Pulsar is a French progressive rock band whose influences include Pink Floyd and King Crimson, plus classical musicians and composers such as Gustav Mahler.

During the early 1980s, the group performed and composed the music for a Franco‑Austrian musical theatre production. Their most recent album is Memory Ashes (2007).

History

Pulsar is the first French band to have signed with an English label, which was called "Kingdom Records".

The band recorded and published its first album, Pollen, in 1975. Philipe Roman left the band shortly after. The following year, the group recruited bassist Michel Masson, who later collaborated with them on The Strands of the Future (1976) and Halloween (1977).

In the early eighties, together with director Bruno Carlucci, in musical theatre, Pulsar adapted a short story by Austrian novelist Peter Handke: "Bienvenue au Conseil D'Administration!" (1981). The quintet comprised Gilbert Gandil on guitar and bass, Victor Bosch at the drums, Jacques Roman on keyboard, and Roland Richard playing the flute and saxophone, along with Louis Paralis taking the place of Michel Masson.

Pulsar is a fictional character in the Marvel Universe, a member of the Shi'ar Imperial Guard.

Publication history

The character first appeared as Impulse in X-Men #107 (October 1977-February 1978), and was created by Chris Claremont and Dave Cockrum.

The character subsequently appears in X-Men: Spotlight on Starjammers #2 (June 1990), Quasar #32 (March 1992), Inhumans Vol. 4 #4 (September 2000), JLA/Avengers #1 (September 2003), and Uncanny X-Men #477 (October 2006) and #480 (January 2007).

Impulse appeared as part of the "Imperial Guard" entry in the Official Handbook of the Marvel Universe Deluxe Edition #6.

Fictional character biography

Pulsar is a long-time member of the Shi'ar Imperial Guard, also known as Impulse. He is made of pure energy, and his form is only contained by his costume. He can release blasts of energy from his visor.

He was with the Imperial Guard the first time they fought the X-Men.

He was seemingly killed by Vulcan, who breached Impulse's suit. Pulsar later reappeared alive, battling alongside the rest of the Imperial Guard in an assault on the Kree, where Pulsar gravely wounded the Inhuman elite warrior, Gorgon.

Pulsar: The Ultimate Man of Adventure was an action figure for boys made by Mattel in 1976. Pulsar was a 14" action figure looked like a handsome middle aged man with short white hair. However once you opened his sweat suit top it revealed that his entire torso was clear plastic which allowed viewing of his internal organs. There was a button on his back that when depressed would make his lungs and heart pump and force simulated blood through some simulated arteries and veins in the body cavity. In addition to having visible innards, Pulsar's head could flip open and a holographic mission disk (a small lenticular plastic disk) could be placed inside. The literature provided with this toy said that this was his mission program disc. There were two versions of the doll, the difference between the two being that the second version of Pulsar had his lower waist and groin painted to match his skin color thus disguising the rubber connectors for where the legs attached to the pelvis. Some also claim that the second version has a more expressive and friendlier face. There never was a back story given to Pulsar, he was just the "Ultimate Man of Adventure". His strange biology could make one think he is an alien, an evolved human cyborg or a combination of these possibilities. The only other toys to be developed for the Pulsar toy line were his nemesis Hypnos: The Ultimate Enemy and Pulsar's Life Systems Center which was a medical bay style wall that Pulsar could be placed inside. Pulsar was patented in 1976 but Mattel toys did not produce him until 1977.

A pulsar is a type of star.

Pulsar may also refer to:

Products

Transport

Entertainment

Bandō may refer to:

People

Other

See also

Bando (disambiguation)

A band society is the simplest form of human society. A band generally consists of a small kin group, no larger than an extended family or clan; one definition sees a band as consisting of no more than 100 individuals.

Characteristics

Bands have a loose organization. Their power structure is often egalitarian and has informal leadership; the older members of the band generally are looked to for guidance and advice, and decisions are often made on a consensus basis, but there are no written laws and none of the specialised coercive roles (e.g., police) typically seen in more complex societies. Bands' customs are almost always transmitted orally. Formal social institutions are few or non-existent. Religion is generally based on family tradition, individual experience, or counsel from a shaman. All known band societies hunt and gather to obtain their subsistence.

Definitions and distinctions

In his 1972 study, The Notion of the Tribe, Morton Fried defined bands as small, mobile, and fluid social formations with weak leadership that do not generate surpluses, pay taxes nor support a standing army.

Bands are a form of formal neckwear, worn by some clergy and lawyers, and with some forms of academic dress. They take the form of two oblong pieces of cloth, usually though not invariably white, which are tied to the neck. Bands is usually plural because they require two similar parts and did not come as one piece of cloth. Those worn by clergy are often called preaching bands, tabs or Geneva bands; those worn by lawyers are called barrister's bands or, more usually in Canada, tabs.

Ruffs were popular in the sixteenth century, and remained so till the late 1640s, alongside the more fashionable standing and falling bands. Ruffs, like bands, were sewn to a fairly deep neck-band. They could be either standing or falling ruffs. Standing ruffs were common with legal, and official dress till comparatively late. Falling ruffs were popular c.1615-40s.

Origin

In the early sixteenth century "bands" referred to the shirt neck-band under a ruff. For the rest of the century, when ruffs were still worn, and in the seventeenth century, bands referred to all the variations of these neckwear. All bands or collars arose from a standing neck-band of varying heights. They were tied at the throat with band-strings ending in tiny tassels or crochet-covered balls.