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Celtic art is associated with the peoples known as Celts; those who spoke the Celtic languages in Europe from pre-history through to the modern period, as well as the art of ancient peoples whose language is uncertain, but have cultural and stylistic similarities with speakers of Celtic languages. Celtic art is a difficult term to define, covering a huge expanse of time, geography and cultures. A case has been made for artistic continuity in Europe from the Bronze Age, and indeed the preceding Neolithic age; however archaeologists generally use "Celtic" to refer to the culture of the European Iron Age from around 1000 BC onwards, until the conquest by the Roman Empire of most of the territory concerned, and art historians typically begin to talk about "Celtic art" only from the La Tene period (broadly 5th to 1st centuries BC) onwards. Early Celtic art is another term used for this period, stretching in Britain to about 150 AD.
The ancient peoples now called "Celts" spoke a group of languages that had a common origin in the Indo-European language known as Common Celtic or Proto-Celtic. This shared linguistic origin was once widely accepted by scholars to indicate peoples with a common genetic origin in southwest Europe, who had spread their culture by emigration and invasion. Archaeologists identified various cultural traits of these peoples, including styles of art, and traced the culture to the earlier Hallstatt culture and La Tene culture. More recent genetic studies have indicated that various Celtic groups do not all have shared ancestry, and have suggested a diffusion and spread of the culture without necessarily involving significant movement of peoples. The extent to which "Celtic" language, culture and genetics coincided and interacted during prehistoric periods remains very uncertain and controversial.  Celtic art is associated with the peoples known as Celts; those who spoke the Celtic languages in Europe from pre-history through to the modern period, as well as the art of ancient peoples whose language is uncertain, but have cultural and stylistic similarities with speakers of Celtic languages.  The term "Celt" was used in classical times as a synonym for the Gauls (Keltoi, Celtae). Its English form is modern, attested from 1607. In the late 17th century the work of scholars such as Edward Lhuyd brought academic attention to the historic links between Gaulish and the Brythonic--and Goidelic--speaking peoples, from which point the term was applied not just to continental Celts but those in Britain and Ireland. Then in the 18th century the interest in "primitivism", which led to the idea of the "noble savage", brought a wave of enthusiasm for all things Celtic and Druidic. The "Irish revival" came after the Catholic Emancipation Act of 1829 as a conscious attempt to demonstrate an Irish national identity, and with its counterpart in other countries subsequently became the "Celtic Revival".

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Ireland. Then in the 18th century the interest in "primitivism", which led to the idea of the "noble savage", brought a wave of enthusiasm for all things Celtic



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Mojo is a fictional character, a supervillain appearing in American comic books published by Marvel Comics, usually those featuring the X-Men family of characters. Created by writer Ann Nocenti and artist Arthur Adams, Mojo first appeared in Longshot #4 (December 1985), as the titular hero's archenemy, and subsequently a villain to the X-Men and their various sub-groups as well. Mojo is one of the "Spineless Ones," an alien race that is immobile without advanced technology.
Mojo appeared in the X-Men episodes "Mojovision" and "Longshot" voiced by Peter Wildman. This version of Mojo had the ability of shooting laser blasts from a cannon installed at the tip of his mechanical tail.  Mojo first appears in the Wolverine and the X-Men episode "X-Calibre" voiced by Charlie Adler. He sends Spiral and the Reavers to ships bound to Genosha to pick out the mutants for his program. After Spiral was thwarted by Nightcrawler and sees the X-Men, Mojo plans to abduct them. In "Hunting Grounds," Mojo abducts Nightcrawler and Scarlet Witch and forces them to fight a mind-controlled Wolverine. Eventually all three X-Men escape the show and attack Mojo himself, but he and Spiral teleport to safety. Mojo declares that "This demands a sequel!", indicating that they will be back.  Mojo appears in Avengers Assemble episode "Mojo World," voiced by Ralph Garman. Mojo's "Mojo Adams" incarnation used as a simulation to conceal his actual appearance from his viewing audience. Intending to capture Hulk for his tournaments, alongside the other combatants he abducted and threatened to fight by taking their planets hostage, Mojo finds his minions unintentionally abduct Hawkeye in the process as he pit the Earth hero against Torgo. After Hulk and Hawkeye forfeit an all-out fight, Mojo teleports them back to Earth and then plans to destroy it. With help from the other Avengers, Hulk and Hawkeye managed to defeat Mojo, and his hover-cameras end up showing his true appearance across the airwaves. Embarrassed, he ends up teleporting away from his ship. Torgo tells the Avengers that he will take the prisoners back to their worlds and have a bounty placed on Mojo's head.

Were there other episodes as well?

In "Hunting Grounds," Mojo abducts Nightcrawler and Scarlet Witch



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Osceola was named Billy Powell at birth in 1804 in the Creek village of Talisi. now known as Tallassee, Alabama, in current Elmore County. "The people in the town of Tallassee...were mixed-blood Native American/English/Irish/Scottish, and some were black. Billy was all of these."
After Osceola's death, army doctor Frederick Weedon persuaded the Seminole to allow him to make a death mask of Osceola, this being a European-American custom at the time for prominent people. Later he removed Osceola's head and embalmed it. For some time, Weedon kept the head and a number of personal objects Osceola had given him. Later, Weedon gave the head to his son-in-law Daniel Whitehurst. In 1843, Whitehurst sent the head to Valentine Mott, a New York physician. Mott placed it in his collection at the Surgical and Pathological Museum. It was presumably lost when a fire destroyed the museum in 1866. Some of Osceola's belongings are still held by the Weedon family, while others have disappeared.  Captain Pitcairn Morrison sent the death mask and some other objects collected by Weedon to an army officer in Washington. By 1885, the death mask and some of Osceola's belongings had arrived in the anthropology collection of the Smithsonian Institution, where they are still held.  In 1966, Miami businessman Otis W. Shriver claimed he had dug up Osceola's grave and put his bones into a bank vault to rebury them at a tourist site at the Rainbow Springs. Shriver traveled around the state in 1967 to gather support for his project. Archaeologists later proved that Shriver had dug up animal remains; Osceola's body was still in its coffin.  In 1979 the Seminole Nation of Oklahoma bought Osceola's bandolier and other personal items from a Sotheby's auction. Because of the chief's significance, over time some people have created forgeries of Osceola's belongings. Rumors persist that his embalmed head has been found in various locations.

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In 1966, Miami businessman Otis W. Shriver claimed he had dug up Osceola's grave