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Wallpaper Cell Phone Biography

Source:- Google.com.pk

A mobile wallpaper is a computer wallpaper sized to fit a mobile device such as a mobile phone, personal digital assistant or digital audio player. Screens range in size from 128x128 to 640x360 (for the Nokia 5800 XpressMusic) and the height is often greater than or equal to the width. Wallpapers can be expensive if purchased from the phone service provider, with Virgin Mobile Canada charging per wallpaper, but wallpapers can be downloaded from a computer through a data cable (using software such as BitPim if necessary) at no cost.

Modern smartphone typically allow users to save images from the web browser to be used as wallpaper. Photographs captured with a phone's camera can also typically be set as a mobile wallpaper.

The use of the terms uploading and downloading often imply that the data sent or received is to be stored permanently, or at least stored more than temporarily. In contrast, the term downloading is distinguished from the related concept of streaming, which indicates the receiving of data that is used near immediately as it is received, while the transmission is still in progress and which may not be stored long-term, whereas in a process described using the term downloading, this would imply that the data is only usable when it has been received in its entirety. Increasingly, websites that offer streaming media or media displayed in-browser, such as YouTube, and which place restrictions on the ability of users to save these materials to their computers after they have been received, say that downloading is not permitted.[2] In this context, download implies specifically "receive and save" instead of simply "receive". However, it is also important to note that downloading is not the same as "transferring" (i.e., sending/receiving data between two storage devices would be a transferal of data, but receiving data from the Internet would be considered a download of data.

Free Phone Wallpaper Downloads

Animation should be an art....what you fellows have done with it is making it into a trade....not an art, but a trade....bad luck ." Thus Winsor McCay, father of the animated cartoon, pronounced the doom of the very industry he had inadvertently helped create.From 1911-21 McCay nursed animation from a simple camera trick to full blown character animation that would take 20 years to be surpassed. McCay animated his films almost single-handed; from inception to execution each cartoon was his and his alone. He took the time to make his films unique artistic visions, sometimes spending more than a year to make a single five-minute cartoon. But the burgeoning world of cinema could not wait so long for so little, and so the modern animation studio came into being. The art of animation was no longer the work of one man, it was a streamlined, assembly-line process in the best Henry Ford tradition. But was the art of the animated cartoon sacrificed for the trade's sake? That, of course, depends on the studios themselves.Through the years several institutions have proven McCay's prophecy at least partly false; indeed, without such positive collaborations of talent the art of animation would not have advanced to the level of sophistication it enjoys today. But who exactly was it "bad luck" for: the art, or the artists themselves?Even before McCay had shown the world the true potential of the animated cartoon in his landmark film "Gertie the Dinosaur" (1914), the first animation studios were already around, trying to exploit the medium for what they could. Raoul Barre' opened the first animation house in 1913, and within five years a new industry was born as more and more studios began to pop up around the New York metropolitan area.Arguably the most successful and certainly the most influential of these early studios was the the John Bray Studio. Bray created the first successful cartoon series, Col. Heeza Liar, in 1914. Future studio heads Max Fleischer and Walter Lantz honed their skills here. But the studio's most important contribution to the medium was the introduction of cels. The process of inking the animator's drawings onto clear pieces of celluloid and then photographing them in succession on a single painted background was invented by Bray employee Earl Hurd in late 1914. In the first of what was to be many such incidents, the studio swallowed all the credit and most of the revenue for it's underling's contribution to the art form. Hurd lent his patent to boss John Bray, who charged royalties for other studios to use the process....an understandable business practice. Yet from an artistic standpoint this was as if Picasso had demanded exclusive rights to Cubism. It was a relatively moot point, however; the patent expired in 1932 and was not renewed. The only real loser, it seems, was Earl Hurd.

They referred to the child as "Le Diable Blanc" ("the White Devil") and believed he was prophesied to unite the warring Thieves' and Assassins' Guilds. Soon after, Rémy was placed in the care of Fagan's Mob, a gang of street thieves who raised the child and taught him the ways of thievery. After living as an orphan on the streets, a 10-year-old Rémy attempted to pick the pocket of Jean-Luc LeBeau, then patriarch of the Thieves' Guild. Jean-Luc took the boy off the streets and adopted him into his own family.

Rémy's bio-kinetic charging abilities manifested early in his teens, although he kept his powers secret from his family and friends, practicing his powers away from prying eyes. When he was 15, he accompanied his cousin Etienne Marceaux on his "Tithing", the ritual initiation test of the Thieves' Guild. However, it went awry as they were assigned to steal from the powerful immortal mutant Candra, who quickly captured them. Candra recognized Rémy from an encounter that had taken place in her past but in his future (due to a time travel mission to the 19th Century Rémy would take as an adult) and sold them to the deformed mutant gangster and child slave trader known as the Pig, who planned to sell them and others their age to HYDRA as boy soldiers. Rémy used his powers to escape their holding pen, but the physically enhanced Pig quickly caught up to them. Rémy discovered his signature attack when he picked up a playing card that Etienne had dropped, charged it, and threw it in the Pig's face, taking out his eye. Finally escaping his cliff top headquarters by diving into the sea, Rémy was ultimately rescued by the Guild; Etienne drowned. Later during his teen years, Rémy was first hired by Mr. Sinister, then in disguise of Dr. Nathaniel Essex. Essex wanted his stolen diaries back from the Weapon X program. Rémy and the Thieves' Guild accepted the mission and sent out Rémy to retrieve said diaries. Standing in the cold, scouting the Weapon X facility, Rémy couldn't bear the cold and swore he would steal a long, stylish jacket in New Orleans after the mission, which he did. Upon entering the facility, Rémy witnessed Wolverine escaping from his adamantium procedure and found the diaries. However, deeming them to be too dangerous for Essex to have them, as Rémy didn't fully trust him, Rémy burned the diaries. He headed back home, only to find a disappointed Thieves' Guild and Essex.[5]

In an attempt to reconcile the Thieves' and Assassins' Guilds, Rémy married Bella Donna Boudreaux, granddaughter of the head Assassin, whom he met at age 8. Unfortunately, he was challenged by her brother Julien to a duel after the wedding. In the duel, Gambit killed Julien, and he was exiled from the city, ending his relationship with Bella Donna.

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