Lilith

Lilith (Hebrew: לִילִית‎ Lîlîṯ) is a Hebrew name for a figure in Jewish mythology, developed earliest in the Babylonian Talmud (3rd to 5th centuries CE). The character is generally thought to derive in part from a historically far earlier class of female demons (līlīṯu) in Mesopotamian religion, found in cuneiform texts of Sumer, Akkad, Assyria, and Babylonia.

Evidence in later Jewish materials is plentiful, but little information has survived relating to the original Sumerian, Akkadian, Assyrian and Babylonian view of these demons. Recent scholarship has disputed the relevance of two sources previously used to connect the Jewish lilith to an Akkadian lilitu—the Gilgamesh appendix and the Arslan Tash amulets. (See below for discussion of the two problematic sources.)

In Hebrew-language texts, the term lilith or lilit (translated as "night creatures", "night monster", "night hag", or "screech owl") first occurs in a list of animals in Isaiah 34:14, either in singular or plural form according to variations in the earliest manuscripts. In the Dead Sea Scrolls' Songs of the Sage the term first occurs in a list of monsters. In Jewish magical inscriptions on bowls and amulets from the 6th century BC onwards, Lilith is identified as a female demon and the first visual depictions appear.

Lilith (Marvel Comics)

Lilith is the name of two fictional characters appearing in American comic books published by Marvel Comics.

The first of these two to appear was Lilith, the daughter of Dracula. Like her father, she is also a vampire, although her powers and weaknesses differ from most other vampires. She first appeared in Giant-Size Chillers featuring Curse of Dracula #1 (June, 1974) drawn by artist Gene Colan.

The second is a demon sorceress who is known as the "Mother of All Demons". She first appeared in Ghost Rider, Vol. 2, issue 28 (August, 1992).

Dracula's daughter

Publication history

Lilith, the daughter of Dracula, first appeared in Giant-Size Chillers featuring Curse of Dracula #1 (June 1974), and was created by Marv Wolfman and Gene Colan. Most of her solo appearances were written by Steve Gerber, who would later use a supporting character he created for these stories, Martin Gold, in The Legion of Night.

The character subsequently appeared in Vampire Tales #6 (August 1974), The Tomb of Dracula vol. 1 #23 (August 1974), The Tomb of Dracula vol. 1 #25 (October 1974), #28 (January 1975), Dracula Lives! #10-11 (January-March 1975), Marvel Preview #12 (September 1977), The Tomb of Dracula vol. 1 #60 (September 1977), Marvel Preview #16 (June 1978), The Tomb of Dracula vol. 1 #66-67 (September-November 1978), The Tomb of Dracula vol. 2 #3 (February 1980), 5-6 (June, August 1980), Uncanny X-Men Annual #6 (1982), and her apparent "death" occurred in Dr. Strange vol. 2 #62 (December 1983). She made a posthumous appearance in Doctor Strange, Sorcerer Supreme #9 (November 1989).

Lilith (comics)

Lilith, in comics, may refer to:

See also

Crime of the Century (album)

Crime of the Century is the third album by the English progressive rock band Supertramp, released in September 1974. Crime of the Century was Supertramp's commercial breakthrough in both the US and UK, aided by the UK hit "Dreamer" and the U.S. hit "Bloody Well Right". It was a UK Top 10 album and a U.S. Top 40 album, eventually being certified Gold in the U.S. in 1977 after the release of Even in the Quietest Moments.... The album was Supertramp's first to feature drummer Bob Siebenberg (at the time credited as Bob C. Benberg), woodwinds player John Anthony Helliwell, bassist Dougie Thomson, and co-producer Ken Scott.

The album's dedication reads "To Sam", which is a nickname for Stanley August Miesegaes, the Dutch millionaire who supported the band financially from 1969–72.

Background and recording

After the failure of their first two albums and an unsuccessful tour, the band broke up, and Rick Davies and Roger Hodgson recruited new members, drummer Bob C. Benberg, woodwinds player John Helliwell, and bassist Dougie Thomson. This new line-up were sent by their record label, A&M, in particular A&R man Dave Margereson (who would become their manager for the next ten years) to a seventeenth-century farm in Somerset in order to rehearse together and prepare the album.