of other San Francisco dailies through the late 1950s and early 1960s left the Examiner and the Chronicle to battle for circulation and readership superiority.
The competition between the Chronicle and Examiner took a financial toll on both papers until the summer of 1965, when a merger of sorts created a Joint Operating Agreement under which the Chronicle became the city's sole morning daily while the Examiner changed to afternoon publication. The newspapers were owned by the San Francisco Newspaper Agency, which managed sales and distribution for both newspapers and was charged with ensuring that one newspaper's circulation did not grow at the expense of the other. Revenue was split which led to a situation understood to benefit the Examiner, since the Chronicle, which had a circulation four times larger than its rival, subsidized the afternoon newspaper; the two newspapers produced a joint Sunday edition, with the Examiner publishing the news sections and the Sunday magazine and the Chronicle responsible for the tabloid entertainment section and the book review. From 1965 on the two papers shared a single classified-advertising operation; this arrangement stayed in place until the Hearst Corporation took full control of the Chronicle in 2000.
Beginning in the early 1990s, the Chronicle started to face competition beyond the borders of San Francisco. The newspaper had long enjoyed a wide reach as the de facto "newspaper of record" in Northern California, with distribution along the Central Coast, the Inland Empire and as far as Honolulu, Hawaii. There was little competition in the Bay Area suburbs and other areas that the newspaper served, but as Knight Ridder consolidated the San Jose Mercury News in 1975; the Chronicle launched five zoned sections to appear in the Friday edition of the paper. The sections covered San Francisco, four different suburban areas, they each featured enterprise pieces and local news specific to the community. The newspaper added 40 full-time staff positions to work in the suburban bureaus. Despite the push to focus on suburban coverage, the Chronicle was hamstrung by the Sunday edition, being produced by the San Francisco-centric "un-Chronicle" Examiner, had none of the focus on the suburban communities that the Chronicle was striving to cultivate.
The de Young family controlled the paper, via the Chronicle Publishing Company, until July 27, 2000, when it was sold to Hearst Communications, Inc. which owned the Examiner. Following the sale, the
Rolling Stone is an American monthly magazine that focuses on popular culture. It was founded in San Francisco, California in 1967 by Jann Wenner, still the magazine's publisher, the music critic Ralph J. Gleason, it was first known for political reporting by Hunter S. Thompson. In the 1990s, the magazine shifted focus to a younger readership interested in youth-oriented television shows, film actors, popular music. In recent years, it has resumed its traditional mix of content. Rolling Stone Press is the magazine's associated book publishing imprint. Straight Arrow Press was the magazine's associated book publishing imprint, Straight Arrow Publishing Co. Inc. was the publishing company that published Rolling Stone. Rolling Stone magazine was founded in San Francisco in 1967 by Ralph Gleason. To get it off the ground, Wenner borrowed $7,500 from his own family and from the parents of his soon-to-be wife, Jane Schindelheim; the first issue carried a cover date of November 9, 1967, was in newspaper format with a lead article on the Monterey Pop Festival.
The cover price was 25¢. In the first issue, Wenner explained that the title of the magazine referred to the 1950 blues song "Rollin' Stone", recorded by Muddy Waters, Bob Dylan's hit single "Like a Rolling Stone": You're wondering what we're trying to do. It's hard to say: sort of a sort of a newspaper; the name of it is Rolling Stone which comes from an old saying, "A rolling stone gathers no moss." Muddy Waters used the name for a song. The Rolling Stones took their name from Muddy's song. "Like a Rolling Stone" was the title of Bob Dylan's first rock and roll record. We have begun a new publication reflecting what we see are the changes in rock and roll and the changes related to rock and roll."—Jann Wenner, Rolling Stone, November 9, 1967, p. 2 Some authors have attributed the name to Dylan's hit single: "At Gleason's suggestion, Wenner named his magazine after a Bob Dylan song." Rolling Stone identified with and reported the hippie counterculture of the era. However, it distanced itself from the underground newspapers of the time, such as Berkeley Barb, embracing more traditional journalistic standards and avoiding the radical politics of the underground press.
In the first edition, Wenner wrote that Rolling Stone "is not just about the music, but about the things and attitudes that music embraces". In the 1970s, Rolling Stone began to make a mark with its political coverage, with the likes of gonzo journalist Hunter S. Thompson writing for the magazine's political section. Thompson first published his most famous work Fear and Loathing in Las Vegas within the pages of Rolling Stone, where he remained a contributing editor until his death in 2005. In the 1970s, the magazine helped launch the careers of many prominent authors, including Cameron Crowe, Lester Bangs, Joe Klein, Joe Eszterhas, Ben Fong-Torres, Patti Smith and P. J. O'Rourke, it was at this point that the magazine ran some of its most famous stories, including that of the Patty Hearst abduction odyssey. One interviewer, speaking for a large number of his peers, said that he bought his first copy of the magazine upon initial arrival on his college campus, describing it as a "rite of passage".
In 1977, the magazine moved its headquarters from San Francisco to New York City. Editor Jann Wenner said San Francisco had become "a cultural backwater". During the 1980s, the magazine began to shift towards being a general "entertainment" magazine. Music was still a dominant topic, but there was increasing coverage of celebrities in television and the pop culture of the day; the magazine initiated its annual "Hot Issue" during this time. Rolling Stone was known for its musical coverage and for Thompson's political reporting. In the 1990s, the magazine changed its format to appeal to a younger readership interested in youth-oriented television shows, film actors and popular music; this led to criticism. In recent years, the magazine has resumed its traditional mix of content, including in-depth political stories, it has expanded content to include coverage of financial and banking issues. As a result, the magazine has seen its circulation increase and its reporters invited as experts to network television programs of note.
The printed format has gone through several changes. The first publications, in 1967–72, were in folded tabloid newspaper format, with no staples, black ink text, a single color highlight that changed each edition. From 1973 onwards, editions were produced on a four-color press with a different newsprint paper size. In 1979, the bar code appeared. In 1980, it became a large format magazine; as of edition of October 30, 2008, Rolling Stone has had a smaller, standard-format magazine size. After years of declining readership, the magazine experienced a major resurgence of interest and relevance with the work of two young journalists in the late 2000s, Michael Hastings and Matt Taibbi. In 2005, Dana Leslie Fields, former publisher of Rolling Stone, who had worked at the magazine for 17 years, was an inaugural inductee into the Magazine Hall of Fame. In 2009, Taibbi unleashed an acclaimed series of scathing reports on the financial meltdown of the time, he famously described Goldman Sachs as "a great vampire squid".
Bigger headlines came at the end of June 2010. Rolling Stone caused a controversy in the White House by publishing in the July issue an article by journalist Michael Hastings entitled, "The Runaway General", quoting criticism by General Stanley A. McChrystal, commander of the International Security Assistance Force and U. S. Forces-Afghanistan commander, about Vice President Joe Biden and oth
Totem poles are monumental carvings, a type of Northwest Coast art, consisting of poles, posts or pillars, carved with symbols or figures. They are made from large trees western red cedar, by First Nations and indigenous peoples of the Pacific Northwest coast including northern Northwest Coast Haida and Tsimshian communities in Southeast Alaska and British Columbia, Kwakwaka'wakw and Nuu-chah-nulth communities in southern British Columbia, the Coast Salish communities in Washington and British Columbia; the word totem derives from the Algonquian word odoodem meaning " kinship group". The carvings may symbolize or commemorate ancestors, cultural beliefs that recount familiar legends, clan lineages, or notable events; the poles may serve as functional architectural features, welcome signs for village visitors, mortuary vessels for the remains of deceased ancestors, or as a means to publicly ridicule someone. They may embody a historical narrative of significance to the people carving and installing the pole.
Given the complexity and symbolic meanings of totem pole carvings, their placement and importance lies in the observer's knowledge and connection to the meanings of the figures and the culture in which they are embedded. Totem poles serve as important illustrations of family lineage and the cultural heritage of the Native peoples in the islands and coastal areas of North America's Pacific Northwest British Columbia and coastal areas of Washington and southeastern Alaska in the United States. Families of traditional carvers come from the Haida, Tsimshian, Kwakwaka’wakw and Nuu-chah-nulth, among others; the poles are carved from the rot-resistant trunks of Thuja plicata trees, which decay in the moist, rainy climate of the coastal Pacific Northwest. Because of the region's climate and the nature of the materials used to make the poles, few examples carved before 1900 remain. Noteworthy examples, some dating as far back as 1880, include those at the Royal British Columbia Museum in Victoria, the Museum of Anthropology at UBC in Vancouver and the Canadian Museum of History in Ottawa.
Totem poles are the largest, but not the only, objects that coastal Pacific Northwest natives use to depict spiritual reverence, family legends, sacred beings and culturally important animals, people, or historical events. The freestanding poles seen by the region's first European explorers were preceded by a long history of decorative carving. Stylistic features of these poles were borrowed from earlier, smaller prototypes, or from the interior support posts of house beams. Although 18th-century accounts of European explorers traveling along the coast indicate that decorated interior and exterior house posts existed prior to 1800, the posts were smaller and fewer in number than in subsequent decades. Prior to the 19th century, the lack of efficient carving tools, along with sufficient wealth and leisure time to devote to the craft, delayed the development of elaborately carved, freestanding poles. Before iron and steel arrived in the area, Natives used tools made of stone, shells, or beaver teeth for carving.
The process was laborious. By the late eighteenth century, the use of metal cutting tools enabled more complex carvings and increased production of totem poles; the tall monumental poles appearing in front of native homes in coastal villages did not appear until after the beginning of the nineteenth century. Eddie Malin has proposed that totem poles progressed from house posts, funerary containers, memorial markers into symbols of clan and family wealth and prestige, he argues that the Haida people of the islands of Haida Gwaii originated carving of the poles, that the practice spread outward to the Tsimshian and Tlingit, down the coast to the indigenous people of British Columbia and northern Washington. Malin's theory is supported by the photographic documentation of the Pacific Northwest coast's cultural history and the more sophisticated designs of the Haida poles. Accounts from the 1700s describe and illustrate carved poles and timber homes along the coast of the Pacific Northwest. By the early nineteenth century, widespread importation of iron and steel tools from Great Britain, the United States, elsewhere led to easier and more rapid production of carved wooden goods, including poles.
In the 19th century and European trade and settlement led to the growth of totem pole carving, but United States and Canadian policies and practices of acculturation and assimilation caused a decline in the development of Alaska Native and First Nations cultures and their crafts, reduced totem pole production by the end of the century. Between 1830 and 1880, the maritime fur trade and fisheries gave rise to an accumulation of wealth among the coastal peoples. Much of it was spent and distributed in lavish potlatch celebrations associated with the construction and erection of totem poles; the monumental poles commissioned by wealthy family leaders to represent their social status and the importance of their families and clans. In the 1880s and 1890s, collectors and naturalist interested in native culture collected and photographed totem poles and other artifacts, many of which were put on display at expositions such as the 1876 Centennial Exposition in Philadelphia and the 1893 World's Columbia Exposition in Chicago, Illinois.
In the 19th and early 20th centuries, before the passage of the American Indian Religious Freedom Act in 1978, the practice of Native religion was outlawed, traditional indigenous cultural practices we
Linda Denise Blair is an American actress. Blair played the possessed child, Regan, in the film The Exorcist, for which she was nominated for an Academy Award and won a Golden Globe, she reprised her role in Exorcist II: The Heretic. Blair would go on to star in numerous controversial dramatic television films, such as Born Innocent and Sarah T. – Portrait of a Teenage Alcoholic before establishing herself as a sex symbol in the musical Roller Boogie in 1979. The 1980s saw Blair starring in numerous exploitation and horror films, such as the slasher film Hell Night, the prison drama Chained Heat, the Grindhouse cult thriller Savage Streets. Throughout the 1990s, Blair appeared in various independent films and B movies, as well as several television credits: From 2001 to 2003, she was the host of the Fox Family reality series Scariest Places on Earth, in 2006 had a guest role on the series Supernatural, she appeared as herself on the Animal Planet series Pit Boss from 2010 to 2012. In addition to her acting credits, Blair has publicly supported various charitable causes animal rights.
In 2004, she founded the Linda Blair WorldHeart Foundation, which serves to rehabilitate and adopt rescue animals. The youngest of three children, Blair was born January 22, 1959 in St. Louis, Missouri, to James Frederick and Elinore Blair, she has an older sister, an older brother, Jim. When Blair was two years old, her father, a Navy test pilot-turned-executive recruiter, took a job in New York City, the family relocated to Westport, Connecticut, her mother worked as a real estate agent in Westport. She formally began her career as a child model at age five, appearing in Sears, J. C. Penney, Macy's catalogues, in over 70 commercials for Welch's grape jams and various other companies. Blair secured a contract at age six for a series of print ads in The New York Times. From the age of six onward, Blair began becoming a trained equestrian. Blair started acting with a regular role on the short-lived Hidden Faces daytime soap opera, her first theatrical film appearance was in The Way We Live Now, followed by a bit part in the comedy The Sporting Club.
In 1972, Blair was selected from a field of 600 applicants for her most notable role as Regan, the possessed daughter of a famous actress, in William Friedkin's The Exorcist. The role earned her a Golden Globe and People's Choice Award for Best Supporting Actress as well as an Academy Award nomination for Best Supporting Actress. Film critic and historian Mark Clark notes that in her performance, "Blair matches Ellen Burstyn note-for-note." Despite the film's critical successes, Blair received media scrutiny for her role in the film, deemed by some as "blasphemous," and Blair has said the film had significant impact on her life and career. After the film's premiere in December 1973, some reporters speculated about Blair's mental state, suggesting the filming process had resulted in her having a mental breakdown, which Blair denied, she would receive anonymous death threats. To combat the rumors and media speculation surrounding her, Warner Bros. sent the then-14-year-old Blair on an international press tour in hopes of demonstrating that she was "just a normal teenager."After the Exorcist press tour concluded, Blair starred opposite Kim Hunter in the wildly controversial television film Born Innocent, in which she plays a runaway teenager, sexually abused.
The film was criticized by the National Organization for Women, the New York Rape Coalition, numerous gay and lesbian rights organizations for its depiction of female-on-female sexual abuse. After filming Born Innocent, Blair had a supporting part as a teenaged kidney transplant patient in the disaster film Airport 1975, critically panned, but a success at the box office. A steady series of job offers led Blair to relocate to Los Angeles in 1975, where she lived with her older sister, Debbie. Between 1975 and 1978, she would have lead roles in numerous television films: Sarah T. – Portrait of a Teenage Alcoholic, as a teenager who becomes addicted to alcohol. In 1977, Blair reprised her role as Regan in the Exorcist sequel, Exorcist II: The Heretic, garnering a Saturn Award nomination for Best Actress of 1978; the film was a critical and commercial failure, at the time was the most expensive film made by Warner Bros. studios. After filming Exorcist II: The Heretic, Blair took a year off from acting and competed in national equestrian circuits under the pseudonym Martha McDonald.
In 1978, she made a return to acting in the Wes Craven-directed television horror film Stranger in Our House, based on the novel by Lois Duncan. and with the lead role in the Canadian production Wild Horse Hank, in which she utilized her equestrian skills to play a college student saving wild horses from ranchers. Blair's career took a new turn in 1979 with her starring role in the musical drama Roller Boogie, which established her as a sex symbol; the following year, she co-starred with Dirk Benedict in Ruckus, playing a young woman who helps a maligned Vietnam veteran evade antagonistic locals in a small town. She starred in a number of successful low-budget horror and exploitation films throughout much of the 1980s: She starred opposite Peter Barton in the slas