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[SOURCE: https://en.wikipedia.org/wiki/Visual_effects#cite_ref-twsGuardian_7-0] | [TOKENS: 803] |
Contents Visual effects Visual effects (sometimes abbreviated as VFX) is the process by which imagery is created or manipulated outside the context of a live-action shot in filmmaking and video production. The integration of live-action footage and other live-action footage or computer-generated imagery (CGI) elements to create realistic imagery is called VFX. VFX involves the integration of live-action footage (which may include in-camera special effects) and generated-imagery (digital or optics, animals or creatures) which look realistic, but would be dangerous, expensive, impractical, time-consuming or impossible to capture on film. Visual effects using CGI have more recently become accessible to the independent filmmaker with the introduction of affordable and relatively easy-to-use animation and compositing software. History In 1857, Oscar Rejlander created the world's first "special effects" image by combining different sections of 32 negatives into a single image, making a montaged combination print. In 1895, Alfred Clark created what is commonly accepted as the first-ever motion picture special effect. While filming a reenactment of the beheading of Mary, Queen of Scots, Clark instructed an actor to step up to the block in Mary's costume. As the executioner brought the axe above his head, Clark stopped the camera, had all the actors freeze, and had the person playing Mary step off the set. He placed a Mary dummy in the actor's place, restarted filming, and allowed the executioner to bring the axe down, severing the dummy's head. Techniques like these would dominate the production of special effects for a century. It was not only the first use of trickery in cinema, it was also the first type of photographic trickery that was only possible in a motion picture, and referred to as the "stop trick". Georges Méliès, an early motion picture pioneer, accidentally discovered the same "stop trick". According to Méliès, his camera jammed while filming a street scene in Paris. When he screened the film, he found that the "stop trick" had caused a truck to turn into a hearse, pedestrians to change direction, and men to turn into women. Méliès, the director of the Théâtre Robert-Houdin, was inspired to develop a series of more than 500 short films, between 1896 and 1913, in the process developing or inventing such techniques as multiple exposures, time-lapse photography, dissolves, and hand-painted color. Because of his ability to seemingly manipulate and transform reality with the cinematograph, the prolific Méliès is sometimes referred to as the "Cinemagician". His most famous film, Le Voyage dans la lune (1902), a whimsical parody of Jules Verne's From the Earth to the Moon, featured a combination of live action and animation, and also incorporated extensive miniature and matte painting work. VFX today is heavily used in almost all movies produced. Other than films, television series and web series are also known to utilize VFX. Techniques Production pipeline Visual effects are often integral to a movie's story and appeal. Although most visual effects work is completed during post-production, it usually must be carefully planned and choreographed in pre-production and production. While special effects such as explosions and car chases are made on set, visual effects are primarily executed in post-production with the use of multiple tools and technologies such as graphic design, modeling, animation and similar software. A visual effects supervisor is usually involved with the production from an early stage to work closely with production and the film's director to design, guide and lead the teams required to achieve the desired effects. Many studios specialize in visual effects; among them are Digital Domain, DreamWorks, DNEG, Framestore, Weta Digital, Industrial Light & Magic, Pixomondo, Moving Picture Company, Animal Logic, Reel FX Animation, Sony Pictures Imageworks and Jellyfish Pictures. See also References Sources |
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[SOURCE: https://en.wikipedia.org/wiki/Visual_effects#cite_ref-twsWired_8-0] | [TOKENS: 803] |
Contents Visual effects Visual effects (sometimes abbreviated as VFX) is the process by which imagery is created or manipulated outside the context of a live-action shot in filmmaking and video production. The integration of live-action footage and other live-action footage or computer-generated imagery (CGI) elements to create realistic imagery is called VFX. VFX involves the integration of live-action footage (which may include in-camera special effects) and generated-imagery (digital or optics, animals or creatures) which look realistic, but would be dangerous, expensive, impractical, time-consuming or impossible to capture on film. Visual effects using CGI have more recently become accessible to the independent filmmaker with the introduction of affordable and relatively easy-to-use animation and compositing software. History In 1857, Oscar Rejlander created the world's first "special effects" image by combining different sections of 32 negatives into a single image, making a montaged combination print. In 1895, Alfred Clark created what is commonly accepted as the first-ever motion picture special effect. While filming a reenactment of the beheading of Mary, Queen of Scots, Clark instructed an actor to step up to the block in Mary's costume. As the executioner brought the axe above his head, Clark stopped the camera, had all the actors freeze, and had the person playing Mary step off the set. He placed a Mary dummy in the actor's place, restarted filming, and allowed the executioner to bring the axe down, severing the dummy's head. Techniques like these would dominate the production of special effects for a century. It was not only the first use of trickery in cinema, it was also the first type of photographic trickery that was only possible in a motion picture, and referred to as the "stop trick". Georges Méliès, an early motion picture pioneer, accidentally discovered the same "stop trick". According to Méliès, his camera jammed while filming a street scene in Paris. When he screened the film, he found that the "stop trick" had caused a truck to turn into a hearse, pedestrians to change direction, and men to turn into women. Méliès, the director of the Théâtre Robert-Houdin, was inspired to develop a series of more than 500 short films, between 1896 and 1913, in the process developing or inventing such techniques as multiple exposures, time-lapse photography, dissolves, and hand-painted color. Because of his ability to seemingly manipulate and transform reality with the cinematograph, the prolific Méliès is sometimes referred to as the "Cinemagician". His most famous film, Le Voyage dans la lune (1902), a whimsical parody of Jules Verne's From the Earth to the Moon, featured a combination of live action and animation, and also incorporated extensive miniature and matte painting work. VFX today is heavily used in almost all movies produced. Other than films, television series and web series are also known to utilize VFX. Techniques Production pipeline Visual effects are often integral to a movie's story and appeal. Although most visual effects work is completed during post-production, it usually must be carefully planned and choreographed in pre-production and production. While special effects such as explosions and car chases are made on set, visual effects are primarily executed in post-production with the use of multiple tools and technologies such as graphic design, modeling, animation and similar software. A visual effects supervisor is usually involved with the production from an early stage to work closely with production and the film's director to design, guide and lead the teams required to achieve the desired effects. Many studios specialize in visual effects; among them are Digital Domain, DreamWorks, DNEG, Framestore, Weta Digital, Industrial Light & Magic, Pixomondo, Moving Picture Company, Animal Logic, Reel FX Animation, Sony Pictures Imageworks and Jellyfish Pictures. See also References Sources |
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[SOURCE: https://en.wikipedia.org/wiki/Guinness_World_Records#cite_note-75] | [TOKENS: 3908] |
Contents Guinness World Records Page version status This is an accepted version of this page Guinness World Records, known from its inception in 1955 until 1999 as The Guinness Book of Records and in previous United States editions as The Guinness Book of World Records, is a British reference book published annually, listing world records both of human achievements and the extremes of the natural world. Sir Hugh Beaver created the concept in order to settle arguments debated in pubs, and twin brothers Norris and Ross McWhirter co-founded the book in London in late August 1955. The first edition topped the bestseller list in the United Kingdom by Christmas 1955. The following year the book was launched internationally, and as of the 2026 edition, it is now in its 71st year of publication, published in 100 countries and 40 languages, and maintains over 53,000 records in its database. The international franchise has extended beyond print to include television series and museums. The popularity of the franchise has resulted in Guinness World Records becoming the primary international source for cataloguing and verification of a huge number of world records. The organization employs record adjudicators to verify the authenticity of the setting and breaking of records. Following a series of owners, the franchise has been owned by the Jim Pattison Group since 2008, with its headquarters moved to South Quay Plaza, Canary Wharf, London, in 2017. Since 2008, Guinness World Records has orientated its business model away from selling books, and towards creating new world records as publicity exercises for individuals and organizations, which has attracted criticism. History On 10 November 1951, Sir Hugh Beaver, then the managing director of the Guinness Breweries, went on a shooting party in the North Slob, by the River Slaney in County Wexford, Ireland. After missing a shot at a golden plover, he became involved in an argument over whether the golden plover or the red grouse was the fastest game bird in Europe (the plover is faster, but neither is the fastest game bird in Europe). That evening at Castlebridge House, he realized that it was impossible to confirm in reference books whether or not the golden plover was Europe's fastest game bird. Beaver knew that there must have been numerous other questions debated nightly among the public, but there was no book in the world with which to settle arguments about records. He realized then that a book supplying the answers to this sort of question might prove successful. Beaver's idea became a reality when Guinness employee Christopher Chataway recommended university friends Norris and Ross McWhirter, who had been running a fact-finding agency in London. The twin brothers were commissioned in August 1954 to compile what became The Guinness Book of (Superlatives and now) Records.[clarification needed] A thousand copies were distributed for free to pubs across Britain and Ireland as a promotional asset for the Guinness brand, and they became immensely popular with customers. After the founding of The Guinness Book of Records office at the top of Ludgate House, 107 Fleet Street, London, the first 198-page edition was bound on 27 August 1955 and went to the top of the British bestseller list by Christmas. The following year, it was introduced into the United States by New York publisher David Boehm and sold 70,000 copies. Since then, Guinness World Records has sold more than 150 million copies in 100 countries and 40 languages. Due to the book's surprise success, many further editions were printed, eventually settling into a pattern of one revision a year, published in September/October, in time for Christmas. The McWhirters continued to compile it for many years. Both brothers had an encyclopedic memory; on the British children's television series Record Breakers (based upon the book), which was broadcast on the BBC from 1972 to 2001, they would take questions posed by children in the audience on various world records and were able to give the correct answer. Ross McWhirter was assassinated by two members of the Provisional Irish Republican Army in 1975, in response to offering a £50,000 reward for information that would lead to the capture of members of the organization. Following Ross's assassination, the feature on the show where questions about records posed by children were answered was called Norris on the Spot. Norris carried on as the book's sole editor. Guinness Superlatives, later Guinness World Records Limited, was incorporated in London in 1954 to publish the first book. Sterling Publishing owned the rights to the Guinness book in the US for decades until it was repurchased by Guinness in 1989 after an 18-month long lawsuit. The group was owned by Guinness PLC and subsequently Diageo until 2001, when it was purchased by Gullane Entertainment for £45.5 million ($65 million). Gullane was itself purchased by HIT Entertainment in 2002. In 2006, Apax Partners purchased HIT and subsequently sold Guinness World Records in early 2008 to the Jim Pattison Group, the parent company of Ripley Entertainment, which is licensed to operate Guinness World Records' Attractions. With offices in New York City and Tokyo, Guinness World Records' global headquarters remain in South Quay Plaza in Canary Wharf, London, while its museum attractions are based at Ripley headquarters in Orlando, Florida. Recent editions have focused on record feats by individuals. Competitions range from obvious ones such as Olympic weightlifting to the longest egg tossing distances, or for the longest time spent playing Grand Theft Auto IV or the largest number of hot dogs consumed in three minutes. Besides records about competitions, it contains such facts such as the heaviest tumor, the most poisonous fungus, the longest-running soap opera and the most valuable life-insurance policy, among others. Many records also relate to the youngest people to have achieved something, such as the youngest person to visit all nations of the world, currently held by Maurizio Giuliano. Each edition contains a selection of the records from the Guinness World Records database, as well as select new records, with the criteria for inclusion changing from year to year. The latest edition is the 72nd, published in August 2025. The retirement of Norris McWhirter from his consulting role in 1995 and the subsequent decision by Diageo Plc to sell The Guinness Book of Records brand have shifted the focus of the books from text-oriented to illustrated reference. A selection of records are curated for the book from the full archive but all existing Guinness World Records titles can be accessed by creating a login on the company's website. Applications made by individuals for existing record categories are free of charge. There is an administration fee of £5 (or $5) to propose a new record title. A number of spin-off books and television series have also been produced. Guinness World Records bestowed the record of "Person with the most records" on Ashrita Furman of Queens, New York, in April 2009; at that time, he held 100 records. In 2005, Guinness designated 9 November as International Guinness World Records Day to encourage breaking of world records. In 2006, an estimated 100,000 people participated in over 10 countries. Guinness reported 2,244 new records in 12 months, which was a 173% increase over the previous year. In February 2008, NBC aired The Top 100 Guinness World Records of All Time and Guinness World Records made the complete list available on their website. The popularity of the franchise has resulted in Guinness World Records becoming the primary international authority on the cataloguing and verification of a huge number of world records. Over its history, numerous world record categories have been discontinued. This list may include that the record poses a threat to health or the environment. Defining records For many records, Guinness World Records is the effective authority on the exact requirements for them and with whom records reside, the company providing adjudicators to events to determine the veracity of record attempts. The list of records which the Guinness World Records covers is not fixed, records may be added and also removed for various reasons. The public is invited to submit applications for records, which can be either the bettering of existing records or substantial achievements which could constitute a new record. The company also provides corporate services for companies to "harness the power of record-breaking to deliver tangible success for their businesses." Guinness World Records states several types of records it will not accept for ethical reasons, such as those related to the killing or harming of animals. In the 2006 Guinness Book of World Records, Colombian serial killer Pedro López was listed as the "most prolific serial killer", having murdered at least 110 people (with Lopez himself claiming he murdered over 300 people) in Colombia, Ecuador and Peru in the late 1960s to 1980s. This was later removed after complaints that it made a competition out of murder, however the record was reinstated in the 2026 edition. Several world records that were once included in the book have been removed for ethical reasons, including concerns for the well-being of potential record breakers. For example, following publication of the "heaviest pet" record, many owners overfed their pets beyond the bounds of what was healthy, and therefore such entries were removed. The Guinness Book also dropped records within their "eating and drinking records" section of Human Achievements in 1991 over concerns that potential competitors could harm themselves and expose the publisher to potential litigation. These changes included the removal of all spirit, wine and beer drinking records, along with other unusual records for consuming such unlikely things as bicycles and trees. Other records, such as sword swallowing and rally driving (on public roads), were closed from further entry as the current holders had performed beyond what are considered safe human tolerance levels. There have been instances of closed categories being reopened. For example, the sword swallowing category was listed as closed in the 1990 Guinness Book of World Records, but has since been reopened with Johnny Strange breaking a sword swallowing record on Guinness World Records Live. Similarly, the speed beer drinking records which were dropped from the book in 1991, reappeared 17 years later in the 2008 edition, but were moved from the "Human Achievements" section of the older book to the "Modern Society" section of the newer edition. As of 2011[update], it is required in the guidelines of all "large food" type records that the item be fully edible, and distributed to the public for consumption, to prevent food wastage. Chain letters are also not allowed: "Guinness World Records does not accept any records relating to chain letters, sent by post or e-mail." After Roger Guy English set the record for sleeplessness in 1974, the category was discontinued for being too dangerous. At the request of the U.S. Mint, in 1984, the book stopped accepting claims of large hoardings of pennies or other currency. Environmentally unfriendly records (such as the releasing of sky lanterns and party balloons) are no longer accepted or monitored, in addition to records relating to tobacco or cannabis consumption or preparation. In 2024, Guinness World Records was accused of laundering the reputation of the oppressive governments as it set world records for the UAE's police forces and Egypt's military. By 2024, the UAE achieved 526 records, of which 21 were credited to the Emirates' police force. Matthew Hedges, a British academic who was forced to sign a false confession, asked the records body to take down the Abu Dhabi police department's certificate for "most signatures on a scroll", along with other such titles. Concerns were also raised around the activities around Egypt, which moved from 22 records to 110 within a decade until 2024. James Lynch, co-founder of FairSquare, said the records were legitimizing Abdel Fattah el-Sisi's regime. The Guinness World Records stated that its record titles "cannot be purchased". Guinness World Records has been accused of romanticizing diseases, such as Graves' Disease and Pica. For some potential categories, Guinness World Records has declined to list some records that are too difficult or impossible to determine. For example, its website states: "We do not accept any claims for beauty as it is not objectively measurable." On 10 December 2010, Guinness World Records stopped accepting submissions for the "dreadlock" category after an investigation of its first and only female title holder, Asha Mandela, determining it was impossible to judge this record accurately. Change in business model Traditionally, the company made a large amount of its revenue via book sales to interested readers, especially children. The rise of the Internet began to cut into book sales starting in the 2000s, part of a general decline in the book industry. According to a 2017 story by Planet Money of NPR, Guinness began to realize that a lucrative new revenue source to replace falling book sales was the would-be record-holders themselves. While any person can theoretically send in a record to be verified for free, the approval process is slow. Would-be record breakers that paid fees ranging from US$12,000 to US$500,000 would be given advisors, adjudicators, help in finding good records to break as well as suggestions for how to do it, prompt service, and so on. In particular, corporations and celebrities seeking a publicity stunt to launch a new product or draw attention to themselves began to hire Guinness World Records, paying them for finding a record to break or to create a new category just for them. As such, they have been described as a native advertising company, with no clear distinction between content and advertisement. Television talk show host John Oliver criticized Guinness World Records on the programme Last Week Tonight with John Oliver in August 2019, during an episode about President of Turkmenistan Gurbanguly Berdimuhamedow. Oliver said Guinness took money from authoritarian governments for pointless vanity projects such as Berdimuhamedow's. Oliver asked Guinness to work with Last Week Tonight to adjudicate a record for "Largest cake featuring a picture of someone falling off a horse", but according to Oliver, the offer did not work out after Guinness insisted on a non-disparagement clause. Guinness World Records denied the accusations and stated that they declined Oliver's offer to participate because "it was merely an opportunity to mock one of our record-holders," and that Oliver did not specifically request the record for the largest marble cake. As of 2021, the Guinness World Record for "Largest marble cake" remains with Betty Crocker Middle East in Saudi Arabia. Following Oliver's episode, Guinness World Records' ethics were called into question by human rights groups. Museums In 1976, a Guinness Book of World Records museum opened in the Empire State Building. Speed shooter Bob Munden then went on tour promoting The Guinness Book of World Records by performing his record fast draws with a standard weight single-action revolver from a Western movie-type holster. His fastest time for a draw was 0.02 seconds. Among exhibits were life-size statues of the world's tallest man, Robert Wadlow, and world's largest earthworm, an X-ray photo of a sword swallower, repeated lightning strike victim Roy Sullivan's hat complete with lightning holes and a pair of gem-studded golf shoes on sale for $6,500. The museum closed in 1995. In more recent years, the Guinness company has permitted the franchising of small museums with displays based on the book, all currently (as of 2010[update]) located in towns popular with tourists: Tokyo, Copenhagen, San Antonio. There were once Guinness World Records museums and exhibitions at the London Trocadero, Bangalore, San Francisco, Myrtle Beach, Orlando, Atlantic City, and Las Vegas. The Orlando museum, which closed in 2002, was branded The Guinness Records Experience; the Hollywood, Niagara Falls, Copenhagen, and Gatlinburg museums also previously featured this branding. Retail and merchandise Guinness World Records operates an official online shop, the Guinness World Records Store, which offers items related to record-breaking achievements, including certificates of participation, apparel, and the annual Guinness World Records book. The shop provides record-holders and the general public with access to official Guinness World Records materials. Merchandise is part of the organization's broader engagement efforts beyond its publications and events. Television series Guinness World Records has commissioned various television series documenting world record breaking attempts, including: Rhianna Loren (2025) Specials: Gamer's edition In 2008, Guinness World Records released its gamer's edition, a supplement that keeps records for popular video game high scores, codes and feats in association with Twin Galaxies. The Gamer's Edition used to contain 258 pages, over 1,236 video game related world records and four interviews including one with Twin Galaxies founder Walter Day. Editions were published for the years 2008 through 2020, with the 2009 edition in hardcover. The 2025 edition is the first since 2020, returning after a five-year hiatus. Since 2020, the supplement has had 192 pages. The Guinness Book of British Hit Singles The Guinness Book of British Hit Singles was a music reference book first published in 1977. It was compiled by BBC Radio 1 DJs Paul Gambaccini and Mike Read with brothers Tim Rice and Jonathan Rice. It was the first in a number of music reference books that were to be published by Guinness Publishing with sister publication The Guinness Book of British Hit Albums coming in 1983. After being sold to Hit Entertainment, the data concerning the Official Chart Company's singles and albums charts were combined under the title British Hit Singles & Albums, with Hit Entertainment publishing the book from 2003 to 2006 (under the Guinness World Records brand). After Guinness World Records was sold to The Jim Pattison Group, it was effectively replaced by a series of books published by Ebury Publishing/Random House with the Virgin Book of British Hit Singles first being published in 2007 and with a Hit Albums book following two years later. Other media and products In 1975, Parker Brothers marketed a board game, The Guinness Game of World Records, based on the book. Players compete by setting and breaking records for activities such as the longest streak of rolling dice before rolling doubles, stacking plastic pieces, and bouncing a ball off alternating sides of a card, as well as answering trivia questions based on the listings in the Guinness Book of World Records. A video game, Guinness World Records: The Videogame, was developed by TT Fusion and released for Nintendo DS, Wii and iOS in November 2008. In 2012, Warner Bros. announced the development of a live-action film version of Guinness World Records with Daniel Chun as scriptwriter. The film, however, never entered production. Dr. Sunil Gupta is listed in the Guinness World Records for participating in the largest multi-location diabetic neuropathy screening conducted on World Diabetes Day, 14 November 2013, during which 1,676 screenings were performed across 27 locations in India. References |
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[SOURCE: https://en.wikipedia.org/wiki/The_Rocky_Horror_Picture_Show] | [TOKENS: 8029] |
Contents The Rocky Horror Picture Show The Rocky Horror Picture Show is a 1975 independent musical comedy horror film produced by Lou Adler and Michael White, directed by Jim Sharman, and distributed by 20th Century Fox. The screenplay was written by Sharman and Richard O'Brien, who also played the supporting role Riff Raff. The film is based on the 1973 musical stage production The Rocky Horror Show, with music, book, and lyrics by O'Brien. The production is a tribute to the science fiction and horror B movies of the 1930s through to the early 1960s. The film stars Tim Curry (in his debut), Susan Sarandon, and Barry Bostwick. It is narrated by Charles Gray, with cast members from the original Royal Court Theatre, Roxy Theatre, and Belasco Theatre productions, including Nell Campbell and Patricia Quinn. The story centres on a young engaged couple whose car breaks down in the rain near a castle, where they search for help. The castle is occupied by strangers in elaborate costumes holding a party. They then meet the head of the house, Dr. Frank-N-Furter, an apparently mad scientist and alien transvestite from the planet Transsexual in the galaxy of Transylvania, who creates a living muscle man named Rocky. The film was shot in the United Kingdom at Bray Studios and on location at Oakley Court, a country house best known for its earlier use by Hammer Film Productions. A number of props and set pieces were reused from the Hammer horror films. Although the film is both a parody of and tribute to many kitsch science fiction and horror films, costume designer Sue Blane conducted no research for her designs. Blane has claimed that her creations for the film directly affected the development of punk rock fashion trends, such as torn fishnet stockings and colourfully dyed hair. Initially the film was largely ignored by critics, but it soon became a hit as a midnight movie, when audiences began participating with the film at the Waverly Theater in New York City in 1976. Audience members returned to the cinemas frequently and talked back to the screen and began dressing as the characters, spawning similar performance groups across the United States. At almost the same time, fans in costume began performing alongside the film. This "shadow cast" mimed the actions on screen, above and behind them, while lip-synching their characters' lines. Still in limited release in 2026, 50 years after its premiere, it is the longest-running theatrical release in film history. In many cities, live amateur shadow-casts act out the film as it is being shown and heavily draw upon a tradition of audience participation. The film is most often shown close to Halloween. Today, the film has a large international cult following and has been considered by many as one of the greatest musical films of all time. In 2005, it was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant." Plot The film begins with a pair of floating disembodied lips welcoming the audience to a science fiction double feature ("Science Fiction/Double Feature"). Throughout the film, a criminologist from an unspecified point in the future narrates and provides commentary on the events. Following the wedding of their friends, a naïve young couple, Brad Majors and Janet Weiss, get engaged and decide to celebrate with their high school science teacher Dr. Scott, who taught the class where they first met ("Dammit Janet"). En route to Scott's house on a dark and rainy night, they get lost and suffer a flat tyre. Seeking a telephone to call for help, the couple walks to a nearby castle ("Over at the Frankenstein Place") where a party is being held. They are accepted in by the strangely dressed inhabitants, led by the butler Riff Raff, the maid Magenta, and a groupie named Columbia, who dance to "The Time Warp". Dr. Frank-N-Furter, a transvestite mad scientist, introduces himself and invites them to stay for the night ("Sweet Transvestite"). With the help of Riff Raff, Frank brings to life a tall, muscular, handsome blond man named Rocky ("The Sword of Damocles"). As Frank vows he can improve Rocky into an ideal man in a week ("I Can Make You a Man"), Eddie, a motorcyclist with a bandaged head, breaks out of a deep freeze ("Hot Patootie – Bless My Soul"). Frank kills Eddie with an ice axe, justifying it as a "mercy killing". Rocky and Frank depart for the bridal suite ("I Can Make You a Man (Reprise)"). Brad and Janet are shown to separate bedrooms, where Frank visits and seduces each one disguised as the other. Meanwhile, Riff Raff and Magenta torment Rocky, who flees the suite. Janet, having learned of Brad's dalliance with Frank, discovers Rocky cowering in his birth tank. While tending to his wounds, Janet seduces Rocky as Magenta and Columbia watch from their bedroom monitor ("Touch-a, Touch-a, Touch-a, Touch Me"). Dr. Scott, now a government investigator of UFOs, comes to the castle in search of his nephew Eddie, who sent him a letter implying part of his brain was removed by aliens. Everyone discovers Janet and Rocky together, enraging Frank. Magenta summons everyone to an uncomfortable dinner, which they soon realise has been prepared from Eddie's mutilated remains ("Eddie"). In the chaos, Janet runs screaming into Rocky's arms, provoking a jealous Frank to chase her through the halls to the lab, where he uses his Medusa Transducer to turn Dr. Scott, Brad, Janet, Rocky, and Columbia into nude statues ("Planet Schmanet Janet/Wise Up Janet Weiss"/"Planet Hotdog"). After dressing the statues in cabaret costumes, Frank "unfreezes" them and leads them in a live cabaret floor show, complete with an RKO tower and a swimming pool ("Rose Tint My World"/"Don't Dream It, Be It"/"Wild and Untamed Thing"). Riff Raff and Magenta interrupt and announce that due to Frank's extravagance, they are declaring mutiny and returning to their home planet of Transsexual, Transylvania. Frank makes a desperate final plea ("I'm Going Home"), but is ignored as Riff Raff kills both him and Columbia with a laser. An enraged Rocky climbs the tower with Frank's body, and, after several shots from the laser, plunges to his death. The castle lifts off into space, and Brad, Janet, and Dr. Scott are left crawling in the smog and dirt, confused and disorientated, as the criminologist concludes that the human race is equivalent to insects crawling on the planet's surface: "lost in time, and lost in space ... and meaning" ("Super Heroes"). Cast Jeremy Newson and Hilary Labow play Brad and Janet's newlywed friends Ralph and Betty Hapschatt. The guests at both the Hapschatt wedding and Frank's convention consist of Perry Bedden, Christopher Biggins, Gaye Brown, Ishaq Bux, Stephen Calcutt, Hugh Cecil, Imogen Claire, Tony Cowan, Sadie Corré, Fran Fullenwider, Lindsay Ingram, Peggy Ledger, Annabel Leventon, Anthony Milner, Pamela Obermeyer, Tony Then, Kimi Wong, and Henry Woolf, as well as an uncredited Rufus Collins. Production Richard O'Brien was living as an unemployed actor in London during the early 1970s. He wrote most of The Rocky Horror Show during one winter just to occupy himself. Since his youth, O'Brien had loved science fiction and B horror movies. He wanted to combine elements of the unintentional humour of B horror movies, portentous dialogue of schlock-horror, Steve Reeves muscle flicks, and fifties rock and roll into his musical. O'Brien conceived and wrote the play set against the backdrop of the glam era that had manifested itself in British popular culture in the 1970s. Allowing his concept to come into being, O'Brien states "glam rock allowed me to be myself more". O'Brien showed a portion of the unfinished script to Australian director Jim Sharman, who decided to direct it at the small experimental space Upstairs at the Royal Court Theatre in Sloane Square, Chelsea, London, which was used as a project space for new work. O'Brien had appeared briefly in a stage production of Andrew Lloyd Webber's Jesus Christ Superstar, directed by Sharman, and the two also worked together in Sam Shepard's The Unseen Hand. Sharman would bring in production designer Brian Thomson. The original creative team was then rounded out by costume designer Sue Blane, musical director Richard Hartley, and stage producer Michael White, who was brought in to produce. As the musical went into rehearsal, the working title, They Came from Denton High, was changed just before previews at the suggestion of Sharman to The Rocky Horror Show. Having premiered in the small 60-seat Royal Court Theatre, it quickly moved to larger venues in London, transferring to the 230-seat Chelsea Classic Cinema on King's Road on 14 August 1973, before finding a quasi-permanent home at the 500-seat King's Road Theatre from 3 November that year, running for six years. The musical made its US debut in Los Angeles in 1974 before playing in New York City as well as other cities. Producer and Ode Records owner Lou Adler attended the London production in the winter of 1973, escorted by friend Britt Ekland. He immediately decided to purchase the US theatrical rights. His production would be staged at his Roxy Theatre in L.A. In 1975, The Rocky Horror Show premiered on Broadway at the 1,000-seat Belasco Theatre. Set in the fictional town of Denton, the film was shot at Bray Studios and Oakley Court, a country house near Maidenhead, Berkshire, England, and at Elstree Studios for post-production, from 21 October to 19 December 1974. Oakley Court, built in 1857 in the Victorian Gothic style, is known for a number of Hammer films. Much of the location shooting took place there, although at the time the manor was not in good condition. Most of the cast were from the original London stage production, including Tim Curry, who had decided that Dr Frank N. Furter should speak like the Queen of the United Kingdom, extravagantly posh. Fox insisted on casting the two characters of Brad and Janet with American actors, Barry Bostwick and Susan Sarandon. Filming took place during autumn, which made conditions worse. During filming, Sarandon fell ill with pneumonia. Filming of the laboratory scene and the title character's creation occurred on 30 October 1974. The film is both a parody and tribute to many of the science fiction and horror movies from the 1930s up to the 1970s. The film production retains many aspects from the stage version, such as production design and music, but adds new scenes not featured in the original stage play. The film's plot, setting, and style echo those of the Hammer horror films, which had their own instantly recognisable style (just as Universal Studios' horror films did). The originally proposed opening sequence was to contain clips of various films mentioned in the lyrics, as well as the first few sequences shot in black and white, but this was deemed too expensive and scrapped. In the stage productions, actors generally did their own make-up; however, for the film, the producers chose Pierre La Roche, who had previously been a make-up artist for Mick Jagger and David Bowie, to redesign the make-up for each character. Production stills were taken by rock photographer Mick Rock, who has published a number of books from his work. In Rocky Horror: From Concept to Cult, designer Sue Blane discusses the Rocky Horror costumes' influence on punk music style, opining "[It was a] big part of the build-up [to punk]." She states that ripped fishnet stockings, glitter, and coloured hair were directly attributable to Rocky Horror. Some of the costumes from the film had been originally used in the stage production. Props and set pieces were reused from old Hammer Horror productions and others. The tank and dummy used for Rocky's birth originally appeared in The Revenge of Frankenstein (1958). These references to earlier productions, in addition to cutting costs, enhanced the cult status of the film. Costume designer Sue Blane was not keen on working for the film, until she became aware that Curry, an old friend, was committed to the project. Curry and Blane had worked together in Glasgow's Citizens Theatre in a production of The Maids, for which Curry had worn a woman's corset. Blane arranged for the theatre to loan her the corset from the other production for Rocky Horror. Blane admits that she did not conduct research for her designing, had never seen a science fiction film, and is acutely aware that her costumes for Brad and Janet may have been generalisations. When I designed Rocky, I never looked at any science fiction movies or comic books. One just automatically knows what spacesuits look like, the same way one intuitively knows how Americans dress. I had never been to the United States, but I had this fixed idea of how people looked there. Americans wore polyester so their clothes wouldn't crease, and their trousers were a bit too short. Since they're very keen on sports, white socks and white T-shirts played an integral part in their wardrobe. Of course, since doing Rocky I have been to the United States and admit it was a bit of a generalization, but my ideas worked perfectly for Brad and Janet. The budget for the film was US$1,600,000, far more than the stage production budget, but having to double up on costumes for the film production was expensive. For filming, corsets for the finale had to be doubled for the pool scene, with one version drying while the other was worn on set. While many of the costumes are exact replicas from the stage productions, other costumes were new to filming, such as Columbia's gold sequined swallow-tail coat and top hat and Magenta's maid's uniform. Blane was amazed by the recreation and understanding of her designs by fans. When she first heard that people were dressing up, she thought it would be tacky, but was surprised to see the depth to which the fans went to recreate her designs. Rocky Horror fan Mina Credeur, who designs costumes and performed as Columbia for Houston's performance group, states that "the best part is when everyone leaves with a big smile on their face," noting that there's "such a kitschiness and campiness that it seems to be winking at you." The film still plays at many theatre locations. The film starts with the screen fading to black and oversized, disembodied female lips appear overdubbed with a male voice, establishing the theme of androgyny to be repeated as the film unfolds. The opening scene and song, "Science Fiction/Double Feature", consists of the lips of Patricia Quinn (who appears in the film later as the character Magenta and as 'Trixie the Usherette' in the original London production, where she also sings the song) but has the vocals of actor and Rocky Horror creator, Richard O'Brien (who appears as Magenta's brother Riff Raff). The lyrics refer to science fiction and horror films of the past and list several film titles from the 1930s to the 1960s, including The Day the Earth Stood Still (1951), Flash Gordon (1936), The Invisible Man (1933), King Kong (1933), It Came from Outer Space (1953), Doctor X (1932), Forbidden Planet (1956), Tarantula (1955), The Day of the Triffids (1962), Curse of the Demon (1957), and When Worlds Collide (1951). Music The soundtrack was released in 1975 by Ode Records and produced by English composer Richard Hartley. The album peaked at No. 49 on the US Billboard 200 in 1978. It reached No. 12 on the Australian albums chart and No. 11 on the New Zealand albums chart. The album is described as the "definitive version of the [Rocky Horror] score". Release The film opened in the United Kingdom at the Rialto Theatre in London on 14 August 1975 and in the United States on 26 September at the UA Westwood in Los Angeles. It did well at that location, but not elsewhere. Before the midnight screenings' success, the film was withdrawn from its eight opening cities due to very small audiences, and its planned New York City opening on Halloween night was cancelled. Fox re-released the film around college campuses on a double-bill with another rock music film parody, Brian De Palma's Phantom of the Paradise (1974), but again it drew small audiences. A second film poster was created using a set of red lipstick-painted lips with the tagline "A Different Set of Jaws", a spoof of the poster for the film Jaws (which was also released in 1975). The lips of former Playboy model Lorelei Shark are featured on the poster. With Pink Flamingos (1972) and Reefer Madness (1936) making money in midnight showings nationwide, a Fox executive, Tim Deegan, was able to talk distributors into midnight screenings, starting in New York City on April Fools' Day of 1976. It was the "Secret" film, on 20 May, in the first Seattle International Film Festival. The cult following started shortly after the film began its midnight run at the Waverly Theater in New York City, then spread to other counties in New York, and to Uniondale, Long Island. Rocky Horror was not only found in the larger cities but throughout the United States, where many attendees would get in free if they arrived in costume. The western division of the film's release included the U.A. Cinemas in Fresno and Merced, the Cinema J. in Sacramento, the UC Theatre in Berkeley and the Covell in Modesto. In New Orleans, an early organised performance group was active with the release there, as well as in such cities as Pittsburgh, Pennsylvania, and Chicago (at the Biograph Theater). In St. Louis, the Varsity Theatre began showing Rocky Horror in March 1976 as its main feature for three weeks, making it one of the first 30 theatres in the United States to screen the film. Owner Pete Piccione subsequently brought it back as a midnight movie on weekends through 1976 and 1977. By mid-1978, the Varsity was running Rocky Horror every weekend at midnight, and by May 1979 it had logged at least 60 consecutive weekends; the run continued until the theatre closed in January 1988. Before long, nearly every screening of the film was accompanied by a live fan cast. The Rocky Horror Picture Show is considered to be the longest-running release in film history. It benefited from a 20th Century Fox policy that made archival films available to theatres at any time. Having never been pulled by 20th Century Fox from its original 1975 release, it continues to play in cinemas. After The Walt Disney Company acquired 20th Century Fox in 2019 and began withdrawing archival Fox movies from theatres to be placed into the Disney Vault, the company made an exception in the case of The Rocky Horror Picture Show to allow the traditional midnight screenings to continue. To commemorate the film's 50th anniversary, a new 4K remaster of the film, resulting from a 10-month restoration effort by the Walt Disney Studios Restoration Team, was released in theatres in 2025 by 20th Century Studios, with screenings taking place both at midnight and during the day. Disney's Restoration & Library Management director Kevin Schaeffer described the new version of the film as a way "to honor its bold, genre-defying spirit and ensure that audiences – both longtime fans and first-time viewers – can experience it as it was originally intended, with stunning picture and sound." Adler added "What began as a small, rebellious project has become a global celebration of individuality, community, and creative freedom. This anniversary is a tribute to the fans who kept it alive and kicking all these years." A Super 8 version of selected scenes of the film was made available. In 1983, Ode Records released The Rocky Horror Picture Show, Audience Par-Tic-I-Pation Album, recorded at the 8th Street Playhouse. The recording consisted of the film's audio and the standardised call-backs from the audience. A home video release was made available in 1987 in the UK. In the US, the film (including documentary footage and extras) was released on VHS on 8 November 1990, retailing for $89.95. The film received two separate US LaserDisc releases in 1992 and 1997, with the film also being released on LaserDisc in France, Germany and Japan during the 1990s.[citation needed] 20th Century Fox Home Entertainment released a DVD in the US on 23 October 2000, for the film's 25th anniversary. This one is a THX certified two-disc set that features the original theatrical version and an extended version. In Australia (Region 4) it was released on DVD in 2002, by 20th Century Fox Home Entertainment South Pacific, while in the UK (Region 2) it was released on DVD on 14 February 2001. A 35th anniversary edition Blu-ray was released by 20th Century Fox Home Entertainment in the US on 19 October 2010. The disc includes a newly created 7.1 surround sound mix, the original theatrical mono sound mix, and a 4K/2K image transfer from the original camera negative. In addition, new content featuring karaoke and a fan performance were included. A 45th anniversary edition Blu-ray was released in September 2020 by Walt Disney Studios Home Entertainment under the 20th Century Home Entertainment label. In October 2021, the film was added to Disney+ on the Star hub for users in locations such as the UK, Ireland and Canada. For the film's 50th anniversary, film was released on 4K Ultra HD Blu-ray on 7 October 2025 by Sony Pictures Home Entertainment under licence from Disney. Reception Chicago Sun-Times critic Roger Ebert noted that when first released, The Rocky Horror Picture Show was "ignored by pretty much everyone, including the future fanatics who would eventually count the hundreds of times they'd seen it". He considered it more a "long-running social phenomenon" than a movie, rating it 2.5 out of 4 stars and describing Curry as "the best thing in the movie, maybe because he seems to be having the most fun" but thinking the story would work better performed on stage for a live audience. Bill Henkin noted that Variety thought that the "campy hijinks" of the film seemed "labored", and also mentioned that the San Francisco Chronicle's John Wasserman, who had liked the stage play in London, found the film "lacking both charm and dramatic impact". Newsweek, in 1978, called the film "tasteless, plotless and pointless". Review aggregator website Rotten Tomatoes gives the film a rating of 81% based on 51 reviews, and an average grade of 6.9/10, with the critical consensus reading "The Rocky Horror Picture Show brings its quirky characters in tight, but it's the narrative thrust that really drives audiences insane and keeps 'em doing the time warp again". A number of contemporary critics find it compelling and enjoyable because of its offbeat and bizarre qualities; the BBC summarised: "for those willing to experiment with something a little bit different, a little bit outré, The Rocky Horror Picture Show has a lot to offer." The New York Times called it a "low-budget freak show/cult classic/cultural institution" with "catchy" songs. Geoff Andrew, of Time Out, noted that the "string of hummable songs gives it momentum, Gray's admirably straight-faced narrator holds it together, and a run on black lingerie takes care of almost everything else", rating it 4 out of 5 stars. On the other hand, Dave Kehr of the Chicago Reader considered the wit to be "too weak to sustain a film" and thought that the "songs all sound the same". In 2005, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". In its first year of release, the film grossed $1,032,000 in the United States and Canada and $200,650 internationally. It fared better in 1976, grossing over $11 million in the United States and Canada and $2 million internationally for a worldwide total of $14.7 million. It grossed similar amounts for the next four years and had reached a gross of $57.9 million in the United States and Canada and $68.6 million worldwide by 1980. By 1984 it had reached $100 million worldwide and by 1986 it had reached that milestone in the United States and Canada and $124 million worldwide. By 1990, the film had grossed $125.6 million in the United States and Canada and $150 million worldwide. At that date, it had an estimated profit just from theatrical release grosses of $55 million. By 1999 it had grossed almost $140 million in the United States and Canada for a worldwide gross in excess of $164 million. Since 2007, it has grossed $6.1 million worldwide giving it a worldwide gross in excess of $170 million. Cult following The Rocky Horror Picture Show helped shape conditions of cult film's transition from art-house to exploitation style. The film developed a cult following in 1976 at the Waverly Theatre in New York, which developed into a standardised ritual. According to J. Hoberman, author of Midnight Movies, it was after five months into the film's midnight run when lines began to be shouted by the audience. Louis Farese Jr., a normally quiet teacher, upon seeing the character Janet place a newspaper over her head to protect herself from rain, yelled, "Buy an umbrella, you cheap bitch." Originally, Louis and other Rocky Horror pioneers, including Amy Lazarus, Theresa Krakauskas, and Bill O'Brian, did this to entertain each other, each week trying to come up with something new to make each other laugh. This quickly caught on with other theatre-goers and thus began this self-proclaimed "counter point dialogue", which became standard practice and was repeated nearly verbatim at each screening. Performance groups became a staple at Rocky Horror screenings due in part to the prominent New York City fan cast. The New York City cast was originally run by former schoolteacher and stand-up comic Sal Piro and his friend Dori Hartley, the latter of whom portrayed Dr. Frank N. Furter and was one of several performers, including Will Kohler as Brad Majors, Nora Poses as Janet, and Lilias Piro as Magenta, in a flexible rotating cast. The performances of the audience were scripted and actively discouraged improvising, being conformist in a similar way to the repressed characters. On Halloween in 1976, people attended in costume and talked back to the screen, and by mid-1978, Rocky Horror was playing in over 50 locations on Fridays and Saturdays at midnight. Newsletters were published by local performance groups, and fans gathered for Rocky Horror conventions. By the end of 1979, there were twice-weekly showings at over 230 theatres. The National Fan Club was established in 1977 and later merged with the International Fan Club. The fan publication The Transylvanian printed a number of issues, and a semi-regular poster magazine was published as well as an official magazine. Performance groups in the Los Angeles area originated at the Fox Theatre in 1977, where Michael Wolfson won a look-alike contest as Frank N. Furter, and won another at the Tiffany Theater on Sunset Boulevard. Wolfson's group eventually performed in all of the L.A. area theatres screening Rocky Horror, including the Balboa Theater in Balboa, The Cove at Hermosa Beach, and The Sands in Glendale. He was invited to perform at the Sombrero Playhouse in Phoenix, Arizona.[citation needed] At the Tiffany Theatre, the audience performance cast had the theatre's full cooperation; the local performers entered early and without charge. The fan playing Frank for this theatre was a transgender performer, D. Garret Gafford, who was out of work in 1978 and trying to raise the funds for a gender reassignment while spending the weekends performing at the Tiffany. By 1978, Rocky Horror had moved from an earlier San Francisco location to the Strand Theatre located near the Tenderloin on Market Street. The performance group there, Double Feature/Celluloid Jam, was the first to act out and perform almost the entire film, unlike the New York cast at that time. The Strand cast was put together from former members of an early Berkeley group, disbanded due to less than enthusiastic management. Frank N. Furter was portrayed by Marni Scofidio, who, in 1979, attracted many of the older performers from Berkeley. Other members included Mishell Erickson as Columbia, her twin sister Denise Erickson as Magenta, Kathy Dolan as Janet, and Linda "Lou" Woods as Riff Raff. The Strand group performed at two large science fiction conventions in Los Angeles and San Francisco, were offered a spot at The Mabuhay, a local punk club, and performed for children's television of Argentina. Annual Rocky Horror conventions are held in varying locations, lasting days. Tucson, Arizona has been host a number of times, including 1999 with "El Fishnet Fiesta", and "Queens of the Desert" held in 2006. Vera Dika wrote that, to the fans, Rocky Horror is ritualistic and comparable to a religious event, with a compulsive, repeated cycle of going home and coming back to see the film each weekend. The audience call-backs are similar to responses in church during a mass. Many theatre troupes exist across the United States that produce shadow-cast performances where the actors play each part in the film in full costume, with props, as the movie plays on the big screen in a movie theatre. O'Brien's Orchestra, formerly known as the Queerios (based in Austin, Texas), is the longest running shadow-cast in Texas. The film has a global following and remains popular. Subcultures such as Rocky Horror have also found a place on the Internet. Audience participation scripts for many cities are available for download from the internet. The internet has a number of Rocky Horror fan-run websites with various quizzes and information, specialising in different content, allowing fans to participate at a unique level. Members of the LGBT community comprised a large part of the Rocky Horror cult following; they identified with the embrace of sexual liberation and androgyny, and attended show after show, slowly forming a community. Judith A. Peraino compares Brad and Janet's initiation into Frank N. Furter's world to the self-discovery of "queer identity", and to the traditional initiation of "virgins" in the shadow screenings. June Thomas describes the midnight screenings in Newark, Delaware as a "very queer scene", which increased visibility for the LGBTQ community: "The folks standing in line outside the State in fishnets and makeup every Saturday night undoubtedly widened the sphere of possibilities for gender expression on Main Street." The Rocky Horror Picture Show remains a cultural phenomenon in both the US and UK Cult film participants are often people on the fringe of society who find connection and community at the screenings, although the film attracts fans of differing backgrounds all over the world. "Bisexuality, The Rocky Horror Picture Show, and Me", by Elizabeth Reba Weise, is part of the publication, Bi Any Other Name: Bisexual People Speak Out (1991), an anthology edited by Loraine Hutchins and Lani Kaʻahumanu about the history of the modern bisexual rights movement that is one of the first publications of bisexual literature. The Rocky Horror Picture Show has been featured in a number of other feature films and television series over the years. Episodes of The Simpsons, The Venture Bros., Cold Case, Tuca & Bertie, The Boondocks, Glee, The Drew Carey Show, That '70s Show, Deutschland 86, Mickey Mouse Clubhouse, and American Dad! spotlight Rocky Horror, as do films such as Vice Squad (1982), Halloween II (2009), and The Perks of Being a Wallflower (2012). The 1980 film Fame featured the audience reciting their callback lines to the screen and dancing the Time Warp, the dance from the stage show and film, which has become a novelty dance at parties. Dr. Frank-N-Furter influenced the appearance of Emporio Ivankov, a transvestite character from the manga/anime series One Piece. Director Rob Zombie cited Rocky Horror as a major influence on his film House of 1000 Corpses (2003), while the film's fan culture of cosplaying and audience participation during screenings laid the groundwork for the similarly influential cult following surrounding Tommy Wiseau's The Room (2003). Rocky Horror also inspired John McPhail's zombie musical Anna and the Apocalypse (2018). Sabrina Carpenter's "Tears" music video takes inspiration from the film, with her portraying a character similar to Janet Weiss and actor Colman Domingo featured playing a drag tribute to Dr. Frank-N-Furter. In 2025, the film celebrated its 50-year anniversary. Celebratory events in Los Angeles included a talk at the Academy Museum which included the attendance of Tim Curry and a screening and fan-centered event at the Roxy. Sequel O'Brien drafted a sequel titled Rocky Horror Shows His Heels in 1979. This script featured the return of all of the characters from the original film, and O'Brien wished to reunite the original production team. But Sharman did not wish to revisit the original concept so directly, nor did Tim Curry wish to reprise his role.[citation needed] Instead, Sharman reunited with O'Brien to film Shock Treatment in 1981, a stand-alone feature with little continuity from the original film. Initially conceived and scripted in 1980 as The Brad and Janet Show, the film repurposed several songs from the earlier Rocky Horror Shows His Heels project with lyrical adjustments, and depicting the characters' continuing adventures in the town of Denton. Production was forced to adjust amidst the Screen Actors Guild strike; eventually the entire film was shot on a single sound stage. Shock Treatment was poorly received by critics and audiences upon release (largely due to the absence of Curry, Sarandon, and Bostwick) but over time has built its own niche following. O'Brien revisited the notion for a direct RHPS sequel in 1991, writing Revenge of the Old Queen. Producer Michael White had hoped to begin work on the production and described the script as being "in the same style as the other one. It has reflections of the past in it." Revenge of the Old Queen commenced pre-production; however, after studio head Joe Roth was ousted from Fox in 1993, the project was shelved indefinitely. Although the script went unpublished, bootleg copies have leaked online, and a song from the original demo tape circulates among fans. The script remains the property of Fox, producer of the two prior films, and remains unlikely to be revived. Between 1999 and 2001, O'Brien was working on a third attempted sequel project with the working title Rocky Horror: The Second Coming, intended as a stage production, with an option to adapt to film if met with success. This script integrated plot elements from Rocky Horror Shows His Heels paired with all-new songs. O'Brien completed a first draft of this script (which was read by Terry Jones). In the story, Brad's brother Steve seeks revenge on the aliens in the first film after Brad becomes a Las Vegas go-go dancer and falls to his death from a trapeze wearing only six-inch heels and a rhinestone choker. Also revealed is Sonny, the illegitimate son of Janet and Frank and heir to the throne of Transexual. The script never made it past early draft stages but has been shared on many fan sites. O'Brien produced Shock Treatment for the theatrical stage with a premiere at the King's Head Theatre in Islington, London in spring 2015. Remake "The Rocky Horror Glee Show" aired on 26 October 2010, as part of the second season of the television series Glee—and recreated several scenes from the film, including the opening credits. It featured Barry Bostwick and Meat Loaf in cameo roles. An EP album covering seven songs from the movie was released on 19 October 2010. On 10 April 2015, the Fox Network announced it would air a modern-day reimagining of the film, titled The Rocky Horror Picture Show: Let's Do the Time Warp Again. On 22 October 2015, Fox announced that the role of Dr. Frank N. Furter would be played by transgender actress Laverne Cox. Ryan McCartan played Brad, alongside Victoria Justice as Janet, with Reeve Carney as Riff Raff and singer/model Staz Nair as Rocky. Adam Lambert portrays Eddie. Tim Curry, who portrayed Dr. Frank N. Furter in the original film, portrays the Criminologist. On 1 February 2016, the network announced that Broadway veteran Annaleigh Ashford would portray Columbia. On 5 February 2016, Ben Vereen joined the cast as Dr. Everett von Scott. Kenny Ortega, best known for the High School Musical franchise and Michael Jackson's This Is It (2009) directed, choreographed and executive-produced the remake; Lou Adler, who was an executive producer of the original film, has the same role for the new film, which premiered on Fox on 20 October 2016. Video game An early video game adaptation was released in 1985 on Commodore 64 and 128. Another adaptation, by Freakzone Games, was released on 27 October 2024, on Microsoft Windows, Nintendo Switch, PlayStation 5, Xbox Series X and Series S. See also References Bibliography External links |
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[SOURCE: https://en.wikipedia.org/wiki/Graves%27_Disease] | [TOKENS: 4716] |
Contents Graves' disease Graves' disease, also known as toxic diffuse goiter or Basedow's disease, is an autoimmune disease that affects the thyroid. It frequently results in and is the most common cause of hyperthyroidism. It also often results in an enlarged thyroid. Signs and symptoms of hyperthyroidism may include irritability, muscle weakness, sleeping problems, a fast heartbeat, poor tolerance of heat, diarrhea and unintentional weight loss. Other symptoms may include thickening of the skin on the shins, known as pretibial myxedema, and eye bulging, a condition caused by Graves' ophthalmopathy. About 25 to 30% of people with the condition develop eye problems. The exact cause of the disease is unclear, but symptoms are a result of antibodies binding to receptors on the thyroid, causing over-expression of thyroid hormone. Persons are more likely to be affected if they have a family member with the disease. If one monozygotic twin is affected, a 30% chance exists that the other twin will also have the disease. The onset of disease may be triggered by physical or emotional stress, infection, or giving birth. Those with other autoimmune diseases, such as type 1 diabetes and rheumatoid arthritis, are more likely to be affected. Smoking increases the risk of disease and may worsen eye problems. The disorder results from an antibody, called thyroid-stimulating immunoglobulin (TSI), that has a similar effect to thyroid stimulating hormone (TSH). These TSI antibodies cause the thyroid gland to produce excess thyroid hormones. The diagnosis may be suspected based on symptoms and confirmed with blood tests and radioiodine uptake. Typically, blood tests show a raised T3 and T4, low TSH, increased radioiodine uptake in all areas of the thyroid, and TSI antibodies. The three treatment options are radioiodine therapy, medications, and thyroid surgery. Radioiodine therapy involves taking iodine-131 by mouth, which is then concentrated in the thyroid and destroys it over weeks to months. The resulting hypothyroidism is treated with synthetic thyroid hormones. Medications such as beta blockers may control some of the symptoms, and antithyroid medications such as methimazole may temporarily help people, while other treatments are having an effect. Surgery to remove the thyroid is another option. Eye problems may require additional treatments. Graves' disease develops in about 0.5% of males and 3.0% of females. It occurs about 7.5 times more often in women than in men. Often, it starts between the ages of 40 and 60, but can begin at any age. It is the most common cause of hyperthyroidism in the United States (about 50 to 80% of cases). The condition is named after Irish surgeon Robert Graves, who described it in 1835. Many prior descriptions also exist. Signs and symptoms The signs and symptoms of Graves' disease virtually all result from the direct and indirect effects of hyperthyroidism, with the main exceptions being Graves ophthalmopathy, goiter, and pretibial myxedema (which are caused by the autoimmune processes of the disease). Symptoms of the resultant hyperthyroidism are mainly insomnia, hand tremor, hyperactivity, hair loss, excessive sweating, oligomenorrhea, itching, heat intolerance, weight loss despite increased appetite, diarrhea, frequent defecation, palpitations, periodic partial muscle weakness or paralysis in those especially of Asian descent, and skin warmth and moistness. Further signs that may be seen on physical examination are most commonly a diffusely enlarged (usually symmetric), nontender thyroid, lid lag, excessive lacrimation due to Graves' ophthalmopathy, arrhythmias of the heart, such as sinus tachycardia, atrial fibrillation, and premature ventricular contractions, and hypertension. Cause The exact cause is unclear, but it is believed to involve a combination of genetic and environmental factors. While a theoretical mechanism occurs by which exposure to severe stressors and high levels of subsequent distress such as post-traumatic stress disorder could increase the risk of immune disease and cause an aggravation of the autoimmune response that leads to Graves disease, more robust clinical data are needed for a firm conclusion. A genetic predisposition for Graves' disease is seen, with some people more prone to develop TSH receptor-activating antibodies due to a genetic cause. Human leukocyte antigen DR (especially DR3) appears to play a role. To date, no clear genetic defect has been found to point to a single-gene cause.[citation needed] Genes believed to be involved include those for thyroglobulin, thyrotropin receptor, protein tyrosine phosphatase nonreceptor type 22 (PTPN22), and cytotoxic T-lymphocyte–associated antigen 4, among others. Since Graves disease is an autoimmune disease that appears suddenly, often later in life, a viral or bacterial infection may trigger antibodies, which cross-react with the human TSH receptor, a phenomenon known as antigenic mimicry. The bacterium Yersinia enterocolitica bears structural similarity with the human thyrotropin receptor and was hypothesized to contribute to the development of thyroid autoimmunity arising from other reasons in genetically susceptible individuals. In the 1990s, Y. enterocolitica was suggested to be possibly associated with Graves' disease. More recently, the role of Y. enterocolitica has been disputed. Epstein–Barr virus is another potential trigger. Mechanism Thyroid-stimulating immunoglobulins recognize and bind to the TSH receptor, which stimulates the secretion of thyroxine (T4) and triiodothyronine (T3). Thyroxine receptors in the pituitary gland are activated by the surplus hormone, suppressing additional release of TSH in a negative feedback loop. The result is very high levels of circulating thyroid hormones and a low TSH level.[citation needed] Graves' disease is an autoimmune disorder, in which the body produces antibodies that are specific to a self-protein - the receptor for thyroid-stimulating hormone. (Antibodies to thyroglobulin and the thyroid hormones T3 and T4 may also be produced.) These antibodies cause hyperthyroidism because they bind to the TSHr and chronically stimulate it. The TSHr is expressed on the thyroid follicular cells of the thyroid gland (the cells that produce thyroid hormone), and the result of chronic stimulation is an abnormally high production of T3 and T4. This, in turn, causes the clinical symptoms of hyperthyroidism, and the enlargement of the thyroid gland is visible as a goiter. The infiltrative exophthalmos frequently encountered has been explained by postulating that the thyroid gland and the extraocular muscles share a common antigen, which is recognized by the antibodies. Antibodies binding to the extraocular muscles would cause swelling behind the eyeball. The "orange peel" skin has been explained by the infiltration of antibodies under the skin, causing an inflammatory reaction and subsequent fibrous plaques. The three types of autoantibodies to the TSH receptor are: Another effect of hyperthyroidism is bone loss from osteoporosis, caused by an increased excretion of calcium and phosphorus in the urine and stool. The effects can be minimized if the hyperthyroidism is treated early. Thyrotoxicosis can also augment calcium levels in the blood by as much as 25%. This can cause stomach upset, excessive urination, and impaired kidney function. Diagnosis Graves' disease may present clinically with one or more of these characteristic signs:[citation needed] Two signs are truly diagnostic of Graves' disease (i.e., not seen in other hyperthyroid conditions): exophthalmos and non-pitting edema (pretibial myxedema). Goiter is an enlarged thyroid gland and is of the diffuse type (i.e., spread throughout the gland). Diffuse goiter may be seen with other causes of hyperthyroidism, although Graves' disease is the most common cause of diffuse goiter. A large goiter will be visible to the naked eye, but a small one (mild enlargement of the gland) may be detectable only by physical examination. Occasionally, goiter is not clinically detectable, but may be seen only with computed tomography or ultrasound examination of the thyroid.[citation needed] Another sign of Graves' disease is hyperthyroidism, that is, overproduction of the thyroid hormones T3 and T4. Normal thyroid levels are also seen, and occasionally hypothyroidism, which may assist in causing goiter (though it is not the cause of Graves' disease). Hyperthyroidism in Graves' disease is confirmed, as with any other cause of hyperthyroidism, by measuring elevated blood levels of free (unbound) T4. Other useful laboratory measurements in Graves' disease include thyroid-stimulating hormone (TSH, usually undetectable in Graves' disease due to negative feedback from the elevated T3 and T4), and protein-bound iodine (elevated). Serologically detected thyroid-stimulating antibodies, radioactive iodine uptake, or thyroid ultrasound with Doppler, all can independently confirm a diagnosis of Graves' disease. Biopsy to obtain histological testing is not normally required, but may be obtained if thyroidectomy is performed. The goiter in Graves' disease is often not nodular, but thyroid nodules are also common. Differentiating common forms of hyperthyroidism, such as Graves' disease, single thyroid adenoma, and toxic multinodular goiter is important to determine proper treatment. The differentiation among these entities has advanced, as imaging and biochemical tests have improved. Measuring TSH-receptor antibodies with the h-TBII assay has been proven efficient and was the most practical approach found in one study. Thyroid-associated ophthalmopathy (TAO), or thyroid eye disease (TED), is the most common extrathyroidal manifestation of Graves' disease. It is a form of idiopathic lymphocytic orbital inflammation, and although its pathogenesis is not completely understood, autoimmune activation of orbital fibroblasts, which in TAO express the TSH receptor, is thought to play a central role. Hypertrophy of the extraocular muscles, adipogenesis, and deposition of nonsulfated glycosaminoglycans and hyaluronate, causes expansion of the orbital fat and muscle compartments, which within the confines of the bony orbit may lead to dysthyroid optic neuropathy, increased intraocular pressures, proptosis, venous congestion leading to chemosis and periorbital edema, and progressive remodeling of the orbital walls. Other distinctive features of TAO include lid retraction, restrictive myopathy, superior limbic keratoconjunctivitis, and exposure keratopathy.[citation needed] Severity of eye disease may be classified by the mnemonic: "NO SPECS": Typically, the natural history of TAO follows Rundle's curve, which describes a rapid worsening during an initial phase, up to a peak of maximum severity, and then improvement to a static plateau without, however, resolving back to a normal condition. Management Treatment of Graves' disease includes antithyroid drugs that reduce the production of thyroid hormone, radioiodine (radioactive iodine I-131), and thyroidectomy (surgical excision of the gland). As operating on a hyperthyroid patient is dangerous, before thyroidectomy, preoperative treatment with antithyroid drugs is given to render the patient euthyroid. Each of these treatments has advantages and disadvantages, and no single treatment approach is considered the best for everyone.[citation needed] Treatment with antithyroid medications must be administered for six months to two years to be effective. Even then, upon cessation of the drugs, the hyperthyroid state may recur. The risk of recurrence is about 40–50%, and lifelong treatment with antithyroid drugs carries some side effects such as agranulocytosis and liver disease. Side effects of the antithyroid medications include a potentially fatal reduction in the level of white blood cells. Therapy with radioiodine is the most common treatment in the United States, while antithyroid drugs and/or thyroidectomy are used more often in Europe, Japan, and most of the rest of the world. β-Blockers (such as propranolol) may be used to inhibit the sympathetic nervous system symptoms of tachycardia and nausea until antithyroid treatments begin to take effect. Pure β-blockers do not inhibit lid retraction in the eyes, which is mediated by alpha-adrenergic receptors. The main antithyroid drugs are carbimazole (in the UK), methimazole (in the US), and propylthiouracil/PTU. These drugs block the binding of iodine and the coupling of iodotyrosines. The most dangerous side effect is agranulocytosis (1/250, more in PTU). Others include granulocytopenia (dose-dependent, which improves on cessation of the drug) and aplastic anemia. Patients on these medications should see a doctor if they develop a sore throat or fever. The most common side effects are rash and peripheral neuritis. These drugs also cross the placenta and are secreted in breast milk. Lugol's iodine may be used to block hormone synthesis before surgery.[citation needed] A randomized control trial testing single-dose treatment for Graves found methimazole achieved euthyroid state more effectively after 12 weeks than did propylthiouracil (77.1% on methimazole 15 mg vs 19.4% in the propylthiouracil 150 mg groups). No difference in outcome was shown for adding thyroxine to antithyroid medication and continuing thyroxine versus placebo after antithyroid medication withdrawal. However, two markers were found that can help predict the risk of recurrence. These two markers are a positive TSHr antibody (TSHR-Ab) and smoking. A positive TSHR-Ab at the end of antithyroid drug treatment increases the risk of recurrence to 90% (sensitivity 39%, specificity 98%), and a negative TSHR-Ab at the end of antithyroid drug treatment is associated with a 78% chance of remaining in remission. Smoking was shown to have an impact independent of a positive TSHR-Ab. Radioiodine (radioactive iodine-131) was developed in the early 1940s at the Mallinckrodt General Clinical Research Center. This modality is suitable for most patients, although some prefer to use it mainly for older patients. Indications for radioiodine are failed medical therapy or surgery, and where medical or surgical therapy is contraindicated. Hypothyroidism may be a complication of this therapy, but it may be treated with thyroid hormones if it appears. The rationale for radioactive iodine is that it accumulates in the thyroid and irradiates the gland with its beta and gamma radiations, about 90% of the total radiation being emitted by the beta (electron) particles. The most common method of iodine-131 treatment is to administer a specified amount in microcuries per gram of thyroid gland based on palpation or radiodiagnostic imaging of the gland over 24 hours. Patients who receive the therapy must be monitored regularly with thyroid blood tests to ensure they are treated with thyroid hormone before they become symptomatically hypothyroid. Contraindications to RAI are pregnancy (absolute), ophthalmopathy (relative; it can aggravate thyroid eye disease), or solitary nodules. Disadvantages of this treatment are a high incidence of hypothyroidism (up to 80%) requiring eventual thyroid hormone supplementation in the form of a daily pill(s). The radioiodine treatment acts slowly (over months to years) to destroy the thyroid gland, and Graves' disease–associated hyperthyroidism is not cured in all persons by radioiodine, but has a relapse rate that depends on the dose of radioiodine which is administered. In rare cases, radiation induced thyroiditis has been linked to this treatment. This modality is suitable for young people and pregnant females. Indications for thyroidectomy can be separated into absolute indications or relative indications. These indications help decide who would benefit most from surgery. The absolute indications are a large goiter (especially when compressing the trachea), suspicious nodules or suspected cancer (to pathologically examine the thyroid), and people with ophthalmopathy and additionally if it is the person's preferred method of treatment or if refusing to undergo radioactive iodine treatment. Pregnancy is advised to be delayed for six months after radioactive iodine treatment. Both bilateral subtotal thyroidectomy and the Hartley-Dunhill procedure (hemithyroidectomy on one side and partial lobectomy on the other side) are possible. Advantages are immediate cure and potential removal of carcinoma. Its risks are injury of the recurrent laryngeal nerve, hypoparathyroidism (due to removal of the parathyroid glands), hematoma (which can be life-threatening if it compresses the trachea), relapse following medical treatment, infections (less common), and scarring. The increase in the risk of nerve injury can be due to the increased vascularity of the thyroid parenchyma and the development of links between the thyroid capsule and the surrounding tissues. Reportedly, a 1% incidence exists of permanent recurrent laryngeal nerve paralysis after complete thyroidectomy. Risks related to anesthesia are many; thus, coordination with the anesthesiologist and patient optimization for surgery preoperatively are essential. Removal of the gland enables a complete biopsy to be performed to have definite evidence of cancer anywhere in the thyroid. (Needle biopsies are not so accurate at predicting a benign state of the thyroid.) No further treatment of the thyroid is required, unless cancer is detected. A radioiodine uptake study may be done after surgery to ensure all remaining (potentially cancerous) thyroid cells (i.e., near the nerves to the vocal cords) are destroyed. Besides this, the only remaining treatment will be levothyroxine, or thyroid replacement pills to be taken for the rest of the patient's life. A 2013 review article concludes that surgery appears to be the most successful in the management of Graves' disease, with total thyroidectomy being the preferred surgical option. Mild cases are treated with lubricant eye drops or nonsteroidal anti-inflammatory drops. Severe cases threatening vision (corneal exposure or optic nerve compression) are treated with steroids or orbital decompression. In all cases, cessation of smoking is essential. Double vision can be corrected with prism glasses and surgery (the latter only when the process has been stable for a while). Difficulty closing eyes can be treated with lubricant gel at night or with tape on the eyes to enable full, deep sleep. Orbital decompression can be performed to enable bulging eyes to retreat into the head. Bone is removed from the skull behind the eyes, and space is made for the muscles and fatty tissue to fall back into the skull. For management of clinically active Graves' disease, orbitopathy (clinical activity score >2) with at least mild to moderate severity, intravenous glucocorticoids are the treatment of choice, usually administered in the form of pulse intravenous methylprednisolone. Studies have consistently shown that pulse intravenous methylprednisolone is superior to oral glucocorticoids both in terms of efficacy and decreased side effects for managing Graves' orbitopathy. Prognosis If left untreated, more serious complications could result, including birth defects in pregnancy, increased risk of a miscarriage, bone mineral loss and, in extreme cases, death (e.g. indirectly through complications, or through a thyroid storm event). Graves' disease is often accompanied by an increase in heart rate, which may lead to further heart complications, including loss of the normal heart rhythm (atrial fibrillation), which may lead to stroke. If the eyes are proptotic (bulging) enough that the lids do not close completely at night, dryness will occur, with the risk of a secondary corneal infection, which could lead to blindness. Pressure on the optic nerve behind the globe can lead to visual field defects and vision loss, as well. Prolonged, untreated hyperthyroidism can lead to bone loss, which may resolve when treated. Epidemiology Graves' disease occurs in about 0.5% of people. Graves' disease data has shown that the lifetime risk for women is around 3% and 0.5% for men. It occurs about 7.5 times more often in women than in men and often starts between the ages of 40 and 60. It is the most common cause of hyperthyroidism in the United States (about 50 to 80% of cases). History Graves' disease owes its name to the Anglo-Irish doctor Robert James Graves, who described a case of goiter with exophthalmos in 1835. (Medical eponyms are often styled nonpossessively; thus Graves' disease and Graves disease are variant stylings of the same term.) The German Karl Adolph von Basedow independently reported the same constellation of symptoms in 1840. As a result, on the European continent, the terms "Basedow syndrome", "Basedow disease", or "Morbus Basedow" are more common than "Graves' disease". Graves disease has also been called exophthalmic goiter. Less commonly, it has been known as Parry disease, Begbie disease, Flajan disease, Flajani–Basedow syndrome, and Marsh disease. These names for the disease were derived from Caleb Hillier Parry, James Begbie, Giuseppe Flajani, and Henry Marsh. Early reports, not widely circulated, of cases of goiter with exophthalmos were published by the Italians Giuseppe Flajani and Antonio Giuseppe Testa, in 1802 and 1810, respectively. Before these, Caleb Hillier Parry, a notable provincial physician in England of the late 18th century (and a friend of Edward Miller-Gallus), described a case in 1786. This case was not published until 1825 - ten years ahead of Graves. However, fair credit for the first description of Graves' disease goes to the 12th-century Persian physician Sayyid Ismail al-Jurjani, who noted the association of goiter and exophthalmos in his Thesaurus of the Shah of Khwarazm, the major medical dictionary of its time. Society and culture Research Agents that act as antagonists at thyroid-stimulating hormone receptors are under investigation as a possible treatment for Graves' disease. References External links |
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Contents Cosplay Cosplay, a blend word of "costume play", is an activity and performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character. Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject. Favorite sources include anime, cartoons, manga, comic books, television series, musical artists, video games, memes, and in some cases, original characters. The term has been adopted as slang, often in politics, to mean someone pretending to play a role or take on a personality disingenuously. Cosplay grew out of the practice of fan costuming at science fiction conventions, beginning with Morojo's "futuristicostumes" created for the 1st World Science Fiction Convention held in New York City, United States, in 1939. The Japanese term "cosplay" (コスプレ, kosupure) was coined in 1983. A rapid growth in the number of people cosplaying as a hobby since the 1990s has made the phenomenon a significant aspect of popular culture in Japan, as well as in other parts of East Asia and in the Western world. Cosplay events are common features of fan conventions, and today there are many dedicated conventions and competitions, as well as social networks, websites, and other forms of media centered on cosplay activities. Cosplay is very popular among all genders, and it is not unusual to see crossplay, also referred to as gender-bending. Etymology The term "cosplay" is a Japanese blend word of the English terms costume and play. The term was coined by Nobuyuki Takahashi [ja] of Studio Hard in an article for the Japanese magazine My Anime [ja] in June 1983. Takahashi decided to coin a new word rather than use the existing translation of the English term "masquerade" because it implied nobility and was old-fashioned. The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound: 'costume' becomes kosu (コス) and 'play' becomes pure (プレ). History Masquerade balls were a feature of the Carnival season in the 15th century, and involved increasingly elaborate allegorical Royal Entries, pageants, and triumphal processions celebrating marriages and other dynastic events of late medieval court life. They were extended into costumed public festivities in Italy during the 16th century Renaissance, generally elaborate dances held for members of the upper classes, which were particularly popular in Venice. In April 1877, French novelist Jules Verne sent out almost 700 invitations for an elaborate costume ball, where several of the guests showed up dressed as characters from Verne's novels. Costume parties (American English) or fancy dress parties (British English) were popular from the 19th century onwards. Costuming guides of the period, such as Samuel Miller's Male Character Costumes (1884) or Ardern Holt's Fancy Dresses Described (1887), feature mostly generic costumes, whether that be period costumes, national costumes, objects or abstract concepts such as "Autumn" or "Night". Most specific costumes described therein are for historical figures although some are sourced from fiction, like Alexandre Dumas' The Three Musketeers or William Shakespeare's characters. By March 1891, a literal call by one Herbert Tibbits for what would today be described as "cosplayers" was advertised for an event held from 5–10 March that year at the Royal Albert Hall in London, for the so-named Vril-Ya Bazaar and Fete based on a science fiction novel and its characters, published two decades earlier. A.D. Condo's science fiction comic strip character Mr. Skygack, from Mars (a Martian ethnographer who comically misunderstands many Earthly affairs) is arguably the first fictional character that people emulated by wearing costumes, as in 1908 Mr. and Mrs. William Fell of Cincinnati, Ohio, are reported to have attended a masquerade at a skating rink wearing Mr. Skygack and Miss Dillpickles costumes. Later, in 1910, an unnamed woman won first prize at masquerade ball in Tacoma, Washington, wearing another Skygack costume. The first people to wear costumes to attend a convention were science fiction fans Forrest J Ackerman and Myrtle R. Douglas, known in fandom as Morojo. They attended the 1939 1st World Science Fiction Convention (Nycon or 1st Worldcon) in the Caravan Hall, New York, US dressed in "futuristicostumes", including green cape and breeches, based on the pulp magazine artwork of Frank R. Paul and the 1936 film Things to Come, designed and created by Douglas. Ackerman later stated that he thought everyone was supposed to wear a costume at a science fiction convention, although only he and Douglas did. Fan costuming caught on, however, and the 2nd Worldcon (1940) had both an unofficial masquerade held in Douglas' room and an official masquerade as part of the programme. David Kyle won the masquerade wearing a Ming the Merciless costume created by Leslie Perri, while Robert A. W. Lowndes received second place with a Bar Senestro costume (from the novel The Blind Spot by Austin Hall and Homer Eon Flint). Other costumed attendees included guest of honor E. E. Smith as Northwest Smith (from C. L. Moore's series of short stories) and both Ackerman and Douglas wearing their futuristicostumes again. Masquerades and costume balls continued to be part of World Science Fiction Convention tradition thereafter. Early Worldcon masquerade balls featured a band, dancing, food and drinks. Contestants either walked across a stage or a cleared area of the dance floor. Ackerman wore a "Hunchbackerman of Notre Dame" costume to the 3rd Worldcon (1941), which included a mask designed and created by Ray Harryhausen, but soon stopped wearing costumes to conventions. Douglas wore an Akka costume (from A. Merritt's novel The Moon Pool), the mask again made by Harryhausen, to the 3rd Worldcon and a Snake Mother costume (another Merritt costume, from The Snake Mother) to the 4th Worldcon (1946). Terminology was yet unsettled; the 1944 edition of Jack Speer's Fancyclopedia used the term costume party. Rules governing costumes became established in response to specific costumes and costuming trends. The first nude contestant at a Worldcon masquerade was in 1952; but the height of this trend was in the 1970s and early 1980s, with a few every year. This eventually led to "No Costume is No Costume" rule, which banned full nudity, although partial nudity was still allowed as long as it was a legitimate representation of the character. Mike Resnick describes the best of the nude costumes as Kris Lundi wearing a harpy costume to the 32nd Worldcon (1974) (she received an honorable mention in the competition). Another costume that instigated a rule change was an attendee at the 20th Worldcon (1962) whose blaster prop fired a jet of real flame; which led to fire being banned. At the 30th WorldCon (1972), artist Scott Shaw wore a costume composed largely of peanut butter to represent his own underground comix character called "The Turd". The peanut butter rubbed off, doing damage to soft furnishings and other peoples' costumes, and then began to go rancid under the heat of the lighting. Food, odious, and messy substances were banned as costume elements after that event. Costuming spread with the science fiction conventions and the interaction of fandom. The earliest known instance of costuming at a convention in the United Kingdom was at the London Science Fiction Convention (1953) but this was only as part of a play. However, members of the Liverpool Science Fantasy Society attended the 1st Cytricon (1955), in Kettering, wearing costumes and continued to do so in subsequent years. The 15th Worldcon (1957) brought the first official convention masquerade to the UK. The 1960 Eastercon in London may have been the first British-based convention to hold an official fancy dress party as part of its programme. The joint winners were Ethel Lindsay and Ina Shorrock as two of the titular witches from the novel The Witches of Karres by James H. Schmitz. Star Trek conventions began in 1969 and major conventions began in 1972 and they have featured cosplay throughout. In Japan, costuming at conventions was a fan activity from at least the 1970s, especially after the launch of the Comiket convention in December 1975. Costuming at this time was known as kasō (仮装). The first documented case of costuming at a fan event in Japan was at Ashinocon (1978), in Hakone, at which future science fiction critic Mari Kotani wore a costume based on the cover art for Edgar Rice Burroughs' novel A Fighting Man of Mars.[Notes 1] In an interview Kotani states that there were about twenty costumed attendees at the convention's costume party—made up of members of her Triton of the Sea fan club and Kansai Entertainers (関西芸人, Kansai Geinin), antecedent of the Gainax anime studio—with most attendees in ordinary clothing. One of the Kansai group, an unnamed friend of Yasuhiro Takeda, wore an impromptu Tusken Raider costume (from the film Star Wars) made from one of the host-hotel's rolls of toilet paper. Costume contests became a permanent part of the Nihon SF Taikai conventions from Tokon VII in 1980. Possibly the first costume contest held at a comic book convention was at the 1st Academy Con held at Broadway Central Hotel in New York in August 1965. Roy Thomas, future editor-in-chief of Marvel Comics but then just transitioning from a fanzine editor to a professional comic book writer, attended in a Plastic Man costume. The first Masquerade Ball held at San Diego Comic-Con was in 1974 during the convention's 6th event. Voice actress June Foray was the master of ceremonies. Future scream queen Brinke Stevens won first place wearing a Vampirella costume. Ackerman (who was the creator of Vampirella) was in attendance and posed with Stevens for photographs. They became friends and, according to Stevens "Forry and his wife, Wendayne, soon became like my god parents." Photographer Dan Golden saw a photograph of Stevens in the Vampirella costume while visiting Ackerman's house, leading to him hiring her for a non-speaking role in her first student film, Zyzak is King (1980), and later photographing her for the cover of the first issue of Femme Fatales (1992). Stevens attributes these events to launching her acting career. As early as a year after the 1975 release of The Rocky Horror Picture Show, audience members began dressing as characters from the movie and role-playing (although the initial incentive for dressing-up was free admission) in often highly accurate costumes. Costume-Con, a conference dedicated to costuming, was first held in January 1983. The International Costumers Guild, Inc., originally known as the Greater Columbia Fantasy Costumer's Guild, was launched after the 3rd Costume-Con (1985) as a parent organization and to support costuming. Costuming had been a fan activity in Japan from the 1970s, and it became much more popular in the wake of Takahashi's report. The new term did not catch on immediately, however. It was a year or two after the article was published before it was in common use among fans at conventions. It was in the 1990s, after exposure on television and in magazines, that the term and practice of cosplaying became common knowledge in Japan. The first cosplay cafés appeared in the Akihabara area of Tokyo in the late 1990s. A temporary maid café was set up at the Tokyo Character Collection event in August 1998 to promote the video game Welcome to Pia Carrot 2 (1997). An occasional Pia Carrot Restaurant was held at the shop Gamers in Akihabara in the years up to 2000. Being linked to specific intellectual properties limited the lifespan of these cafés, which was solved by using generic maids, leading to the first permanent establishment, Cure Maid Café, which opened in March 2001. The first World Cosplay Summit was held on 12 October 2003 at the Rose Court Hotel in Nagoya, Japan, with five cosplayers invited from Germany, France and Italy. There was no contest until 2005, when the World Cosplay Championship began. The first winners were the Italian team of Giorgia Vecchini [it], Francesca Dani and Emilia Fata Livia. Worldcon masquerade attendance peaked in the 1980s and started to fall thereafter. This trend was reversed when the concept of cosplay was re-imported from Japan. Practice of cosplay Cosplay costumes vary greatly and can range from simple themed clothing to highly detailed costumes. It is generally considered different from Halloween and Mardi Gras costume wear, as the intention is to replicate a specific character, rather than to reflect the culture and symbolism of a holiday event. As such, when in costume, some cosplayers often seek to adopt the affect, mannerisms, and body language of the characters they portray (with "out of character" breaks). The characters chosen to be cosplayed may be sourced from any movie, TV series, book, comic book, video game, musical artist, anime, or manga. Some cosplayers even choose to cosplay an original character of their own design or a fusion of different genres (e.g., a steampunk version of a character), and it is a part of the ethos of cosplay that anybody can be anything, as with genderbending, crossplay, or drag, a cosplayer playing a character of another ethnicity, or a hijabi portraying Captain America. Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, with varying levels of quality. These costumes are often sold online, but also can be purchased from dealers at conventions. Japanese manufacturers of cosplay costumes reported a profit of 35 billion yen in 2008. A number of individuals also work on commission, creating custom costumes, props, or wigs designed and fitted to the individual. Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, and various raw materials, such as unstyled wigs, hair dye, cloth and sewing notions, liquid latex, body paint, costume jewelry, and prop weapons. Cosplay represents an act of embodiment. Cosplay has been closely linked to the presentation of self, yet cosplayers' ability to perform is limited by their physical features. The accuracy of a cosplay is judged based on the ability to accurately represent a character through the body, and individual cosplayers frequently are faced by their own "bodily limits" such as level of attractiveness, body size, and disability that often restrict and confine how accurate the cosplay is perceived to be. Authenticity is measured by a cosplayer's individual ability to translate on-screen manifestation to the cosplay itself. Some have argued that cosplay can never be a true representation of the character; instead, it can only be read through the body, and that true embodiment of a character is judged based on nearness to the original character form. Cosplaying can also help some of those with self-esteem problems. Many cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and qualities, thus the skill of a cosplayer may be measured by how difficult the details of the outfit are and how well they have been replicated. Because of the difficulty of replicating some details and materials, cosplayers often educate themselves in crafting specialties such as textiles, sculpture, face paint, fiberglass, fashion design, woodworking, and other uses of materials in the effort to render the look and texture of a costume accurately. Cosplayers often wear wigs in conjunction with their outfit to further improve the resemblance to the character. This is especially necessary for anime and manga or video-game characters who often have unnaturally colored and uniquely styled hair. Simpler outfits may be compensated for their lack of complexity by paying attention to material choice and overall high quality. To look more like the characters they are portraying, cosplayers might also engage in various forms of body modification. Cosplayers may opt to change their skin color utilizing make-up to more simulate the race of the character they are adopting. Contact lenses that match the color of their character's eyes are a common form of this, especially in the case of characters with particularly unique eyes as part of their trademark look. Contact lenses that make the pupil look enlarged to visually echo the large eyes of anime and manga characters are also used. Another form of body modification in which cosplayers engage is to copy any tattoos or special markings their character might have. Temporary tattoos, permanent marker, body paint, and in rare cases, permanent tattoos, are all methods used by cosplayers to achieve the desired look. Permanent and temporary hair dye, spray-in hair coloring, and specialized extreme styling products are all used by some cosplayers whose natural hair can achieve the desired hairstyle. It is also commonplace for them to shave off their eyebrows to gain a more accurate look. Some anime and video game characters have weapons or other accessories that are hard to replicate, and conventions have strict rules regarding those weapons, but most cosplayers engage in some combination of methods to obtain all the items necessary for their costumes; for example, they may commission a prop weapon, sew their own clothing, buy character jewelry from a cosplay accessory manufacturer, or buy a pair of off-the-rack shoes, and modify them to match the desired look. Cosplay may be presented in a number of ways and places. A subset of cosplay culture is centered on sex appeal, with cosplayers specifically choosing characters known for their attractiveness or revealing costumes. However, wearing a revealing costume can be a sensitive issue while appearing in public. People appearing naked at American science fiction fandom conventions during the 1970s were so common, a "no costume is no costume" rule was introduced. Some conventions throughout the United States, such as Phoenix Comicon (now known as Phoenix Fan Fusion) and Penny Arcade Expo, have also issued rules upon which they reserve the right to ask attendees to leave or change their costumes if deemed to be inappropriate to a family-friendly environment or something of a similar nature. The most popular form of presenting a cosplay publicly is by wearing it to a fan convention. Multiple conventions dedicated to anime and manga, comics, TV shows, video games, science fiction, and fantasy may be found all around the world. Cosplay-centered conventions include Cosplay Mania in the Philippines and EOY Cosplay Festival in Singapore. The single largest event featuring cosplay is the semiannual doujinshi market, Comic Market (Comiket), held in Japan during summer and winter. Comiket attracts hundreds of thousands of manga and anime fans, where thousands of cosplayers congregate on the roof of the exhibition center. In North America, the highest-attended fan conventions featuring cosplayers are San Diego Comic-Con and New York Comic Con held in the United States, and the anime-specific Anime North in Toronto, Otakon held in Washington, D.C. and Anime Expo held in Los Angeles. Europe's largest event is Japan Expo held in Paris, while the London MCM Expo and the London Super Comic Convention are the most notable in the UK. Supanova Pop Culture Expo is Australia's biggest event. Star Trek conventions have featured cosplay for many decades. These include Destination Star Trek, a UK convention, and Star Trek Las Vegas, a US convention. In different comic fairs, "Thematic Areas" are set up where cosplayers can take photos in an environment that follows that of the game or animation product from which they are taken. Sometimes the cosplayers are part of the area, playing the role of staff with the task of entertaining the other visitors. Some examples are the thematic areas dedicated to Star Wars or to Fallout. The areas are set up by not for profit associations of fans, but in some major fairs it is possible to visit areas set up directly by the developers of the video games or the producers of the anime. The appearance of cosplayers at public events makes them a popular draw for photographers. As this became apparent in the late 1980s, a new variant of cosplay developed in which cosplayers attended events mainly for the purpose of modeling their characters for still photography rather than engaging in continuous role play. Rules of etiquette were developed to minimize awkward situations involving boundaries. Cosplayers pose for photographers and photographers do not press them for personal contact information or private sessions, follow them out of the area, or take photos without permission. The rules allow the collaborative relationship between photographers and cosplayers to continue with the least inconvenience to each other. Some cosplayers choose to have a professional photographer take high quality images of them in their costumes posing as the character. Cosplayers and photographers frequently exhibit their work online and sometimes sell their images. As the popularity of cosplay has grown, many conventions have come to feature a contest surrounding cosplay that may be the main feature of the convention. Contestants present their cosplay, and often to be judged for an award, the cosplay must be self-made. The contestants may choose to perform a skit, which may consist of a short performed script or dance with optional accompanying audio, video, or images shown on a screen overhead. Other contestants may simply choose to pose as their characters. Often, contestants are briefly interviewed on stage by a master of ceremonies. The audience is given a chance to take photos of the cosplayers. Cosplayers may compete solo or in a group. Awards are presented, and these awards may vary greatly. Generally, a best cosplayer award, a best group award, and runner-up prizes are given. Awards may also go to the best skit and a number of cosplay skill subcategories, such as master tailor, master weapon-maker, master armorer, and so forth. The most well-known cosplay contest event is the World Cosplay Summit, selecting cosplayers from 40 countries to compete in the final round in Nagoya, Japan. Some other international events include European Cosplay Gathering (finals taking place at Japan Expo in Paris), EuroCosplay (finals taking place at London MCM Comic Con), and the Nordic Cosplay Championship (finals taking place at NärCon in Linköping, Sweden). This table contains a list of the most common cosplay competition judging criteria, as seen from World Cosplay Summit, Cyprus Comic Con, and ReplayFX. Portraying a character of the opposite sex is called crossplay. The practicality of crossplay and cross-dress stems in part from the abundance in manga of male characters with delicate and somewhat androgynous features. Such characters, known as bishōnen (lit. 'pretty boy'), are Asian equivalent of the elfin boy archetype represented in Western tradition by figures such as Peter Pan and Ariel. Male to female cosplayers may experience issues when trying to portray a female character because it is hard to maintain the sexualized femininity of a character. Male cosplayers may also be subjected to discrimination, including homophobic comments and being touched without permission. This affects men possibly even more often than it affects women, despite inappropriate contact already being a problem for women who cosplay, as is "slut-shaming". Animegao kigurumi players, a niche group in the realm of cosplay, are often male cosplayers who use zentai and stylized masks to represent female anime characters. These cosplayers completely hide their real features so the original appearance of their characters may be reproduced as literally as possible, and to display all the abstractions and stylizations such as oversized eyes and tiny mouths often seen in Japanese cartoon art. This does not mean that only males perform animegao or that masks are only female. "Cosplay Is Not Consent", a movement started in 2013 by Rochelle Keyhan, Erin Filson, and Anna Kegler, brought attention to the issue of sexual harassment in the convention attending cosplay community. Harassment of cosplayers include photography without permission, verbal abuse, touching, and groping. Harassment is not limited to women in provocative outfits as male cosplayers talked about being bullied for not fitting certain costume and characters. Starting in 2014, New York Comic Con placed large signs at the entrance stating that "Cosplay is Not Consent". Attendees were reminded to ask permission for photos and respect the person's right to say no. The movement against sexual harassment against cosplayers has continued to gain momentum and awareness since being publicized. Traditional mainstream news media like The Mercury News and Los Angeles Times have reported on the topic, bringing awareness of sexual harassment to those outside of the cosplay community. As cosplay has entered more mainstream media, ethnicity becomes a controversial point. Cosplayers of different skin color than the character are often ridiculed for not being 'accurate' or 'faithful'. Many cosplayers feel as if anyone can cosplay any character, but it becomes complicated when cosplayers are not respectful of the character's ethnicity. These views against non-white cosplayers within the community have been attributed to the lack of representation in the industry and in media. Issues such as blackface, brownface, and yellowface are still controversial since a large part of the cosplay community see these as separate problems, or simply an acceptable part of cosplay.[citation needed] Cosplay has influenced the advertising industry, in which cosplayers are often used for event work previously assigned to agency models. Some cosplayers have thus transformed their hobby into profitable, professional careers. Japan's entertainment industry has been home to the professional cosplayers since the rise of Comiket and Tokyo Game Show. The phenomenon is most apparent in Japan but exists to some degree in other countries as well. Professional cosplayers who profit from their art may experience problems related to copyright infringement. A cosplay model, also known as a cosplay idol, cosplays costumes for anime and manga or video game companies. Good cosplayers are viewed as fictional characters in the flesh, in much the same way that film actors come to be identified in the public mind with specific roles. Cosplayers have modeled for print magazines like Cosmode and a successful cosplay model can become the brand ambassador for companies like Cospa. Some cosplay models can achieve significant recognition. While there are many significant cosplay models, Yaya Han was described as having emerged "as a well-recognized figure both within and outside cosplay circuits". Jessica Nigri, used her recognition in cosplay to gain other opportunities such as voice acting and her own documentary on Rooster Teeth. Liz Katz used her fanbase to take her cosplay from a hobby to a successful business venture, sparking debate through the cosplay community whether cosplayers should be allowed to fund and profit from their work. In the 2000s, cosplayers started to push the boundaries of cosplay into eroticism paving the way to "erocosplay". The advent of social media coupled with crowdfunding platforms like Patreon and OnlyFans have allowed cosplay models to turn cosplay into profitable full-time careers. During protests During various protests, cosplaying as a satirization of important people and political events. In Myanmar various protests after the 2021 coup d'état various protests occurred with cosplayers. Youth groups protested on the roads by wearing cosplay costumes, skirts, wedding dresses, and other unusual clothing for daily life while holding signboards and vinyl banners that break with the country's more traditional protest messages for the purpose of grabbing attention from both domestic and international press media. Other times fictional characters are used to convey a message such as women dressing like characters from The Handmaid's Tale to protest bodily restrictions in the United States. Cosplay by country or region Cosplayers in Japan formerly referred to themselves as reiyā (レイヤー), pronounced "layer". In contemporary Japan, however, cosplayers are more commonly referred to as kosupure (コスプレ), pronounced "ko-su-pray", as the term reiyā is now more frequently used to describe literal layers (for example, hair or clothing). Words such as kawaii (可愛い) (lit. 'cute') and kakko ī (かっこいい) (lit. 'cool') were often used to describe these changes, expressions that were closely tied to notions of femininity and masculinity. Those who photograph players are known as cameko (カメコ), a shortened form of camera kozō (カメラ小僧) (lit. 'camera boy'). Originally, cameko would give printed photographs to players as gifts. Growing interest in cosplay events—both among photographers and cosplayers willing to model—has led to the formalization of procedures at events such as Comiket. Photography is conducted in designated areas separate from the exhibit halls. In Japan, wearing costumes outside of conventions or other designated areas is generally discouraged. Since 1998, Tokyo's Akihabara district has contained a number of cosplay restaurants catering to devoted anime and manga fans, in which waitresses dress as characters from video games, anime, or manga; maid cafés are particularly popular. In Japan, Tokyo's Harajuku district serves as a favored informal gathering place for engaging in cosplay in public. Events held in Akihabara also attract large numbers of cosplayers. Ishoku-hada (異色肌) is a form of Japanese cosplay in which players use body paint to alter their skin color to match that of the character they portray. This practice allows for the representation of anime or manga characters, as well as video game characters, with non-human skin tones. A 2014 survey conducted for the Comiket convention in Japan reported that approximately 75% of cosplayers attending the event were female. Cosplay is common in many East Asian countries. For example, it is a major part of the Comic World conventions taking place regularly in South Korea, Hong Kong and Taiwan. Historically, the practice of dressing up as characters from works of fiction can be traced as far as the 17th century late Ming dynasty China. Western cosplay developed primarily from science fiction and fantasy fandoms. Compared with Japan, Western cosplayers are more likely to portray characters originating from live-action television series and films. Western costuming traditions also encompass a variety of related hobbyist subcultures, including participants in Renaissance faires, live action role-playing games, and historical reenactments. Costume competitions at science fiction conventions commonly feature masquerades, in which costumes are formally judged during stage presentations, as well as hall costumes that are evaluated informally throughout the event. The growing international popularity of Japanese cartoon during the late 2000s contributed to a rise in American and other Western cosplayers portraying characters from manga and anime. Over the following decade, anime conventions became increasingly common across Western countries, often rivaling long-established science fiction, comic book, and historical conventions in terms of attendance. At these events, cosplayers—much like their Japanese counterparts—gather to display their costumes, be photographed, and participate in competitive costume events. Convention attendees also frequently choose to dress as characters from Western comic books, animated works, films, and video games. Despite increasing global exchange, cultural differences in taste remain evident. Certain costume styles that may be worn without hesitation by Japanese cosplayers are often avoided in Western contexts, particularly those that resemble Nazi uniforms. Western cosplayers may also encounter debates regarding legitimacy when portraying characters whose canonical racial backgrounds differ from their own, and instances of insensitivity toward cosplayers depicting characters of different skin tones have been documented. Western cosplayers who portray anime characters may likewise experience targeted ridicule or misunderstanding. In comparison with Japan, wearing costumes in public spaces is generally more socially accepted in countries such as the United Kingdom, Ireland, the United States, and Canada. These regions possess longer-standing traditions of Halloween costuming, fan dress, and related practices. Consequently, it is not uncommon for convention attendees in costume to be seen in nearby restaurants and public venues outside the immediate boundaries of the event itself. Media Japan is home to two especially popular cosplay magazines, Cosmode (コスモード) and ASCII Media Works' Dengeki Layers (電撃Layers). Cosmode has the largest share in the market and an English-language digital edition. Another magazine, aimed at a broader, worldwide audience is CosplayGen. In the United States, Cosplay Culture began publication in February 2015. Other magazines include CosplayZine featuring cosplayers from all over the world since October 2015, and Cosplay Realm Magazine which was started in April 2017. There are many books on the subject of cosplay as well. Cosplay groups and organizations See also Notes References Bibliography External links |
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[SOURCE: https://en.wikipedia.org/wiki/Cannabis] | [TOKENS: 7313] |
Contents Cannabis Cannabis (/ˈkænəbɪs/ ⓘ) is a genus of flowering plants in the family Cannabaceae that is widely accepted as being indigenous to and originating from the continent of Asia. However, the number of species is disputed, with as many as three species being recognized: Cannabis sativa, C. indica, and C. ruderalis. Alternatively, C. ruderalis may be included within C. sativa, or all three may be treated as subspecies of C. sativa, or C. sativa may be accepted as a single undivided species. The plant is also known as hemp, although this term is usually used to refer only to varieties cultivated for non-drug use. Hemp has long been used for fibre, seeds and their oils, leaves for use as vegetables, and juice. Industrial hemp textile products are made from cannabis plants selected to produce an abundance of fibre. Cannabis also has a long history of being used for medicinal purposes, and as a recreational drug known by several slang terms, such as marijuana, pot or weed. Various cannabis strains have been bred, often selectively to produce high or low levels of tetrahydrocannabinol (THC), a cannabinoid and the plant's principal psychoactive constituent. Compounds such as hashish and hash oil are extracted from the plant. More recently, there has been interest in other cannabinoids like cannabidiol (CBD), cannabigerol (CBG), and cannabinol (CBN). Etymology Cannabis is a Scythian word. The ancient Greeks learned of the use of cannabis by observing Scythian funerals, during which cannabis was consumed. In Akkadian, cannabis was known as qunubu (𐎯𐎫𐎠𐎭𐏂). It has been claimed by a few scholars that he word was adopted in to the Hebrew language as qaneh bosem (קָנֶה בֹּשׂם), however there is little real backing for this view, and other plants have been proposed being named that. Description Cannabis is an annual, dioecious, flowering herb. The leaves are palmately compound or digitate, with serrate leaflets. The first pair of leaves usually have a single leaflet, the number gradually increasing up to a maximum of about thirteen leaflets per leaf (usually seven or nine), depending on variety and growing conditions. At the top of a flowering plant, this number again diminishes to a single leaflet per leaf. The lower leaf pairs usually occur in an opposite leaf arrangement and the upper leaf pairs in an alternate arrangement on the main stem of a mature plant. The leaves have a peculiar and diagnostic venation pattern (which varies slightly among varieties) that allows for easy identification of Cannabis leaves from unrelated species with similar leaves. As is common in serrated leaves, each serration has a central vein extending to its tip, but in Cannabis this originates from lower down the central vein of the leaflet, typically opposite to the position of the second notch down. This means that on its way from the midrib of the leaflet to the point of the serration, the vein serving the tip of the serration passes close by the intervening notch. Sometimes the vein will pass tangentially to the notch, but often will pass by at a small distance; when the latter happens a spur vein (or occasionally two) branches off and joins the leaf margin at the deepest point of the notch. Tiny samples of Cannabis also can be identified with precision by microscopic examination of leaf cells and similar features, requiring special equipment and expertise. All known strains of Cannabis are wind-pollinated and the fruit is an achene. Most strains of Cannabis are short day plants, with the possible exception of C. sativa subsp. sativa var. spontanea (= C. ruderalis), which is commonly described as "auto-flowering" and may be day-neutral. Cannabis is predominantly dioecious, having imperfect flowers, with staminate "male" and pistillate "female" flowers occurring on separate plants. "At a very early period the Chinese recognized the Cannabis plant as dioecious", and the (c. 3rd century BCE) Erya dictionary defined xi 枲 "male Cannabis" and fu 莩 (or ju 苴) "female Cannabis". Male flowers are normally borne on loose panicles, and female flowers are borne on racemes. Many monoecious varieties have also been described, in which individual plants bear both male and female flowers. (Although monoecious plants are often referred to as "hermaphrodites", true hermaphrodites – which are less common in Cannabis – bear staminate and pistillate structures together on individual flowers, whereas monoecious plants bear male and female flowers at different locations on the same plant.) Subdioecy (the occurrence of monoecious individuals and dioecious individuals within the same population) is widespread. Many populations have been described as sexually labile. As a result of intensive selection in cultivation, Cannabis exhibits many sexual phenotypes that can be described in terms of the ratio of female to male flowers occurring in the individual, or typical in the cultivar. Dioecious varieties are preferred for drug production, where the fruits (produced by female flowers) are used. Dioecious varieties are also preferred for textile fiber production, whereas monoecious varieties are preferred for pulp and paper production. It has been suggested that the presence of monoecy can be used to differentiate licit crops of monoecious hemp from illicit drug crops, but sativa strains often produce monoecious individuals, which is possibly as a result of inbreeding. Cannabis has been described as having one of the most complicated mechanisms of sex determination among the dioecious plants. Many models have been proposed to explain sex determination in Cannabis. Based on studies of sex reversal in hemp, it was first reported by K. Hirata in 1924 that an XY sex-determination system is present. At the time, the XY system was the only known system of sex determination. The X:A system was first described in Drosophila spp in 1925. Soon thereafter, Schaffner disputed Hirata's interpretation, and published results from his own studies of sex reversal in hemp, concluding that an X:A system was in use and that furthermore sex was strongly influenced by environmental conditions. Since then, many different types of sex determination systems have been discovered, particularly in plants. Dioecy is relatively uncommon in the plant kingdom, and a very low percentage of dioecious plant species have been determined to use the XY system. In most cases where the XY system is found it is believed to have evolved recently and independently. Since the 1920s, a number of sex determination models have been proposed for Cannabis. Ainsworth describes sex determination in the genus as using "an X/autosome dosage type". The question of whether heteromorphic sex chromosomes are indeed present is most conveniently answered if such chromosomes were clearly visible in a karyotype. Cannabis was one of the first plant species to be karyotyped; however, this was in a period when karyotype preparation was primitive by modern standards. Heteromorphic sex chromosomes were reported to occur in staminate individuals of dioecious "Kentucky" hemp, but were not found in pistillate individuals of the same variety. Dioecious "Kentucky" hemp was assumed to use an XY mechanism. Heterosomes were not observed in analyzed individuals of monoecious "Kentucky" hemp, nor in an unidentified German cultivar. These varieties were assumed to have sex chromosome composition XX. According to other researchers, no modern karyotype of Cannabis had been published as of 1996. Proponents of the XY system state that Y chromosome is slightly larger than the X, but difficult to differentiate cytologically. More recently, Sakamoto and various co-authors have used random amplification of polymorphic DNA (RAPD) to isolate several genetic marker sequences that they name Male-Associated DNA in Cannabis (MADC), and which they interpret as indirect evidence of a male chromosome. Several other research groups have reported identification of male-associated markers using RAPD and amplified fragment length polymorphism. Ainsworth commented on these findings, stating, It is not surprising that male-associated markers are relatively abundant. In dioecious plants where sex chromosomes have not been identified, markers for maleness indicate either the presence of sex chromosomes which have not been distinguished by cytological methods or that the marker is tightly linked to a gene involved in sex determination. A polymerase chain reaction-based method for the detection of female-associated DNA polymorphisms by genotyping has been developed. Environmental sex determination is known to occur in a variety of species. Many researchers have suggested that sex in Cannabis is determined or strongly influenced by environmental factors. Experiments with plant hormone treatment has revealed that treatment with auxin and ethylene have feminizing effects while treat with cytokinins and gibberellins have masculinizing effects. Inducing sex-reversal (causing the growth of opposite-sex flowers) of Cannabis is agriculturally useful because it allows hybridizing plants of the same genetic sex, producing seeds that are genetically single-sexed, which is in turn useful in the cannabinoid-focused sectors (medical and recreational cannabis) as they use female flowers as raw material. Many sex-reversal agents bear no resemblance to plant hormones and work through unknown mechanisms. For example, masculinization is most commonly induced with a variety of silver compounds, including silver thiosulfate, silver nitrate, and colloidal silver (silver oxide nanoparticle). Other masculinization compounds include aminoethoxyvinylglycine and cobalt chloride. Practical feminizing compounds include ethephon (an ethylene releaser). Induced sex-reversal does not remove all effects of genetic sex. Induced sex-reversal produces defects such as decreased pollen viability and germinability. Still, enough viable pollens are produced through this method for it to be useful. Cannabis plants produce a large number of chemicals as part of their defense against herbivory. One group of these is called cannabinoids, which induce mental and physical effects when consumed. Cannabinoids, terpenes, terpenoids, and other compounds are secreted by glandular trichomes that occur most abundantly on the floral calyxes and bracts of female plants. Cannabis, like many organisms, is diploid, having a chromosome complement of 2n=20, although polyploid individuals have been artificially produced. The first genome sequence of Cannabis, which is estimated to be 820 Mb in size, was published in 2011 by a team of Canadian scientists. Taxonomy The genus Cannabis was formerly placed in the nettle family (Urticaceae) or mulberry family (Moraceae), and later, along with the genus Humulus (hops), in a separate family, the hemp family (Cannabaceae sensu stricto). Recent phylogenetic studies based on cpDNA restriction site analysis and gene sequencing strongly suggest that the Cannabaceae sensu stricto arose from within the former family Celtidaceae, and that the two families should be merged to form a single monophyletic family, the Cannabaceae sensu lato. Various types of Cannabis have been described, and variously classified as species, subspecies, or varieties: Cannabis plants produce a unique family of terpeno-phenolic compounds called cannabinoids, some of which produce the "high" which may be experienced from consuming marijuana. There are 483 identifiable chemical constituents known to exist in the cannabis plant, and at least 85 different cannabinoids have been isolated from the plant. The two cannabinoids usually produced in greatest abundance are cannabidiol (CBD) and/or Δ9-tetrahydrocannabinol (THC), but only THC is psychoactive. Since the early 1970s, Cannabis plants have been categorized by their chemical phenotype or "chemotype", based on the overall amount of THC produced, and on the ratio of THC to CBD. Although overall cannabinoid production is influenced by environmental factors, the THC/CBD ratio is genetically determined and remains fixed throughout the life of a plant. Non-drug plants produce relatively low levels of THC and high levels of CBD, while drug plants produce high levels of THC and low levels of CBD. When plants of these two chemotypes cross-pollinate, the plants in the first filial (F1) generation have an intermediate chemotype and produce intermediate amounts of CBD and THC. Female plants of this chemotype may produce enough THC to be utilized for drug production. Whether the drug and non-drug, cultivated and wild types of Cannabis constitute a single, highly variable species, or the genus is polytypic with more than one species, has been a subject of debate for well over two centuries. This is a contentious issue because there is no universally accepted definition of a species. One widely applied criterion for species recognition is that species are "groups of actually or potentially interbreeding natural populations which are reproductively isolated from other such groups." Populations that are physiologically capable of interbreeding, but morphologically or genetically divergent and isolated by geography or ecology, are sometimes considered to be separate species. Physiological barriers to reproduction are not known to occur within Cannabis, and plants from widely divergent sources are interfertile. However, physical barriers to gene exchange (such as the Himalayan mountain range) might have enabled Cannabis gene pools to diverge before the onset of human intervention, resulting in speciation. It remains controversial whether sufficient morphological and genetic divergence occurs within the genus as a result of geographical or ecological isolation to justify recognition of more than one species. The genus Cannabis was first classified using the "modern" system of taxonomic nomenclature by Carl Linnaeus in 1753, who devised the system still in use for the naming of species. He considered the genus to be monotypic, having just a single species that he named Cannabis sativa L.[a 1] Linnaeus was familiar with European hemp, which was widely cultivated at the time. This classification was supported by Christiaan Hendrik Persoon (in 1807), Lindley (in 1838) and De Candollee (in 1867). These first classification attempts resulted in a four group division: In 1785, evolutionary biologist Jean-Baptiste de Lamarck published a description of a second species of Cannabis, which he named Cannabis indica Lam. Lamarck based his description of the newly named species on morphological aspects (trichomes, leaf shape) and geographic localization of plant specimens collected in India. He described C. indica as having poorer fiber quality than C. sativa, but greater utility as an inebriant. Also, C. indica was considered smaller, by Lamarck. Also, woodier stems, alternate ramifications of the branches, narrow leaflets, and a villous calyx in the female flowers were characteristics noted by the botanist. In 1843, William O'Shaughnessy, used "Indian hemp (C. indica)" in a work title. The author claimed that this choice wasn't based on a clear distinction between C. sativa and C. indica, but may have been influenced by the choice to use the term "Indian hemp" (linked to the plant's history in India), hence naming the species as indica. Additional Cannabis species were proposed in the 19th century, including strains from China and Vietnam (Indo-China) assigned the names Cannabis chinensis Delile, and Cannabis gigantea Delile ex Vilmorin. However, many taxonomists found these putative species difficult to distinguish. In the early 20th century, the single-species concept (monotypic classification) was still widely accepted, except in the Soviet Union, where Cannabis continued to be the subject of active taxonomic study. The name Cannabis indica was listed in various Pharmacopoeias, and was widely used to designate Cannabis suitable for the manufacture of medicinal preparations. In 1924, Russian botanist D.E. Janichevsky concluded that ruderal Cannabis in central Russia is either a variety of C. sativa or a separate species, and proposed C. sativa L. var. ruderalis Janisch, and Cannabis ruderalis Janisch, as alternative names. In 1929, renowned plant explorer Nikolai Vavilov assigned wild or feral populations of Cannabis in Afghanistan to C. indica Lam. var. kafiristanica Vav., and ruderal populations in Europe to C. sativa L. var. spontanea Vav. Vavilov, in 1931, proposed a three species system, independently reinforced by Schultes et al (1975) and Emboden (1974): C. sativa, C. indica and C. ruderalis. In 1940, Russian botanists Serebriakova and Sizov proposed a complex poly-species classification in which they also recognized C. sativa and C. indica as separate species. Within C. sativa they recognized two subspecies: C. sativa L. subsp. culta Serebr. (consisting of cultivated plants), and C. sativa L. subsp. spontanea (Vav.) Serebr. (consisting of wild or feral plants). Serebriakova and Sizov split the two C. sativa subspecies into 13 varieties, including four distinct groups within subspecies culta. However, they did not divide C. indica into subspecies or varieties. Zhukovski, in 1950, also proposed a two-species system, but with C. sativa L. and C. ruderalis. In the 1970s, the taxonomic classification of Cannabis took on added significance in North America. Laws prohibiting Cannabis in the United States and Canada specifically named products of C. sativa as prohibited materials. Enterprising attorneys for the defense in a few drug busts argued that the seized Cannabis material may not have been C. sativa, and was therefore not prohibited by law. Attorneys on both sides recruited botanists to provide expert testimony. Among those testifying for the prosecution was Dr. Ernest Small, while Dr. Richard E. Schultes and others testified for the defense. The botanists engaged in heated debate (outside of court), and both camps impugned the other's integrity. The defense attorneys were not often successful in winning their case, because the intent of the law was clear. In 1976, Canadian botanist Ernest Small and American taxonomist Arthur Cronquist published a taxonomic revision that recognizes a single species of Cannabis with two subspecies (hemp or drug; based on THC and CBD levels) and two varieties in each (domesticated or wild). The framework is thus: This classification was based on several factors including interfertility, chromosome uniformity, chemotype, and numerical analysis of phenotypic characters. Professors William Emboden, Loran Anderson, and Harvard botanist Richard E. Schultes and coworkers also conducted taxonomic studies of Cannabis in the 1970s, and concluded that stable morphological differences exist that support recognition of at least three species, C. sativa, C. indica, and C. ruderalis. For Schultes, this was a reversal of his previous interpretation that Cannabis is monotypic, with only a single species. According to Schultes' and Anderson's descriptions, C. sativa is tall and laxly branched with relatively narrow leaflets, C. indica is shorter, conical in shape, and has relatively wide leaflets, and C. ruderalis is short, branchless, and grows wild in Central Asia. This taxonomic interpretation was embraced by Cannabis aficionados who commonly distinguish narrow-leafed "sativa" strains from wide-leafed "indica" strains. McPartland's review finds the Schultes taxonomy inconsistent with prior work (protologs) and partly responsible for the popular usage. The scientific debate regarding taxonomy has had little effect on the terminology in widespread use among cultivators and users of drug-type Cannabis. Cannabis aficionados recognize three distinct types based on such factors as morphology, native range, aroma, and subjective psychoactive characteristics. "Sativa" is the most widespread variety, which is usually tall, laxly branched, and found in warm lowland regions. "Indica" designates shorter, bushier plants adapted to cooler climates and highland environments. "Ruderalis" is the informal name for the short plants that grow wild in Europe and Central Asia. The popular scheme is roughly based on Schultes's framework, with some added emphasis on subjective effects. "Ruderalis" is a very vague concept in popular taxonomy. It may refer to any plant that exhibits wild-type morphology, early flowering (day-neutral flowering, "autoflowering"), or roughly equal CBD and THC levels. Molecular analytical techniques developed in the late 20th century are being applied to questions of taxonomic classification. This has resulted in many reclassifications based on evolutionary systematics. Several studies of random amplified polymorphic DNA (RAPD) and other types of genetic markers have been conducted on drug and fiber strains of Cannabis, primarily for plant breeding and forensic purposes. Dutch Cannabis researcher E.P.M. de Meijer and coworkers described some of their RAPD studies as showing an "extremely high" degree of genetic polymorphism between and within populations, suggesting a high degree of potential variation for selection, even in heavily selected hemp cultivars. They also commented that these analyses confirm the continuity of the Cannabis gene pool throughout the studied accessions, and provide further confirmation that the genus consists of a single species, although theirs was not a systematic study per se. An investigation of genetic, morphological, and chemotaxonomic variation among 157 Cannabis accessions of known geographic origin, including fiber, drug, and feral populations showed cannabinoid variation in Cannabis germplasm. The patterns of cannabinoid variation support recognition of C. sativa and C. indica as separate species, but not C. ruderalis. C. sativa contains fiber and seed landraces, and feral populations, derived from Europe, Central Asia, and Turkey. Narrow-leaflet and wide-leaflet drug accessions, southern and eastern Asian hemp accessions, and feral Himalayan populations were assigned to C. indica. In 2005, a genetic analysis of the same set of accessions led to a three-species classification, recognizing C. sativa, C. indica, and (tentatively) C. ruderalis. Another paper in the series on chemotaxonomic variation in the terpenoid content of the essential oil of Cannabis revealed that several wide-leaflet drug strains in the collection had relatively high levels of certain sesquiterpene alcohols, including guaiol and isomers of eudesmol, that set them apart from the other putative taxa. A 2015 analysis of single-nucleotide polymorphisms (SNPs) found a clear divide between the drug/resin and hemp/fiber varieties, lending credence to the botanic (Small's) classification scheme. A 2020 analysis of SNPs reports five clusters of Cannabis. K1 through K3 form a larger cluster corresponding to folk "indica". K4 corresponds to folk "sativa". K5 is a non-resin (fiber/hemp) cluster. There is currently a great conflict between the different schemes of Cannabis nomenclature due to the split from botanic orthodoxy initiated by many errors of Schultes, which is further modified by folk usage. Breeders, seed companies, and cultivators of drug type Cannabis often describe the ancestry or gross phenotypic characteristics of cultivars by categorizing them as "pure indica", "mostly indica", "indica/sativa", "mostly sativa", or "pure sativa". These categories are highly arbitrary and borderline meaningless due to the current nomenclatural confusion. For example: Legalization of cannabis in Canada (as of 17 October 2018[update]) may help spur private-sector research, especially in terms of diversification of strains. It is also hoped improve classification accuracy for cannabis used recreationally. Legalization coupled with Canadian government (Health Canada) oversight of production and labelling will likely result in more—and more accurate—testing to determine exact strains and content. Furthermore, the rise of craft cannabis growers in Canada should ensure quality, experimentation/research, and diversification of strains among private-sector producers. However, there exists a large discrapency of Cannabis nomenclature even in the research sphere. Simply improving classification techniques will not solve the ambiguity of names until an agreement is reached. For example, the 2015 and 2020 SNP studies mentioned above are both conducted at Canadian universities, but they use opposite nomenclatural concepts: the 2015 study adoptes the botanic terminology while the 2020 study adopts the folk (subject effect) terminology. Cannabis likely split from its closest relative, Humulus (hops), during the mid Oligocene, around 27.8 million years ago according to molecular clock estimates. The centre of origin of Cannabis is likely in the northeastern Tibetan Plateau. The pollen of Humulus and Cannabis are very similar and difficult to distinguish. The oldest pollen thought to be from Cannabis is from Ningxia, China, on the boundary between the Tibetan Plateau and the Loess Plateau, dating to the early Miocene, around 19.6 million years ago. Cannabis was widely distributed over Asia by the Late Pleistocene. The oldest known Cannabis in South Asia dates to around 32,000 years ago. Uses Cannabis is used for a wide variety of purposes. According to genetic and archaeological evidence, cannabis was first domesticated about 12,000 years ago in East Asia during the early Neolithic period. The use of cannabis as a mind-altering drug has been documented by archaeological finds in prehistoric societies in Eurasia and Africa. The oldest written record of cannabis usage is the Greek historian Herodotus's reference to the central Eurasian Scythians taking cannabis steam baths. His Histories (c. 440 BCE) records, "The Scythians, as I said, take some of this hemp-seed [presumably, flowers], and, creeping under the felt coverings, throw it upon the red-hot stones; immediately it smokes, and gives out such a vapour as no Greek vapour-bath can exceed; the Scyths, delighted, shout for joy." In China, the psychoactive properties of cannabis are described in the Shennong Bencaojing (3rd century AD). Cannabis smoke was inhaled by Daoists, who burned it in incense burners. In the Middle East, use spread throughout the Islamic empire to North Africa. In 1545, cannabis spread to the western hemisphere where Spaniards imported it to Chile for its use as fiber. In North America, cannabis, in the form of hemp, was grown for use in rope, cloth and paper. Cannabinol (CBN) was the first compound to be isolated from cannabis extract in the late 1800s. Its structure and chemical synthesis were achieved by 1940, followed by some of the first preclinical research studies to determine the effects of individual cannabis-derived compounds in vivo. Globally, in 2013, 60,400 kilograms of cannabis were produced legally. Cannabis is a popular recreational drug around the world, only behind alcohol, caffeine, and tobacco. In the U.S. alone, it is believed that over 100 million Americans have tried cannabis, with 25 million Americans having used it within the past year.[when?] As a drug it usually comes in the form of dried marijuana, hashish, or various extracts collectively known as hashish oil. Normal cognition is restored after approximately three hours for larger doses via a smoking pipe, bong or vaporizer. However, if a large amount is taken orally the effects may last much longer. After 24 hours to a few days, minuscule psychoactive effects may be felt, depending on dosage, frequency and tolerance to the drug. Cannabidiol (CBD), which has no intoxicating effects by itself (although sometimes showing a small stimulant effect, similar to caffeine), is thought to reduce the anxiety-inducing effects of high doses of THC, particularly if administered orally prior to THC exposure. According to Delphic analysis by British researchers in 2007, cannabis has a lower risk factor for dependence compared to both nicotine and alcohol. However, everyday use of cannabis may be correlated with psychological withdrawal symptoms, such as irritability or insomnia, and susceptibility to a panic attack may increase as levels of THC metabolites rise. Cannabis withdrawal symptoms are typically mild and are not life-threatening. Risk of adverse outcomes from cannabis use may be reduced by implementation of evidence-based education and intervention tools communicated to the public with practical regulation measures. In 2014 there were an estimated 182.5 million cannabis users worldwide (3.8% of the global population aged 15–64). This percentage did not change significantly between 1998 and 2014.[needs update] Medical cannabis (or medical marijuana) refers to the use of cannabis and its constituent cannabinoids, in an effort to treat disease or improve symptoms. Cannabis is used to reduce nausea and vomiting during chemotherapy, to improve appetite in people with HIV/AIDS, and to treat chronic pain and muscle spasms. Cannabinoids are under preliminary research for their potential to affect stroke. Evidence is lacking for depression, anxiety, attention deficit hyperactivity disorder, Tourette syndrome, post-traumatic stress disorder, and psychosis. Two extracts of cannabis – dronabinol and nabilone – are approved by the FDA as medications in pill form for treating the side effects of chemotherapy and AIDS. Short-term use increases both minor and major adverse effects. Common side effects include dizziness, feeling tired, vomiting, and hallucinations. Long-term effects of cannabis are not clear. Concerns including memory and cognition problems, risk of addiction, schizophrenia in young people, and the risk of children taking it by accident. The term hemp is used to name the durable soft fiber from the Cannabis plant stem (stalk). Cannabis sativa cultivars are used for fibers due to their long stems; Sativa varieties may grow more than six metres tall. However, hemp can refer to any industrial or foodstuff product that is not intended for use as a drug. Many countries regulate limits for psychoactive compound (THC) concentrations in products labeled as hemp. Cannabis for industrial uses is valuable in tens of thousands of commercial products, especially as fibre ranging from paper, cordage, construction material and textiles in general, to clothing. Hemp is stronger and longer-lasting than cotton. It also is a useful source of foodstuffs (hemp milk, hemp seed, hemp oil) and biofuels. Hemp has been used by many civilizations, from China to Europe (and later North America) during the last 12,000 years. In modern times novel applications and improvements have been explored with modest commercial success. In the US, "industrial hemp" is classified by the federal government as cannabis containing no more than 0.3% THC by dry weight. This classification was established in the 2018 Farm Bill and was refined to include hemp-sourced extracts, cannabinoids, and derivatives in the definition of hemp. The cannabis plant has a history of medicinal use dating back thousands of years across many cultures. The Yanghai Tombs, a vast ancient cemetery (54 000 m2) situated in the Turfan district of the Xinjiang Uyghur Autonomous Region in northwest China, have revealed the 2700-year-old grave of a shaman. He is thought to have belonged to the Jushi culture recorded in the area centuries later in the Hanshu, Chap 96B. Near the head and foot of the shaman was a large leather basket and wooden bowl filled with 789g of cannabis, superbly preserved by climatic and burial conditions. An international team demonstrated that this material contained THC. The cannabis was presumably employed by this culture as a medicinal or psychoactive agent, or an aid to divination. This is the oldest documentation of cannabis as a pharmacologically active agent. The earliest evidence of cannabis smoking has been found in the 2,500-year-old tombs of Jirzankal Cemetery in the Pamir Mountains in Western China, where cannabis residue were found in burners with charred pebbles possibly used during funeral rituals. Settlements which date from c. 2200–1700 BCE in the Bactria and Margiana contained elaborate ritual structures with rooms containing everything needed for making drinks containing extracts from poppy (opium), hemp (cannabis), and ephedra (which contains ephedrine).: 262 Although there is no evidence of ephedra being used by steppe tribes, they engaged in cultic use of hemp. Cultic use ranged from Romania to the Yenisei River and had begun by 3rd millennium BC Smoking hemp has been found at Pazyryk.: 306 Cannabis is first referred to in Hindu Vedas between 2000 and 1400 BCE, in the Atharvaveda. By the 10th century CE, it has been suggested that it was referred to by some in India as "food of the gods". Cannabis use eventually became a ritual part of the Hindu festival of Holi. One of the earliest to use this plant in medical purposes was Korakkar, one of the 18 Siddhas.[self-published source?] The plant is called Korakkar Mooli in the Tamil language, meaning Korakkar's herb. In Buddhism, cannabis is generally regarded as an intoxicant and may be a hindrance to development of meditation and clear awareness. In ancient Germanic culture, cannabis was associated with the Norse love goddess, Freya. An anointing oil mentioned in Exodus is, by some translators, said to contain cannabis. In modern times, the Rastafari movement has embraced cannabis as a sacrament. Elders of the Ethiopian Zion Coptic Church, a religious movement founded in the U.S. in 1975 with no ties to either Ethiopia or the Coptic Church, consider cannabis to be the Eucharist, claiming it as an oral tradition from Ethiopia dating back to the time of Christ. Like the Rastafari, some modern Gnostic Christian sects have asserted that cannabis is the Tree of Life. Other organized religions founded in the 20th century that treat cannabis as a sacrament are the THC Ministry, Cantheism, the Cannabis Assembly and the Church of Cognizance. Since the 13th century CE, cannabis has been used among Sufis – the mystical interpretation of Islam that exerts strong influence over local Muslim practices in Bangladesh, India, Indonesia, Turkey, and Pakistan. Cannabis preparations are frequently used at Sufi festivals in those countries. Pakistan's Shrine of Lal Shahbaz Qalandar in Sindh province is particularly renowned for the widespread use of cannabis at the shrine's celebrations, especially its annual Urs festival and Thursday evening dhamaal sessions – or meditative dancing sessions. See also Notes References Further reading External links |
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Contents Visual effects Visual effects (sometimes abbreviated as VFX) is the process by which imagery is created or manipulated outside the context of a live-action shot in filmmaking and video production. The integration of live-action footage and other live-action footage or computer-generated imagery (CGI) elements to create realistic imagery is called VFX. VFX involves the integration of live-action footage (which may include in-camera special effects) and generated-imagery (digital or optics, animals or creatures) which look realistic, but would be dangerous, expensive, impractical, time-consuming or impossible to capture on film. Visual effects using CGI have more recently become accessible to the independent filmmaker with the introduction of affordable and relatively easy-to-use animation and compositing software. History In 1857, Oscar Rejlander created the world's first "special effects" image by combining different sections of 32 negatives into a single image, making a montaged combination print. In 1895, Alfred Clark created what is commonly accepted as the first-ever motion picture special effect. While filming a reenactment of the beheading of Mary, Queen of Scots, Clark instructed an actor to step up to the block in Mary's costume. As the executioner brought the axe above his head, Clark stopped the camera, had all the actors freeze, and had the person playing Mary step off the set. He placed a Mary dummy in the actor's place, restarted filming, and allowed the executioner to bring the axe down, severing the dummy's head. Techniques like these would dominate the production of special effects for a century. It was not only the first use of trickery in cinema, it was also the first type of photographic trickery that was only possible in a motion picture, and referred to as the "stop trick". Georges Méliès, an early motion picture pioneer, accidentally discovered the same "stop trick". According to Méliès, his camera jammed while filming a street scene in Paris. When he screened the film, he found that the "stop trick" had caused a truck to turn into a hearse, pedestrians to change direction, and men to turn into women. Méliès, the director of the Théâtre Robert-Houdin, was inspired to develop a series of more than 500 short films, between 1896 and 1913, in the process developing or inventing such techniques as multiple exposures, time-lapse photography, dissolves, and hand-painted color. Because of his ability to seemingly manipulate and transform reality with the cinematograph, the prolific Méliès is sometimes referred to as the "Cinemagician". His most famous film, Le Voyage dans la lune (1902), a whimsical parody of Jules Verne's From the Earth to the Moon, featured a combination of live action and animation, and also incorporated extensive miniature and matte painting work. VFX today is heavily used in almost all movies produced. Other than films, television series and web series are also known to utilize VFX. Techniques Production pipeline Visual effects are often integral to a movie's story and appeal. Although most visual effects work is completed during post-production, it usually must be carefully planned and choreographed in pre-production and production. While special effects such as explosions and car chases are made on set, visual effects are primarily executed in post-production with the use of multiple tools and technologies such as graphic design, modeling, animation and similar software. A visual effects supervisor is usually involved with the production from an early stage to work closely with production and the film's director to design, guide and lead the teams required to achieve the desired effects. Many studios specialize in visual effects; among them are Digital Domain, DreamWorks, DNEG, Framestore, Weta Digital, Industrial Light & Magic, Pixomondo, Moving Picture Company, Animal Logic, Reel FX Animation, Sony Pictures Imageworks and Jellyfish Pictures. See also References Sources |
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Contents Cosplay Cosplay, a blend word of "costume play", is an activity and performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character. Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject. Favorite sources include anime, cartoons, manga, comic books, television series, musical artists, video games, memes, and in some cases, original characters. The term has been adopted as slang, often in politics, to mean someone pretending to play a role or take on a personality disingenuously. Cosplay grew out of the practice of fan costuming at science fiction conventions, beginning with Morojo's "futuristicostumes" created for the 1st World Science Fiction Convention held in New York City, United States, in 1939. The Japanese term "cosplay" (コスプレ, kosupure) was coined in 1983. A rapid growth in the number of people cosplaying as a hobby since the 1990s has made the phenomenon a significant aspect of popular culture in Japan, as well as in other parts of East Asia and in the Western world. Cosplay events are common features of fan conventions, and today there are many dedicated conventions and competitions, as well as social networks, websites, and other forms of media centered on cosplay activities. Cosplay is very popular among all genders, and it is not unusual to see crossplay, also referred to as gender-bending. Etymology The term "cosplay" is a Japanese blend word of the English terms costume and play. The term was coined by Nobuyuki Takahashi [ja] of Studio Hard in an article for the Japanese magazine My Anime [ja] in June 1983. Takahashi decided to coin a new word rather than use the existing translation of the English term "masquerade" because it implied nobility and was old-fashioned. The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound: 'costume' becomes kosu (コス) and 'play' becomes pure (プレ). History Masquerade balls were a feature of the Carnival season in the 15th century, and involved increasingly elaborate allegorical Royal Entries, pageants, and triumphal processions celebrating marriages and other dynastic events of late medieval court life. They were extended into costumed public festivities in Italy during the 16th century Renaissance, generally elaborate dances held for members of the upper classes, which were particularly popular in Venice. In April 1877, French novelist Jules Verne sent out almost 700 invitations for an elaborate costume ball, where several of the guests showed up dressed as characters from Verne's novels. Costume parties (American English) or fancy dress parties (British English) were popular from the 19th century onwards. Costuming guides of the period, such as Samuel Miller's Male Character Costumes (1884) or Ardern Holt's Fancy Dresses Described (1887), feature mostly generic costumes, whether that be period costumes, national costumes, objects or abstract concepts such as "Autumn" or "Night". Most specific costumes described therein are for historical figures although some are sourced from fiction, like Alexandre Dumas' The Three Musketeers or William Shakespeare's characters. By March 1891, a literal call by one Herbert Tibbits for what would today be described as "cosplayers" was advertised for an event held from 5–10 March that year at the Royal Albert Hall in London, for the so-named Vril-Ya Bazaar and Fete based on a science fiction novel and its characters, published two decades earlier. A.D. Condo's science fiction comic strip character Mr. Skygack, from Mars (a Martian ethnographer who comically misunderstands many Earthly affairs) is arguably the first fictional character that people emulated by wearing costumes, as in 1908 Mr. and Mrs. William Fell of Cincinnati, Ohio, are reported to have attended a masquerade at a skating rink wearing Mr. Skygack and Miss Dillpickles costumes. Later, in 1910, an unnamed woman won first prize at masquerade ball in Tacoma, Washington, wearing another Skygack costume. The first people to wear costumes to attend a convention were science fiction fans Forrest J Ackerman and Myrtle R. Douglas, known in fandom as Morojo. They attended the 1939 1st World Science Fiction Convention (Nycon or 1st Worldcon) in the Caravan Hall, New York, US dressed in "futuristicostumes", including green cape and breeches, based on the pulp magazine artwork of Frank R. Paul and the 1936 film Things to Come, designed and created by Douglas. Ackerman later stated that he thought everyone was supposed to wear a costume at a science fiction convention, although only he and Douglas did. Fan costuming caught on, however, and the 2nd Worldcon (1940) had both an unofficial masquerade held in Douglas' room and an official masquerade as part of the programme. David Kyle won the masquerade wearing a Ming the Merciless costume created by Leslie Perri, while Robert A. W. Lowndes received second place with a Bar Senestro costume (from the novel The Blind Spot by Austin Hall and Homer Eon Flint). Other costumed attendees included guest of honor E. E. Smith as Northwest Smith (from C. L. Moore's series of short stories) and both Ackerman and Douglas wearing their futuristicostumes again. Masquerades and costume balls continued to be part of World Science Fiction Convention tradition thereafter. Early Worldcon masquerade balls featured a band, dancing, food and drinks. Contestants either walked across a stage or a cleared area of the dance floor. Ackerman wore a "Hunchbackerman of Notre Dame" costume to the 3rd Worldcon (1941), which included a mask designed and created by Ray Harryhausen, but soon stopped wearing costumes to conventions. Douglas wore an Akka costume (from A. Merritt's novel The Moon Pool), the mask again made by Harryhausen, to the 3rd Worldcon and a Snake Mother costume (another Merritt costume, from The Snake Mother) to the 4th Worldcon (1946). Terminology was yet unsettled; the 1944 edition of Jack Speer's Fancyclopedia used the term costume party. Rules governing costumes became established in response to specific costumes and costuming trends. The first nude contestant at a Worldcon masquerade was in 1952; but the height of this trend was in the 1970s and early 1980s, with a few every year. This eventually led to "No Costume is No Costume" rule, which banned full nudity, although partial nudity was still allowed as long as it was a legitimate representation of the character. Mike Resnick describes the best of the nude costumes as Kris Lundi wearing a harpy costume to the 32nd Worldcon (1974) (she received an honorable mention in the competition). Another costume that instigated a rule change was an attendee at the 20th Worldcon (1962) whose blaster prop fired a jet of real flame; which led to fire being banned. At the 30th WorldCon (1972), artist Scott Shaw wore a costume composed largely of peanut butter to represent his own underground comix character called "The Turd". The peanut butter rubbed off, doing damage to soft furnishings and other peoples' costumes, and then began to go rancid under the heat of the lighting. Food, odious, and messy substances were banned as costume elements after that event. Costuming spread with the science fiction conventions and the interaction of fandom. The earliest known instance of costuming at a convention in the United Kingdom was at the London Science Fiction Convention (1953) but this was only as part of a play. However, members of the Liverpool Science Fantasy Society attended the 1st Cytricon (1955), in Kettering, wearing costumes and continued to do so in subsequent years. The 15th Worldcon (1957) brought the first official convention masquerade to the UK. The 1960 Eastercon in London may have been the first British-based convention to hold an official fancy dress party as part of its programme. The joint winners were Ethel Lindsay and Ina Shorrock as two of the titular witches from the novel The Witches of Karres by James H. Schmitz. Star Trek conventions began in 1969 and major conventions began in 1972 and they have featured cosplay throughout. In Japan, costuming at conventions was a fan activity from at least the 1970s, especially after the launch of the Comiket convention in December 1975. Costuming at this time was known as kasō (仮装). The first documented case of costuming at a fan event in Japan was at Ashinocon (1978), in Hakone, at which future science fiction critic Mari Kotani wore a costume based on the cover art for Edgar Rice Burroughs' novel A Fighting Man of Mars.[Notes 1] In an interview Kotani states that there were about twenty costumed attendees at the convention's costume party—made up of members of her Triton of the Sea fan club and Kansai Entertainers (関西芸人, Kansai Geinin), antecedent of the Gainax anime studio—with most attendees in ordinary clothing. One of the Kansai group, an unnamed friend of Yasuhiro Takeda, wore an impromptu Tusken Raider costume (from the film Star Wars) made from one of the host-hotel's rolls of toilet paper. Costume contests became a permanent part of the Nihon SF Taikai conventions from Tokon VII in 1980. Possibly the first costume contest held at a comic book convention was at the 1st Academy Con held at Broadway Central Hotel in New York in August 1965. Roy Thomas, future editor-in-chief of Marvel Comics but then just transitioning from a fanzine editor to a professional comic book writer, attended in a Plastic Man costume. The first Masquerade Ball held at San Diego Comic-Con was in 1974 during the convention's 6th event. Voice actress June Foray was the master of ceremonies. Future scream queen Brinke Stevens won first place wearing a Vampirella costume. Ackerman (who was the creator of Vampirella) was in attendance and posed with Stevens for photographs. They became friends and, according to Stevens "Forry and his wife, Wendayne, soon became like my god parents." Photographer Dan Golden saw a photograph of Stevens in the Vampirella costume while visiting Ackerman's house, leading to him hiring her for a non-speaking role in her first student film, Zyzak is King (1980), and later photographing her for the cover of the first issue of Femme Fatales (1992). Stevens attributes these events to launching her acting career. As early as a year after the 1975 release of The Rocky Horror Picture Show, audience members began dressing as characters from the movie and role-playing (although the initial incentive for dressing-up was free admission) in often highly accurate costumes. Costume-Con, a conference dedicated to costuming, was first held in January 1983. The International Costumers Guild, Inc., originally known as the Greater Columbia Fantasy Costumer's Guild, was launched after the 3rd Costume-Con (1985) as a parent organization and to support costuming. Costuming had been a fan activity in Japan from the 1970s, and it became much more popular in the wake of Takahashi's report. The new term did not catch on immediately, however. It was a year or two after the article was published before it was in common use among fans at conventions. It was in the 1990s, after exposure on television and in magazines, that the term and practice of cosplaying became common knowledge in Japan. The first cosplay cafés appeared in the Akihabara area of Tokyo in the late 1990s. A temporary maid café was set up at the Tokyo Character Collection event in August 1998 to promote the video game Welcome to Pia Carrot 2 (1997). An occasional Pia Carrot Restaurant was held at the shop Gamers in Akihabara in the years up to 2000. Being linked to specific intellectual properties limited the lifespan of these cafés, which was solved by using generic maids, leading to the first permanent establishment, Cure Maid Café, which opened in March 2001. The first World Cosplay Summit was held on 12 October 2003 at the Rose Court Hotel in Nagoya, Japan, with five cosplayers invited from Germany, France and Italy. There was no contest until 2005, when the World Cosplay Championship began. The first winners were the Italian team of Giorgia Vecchini [it], Francesca Dani and Emilia Fata Livia. Worldcon masquerade attendance peaked in the 1980s and started to fall thereafter. This trend was reversed when the concept of cosplay was re-imported from Japan. Practice of cosplay Cosplay costumes vary greatly and can range from simple themed clothing to highly detailed costumes. It is generally considered different from Halloween and Mardi Gras costume wear, as the intention is to replicate a specific character, rather than to reflect the culture and symbolism of a holiday event. As such, when in costume, some cosplayers often seek to adopt the affect, mannerisms, and body language of the characters they portray (with "out of character" breaks). The characters chosen to be cosplayed may be sourced from any movie, TV series, book, comic book, video game, musical artist, anime, or manga. Some cosplayers even choose to cosplay an original character of their own design or a fusion of different genres (e.g., a steampunk version of a character), and it is a part of the ethos of cosplay that anybody can be anything, as with genderbending, crossplay, or drag, a cosplayer playing a character of another ethnicity, or a hijabi portraying Captain America. Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, with varying levels of quality. These costumes are often sold online, but also can be purchased from dealers at conventions. Japanese manufacturers of cosplay costumes reported a profit of 35 billion yen in 2008. A number of individuals also work on commission, creating custom costumes, props, or wigs designed and fitted to the individual. Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, and various raw materials, such as unstyled wigs, hair dye, cloth and sewing notions, liquid latex, body paint, costume jewelry, and prop weapons. Cosplay represents an act of embodiment. Cosplay has been closely linked to the presentation of self, yet cosplayers' ability to perform is limited by their physical features. The accuracy of a cosplay is judged based on the ability to accurately represent a character through the body, and individual cosplayers frequently are faced by their own "bodily limits" such as level of attractiveness, body size, and disability that often restrict and confine how accurate the cosplay is perceived to be. Authenticity is measured by a cosplayer's individual ability to translate on-screen manifestation to the cosplay itself. Some have argued that cosplay can never be a true representation of the character; instead, it can only be read through the body, and that true embodiment of a character is judged based on nearness to the original character form. Cosplaying can also help some of those with self-esteem problems. Many cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and qualities, thus the skill of a cosplayer may be measured by how difficult the details of the outfit are and how well they have been replicated. Because of the difficulty of replicating some details and materials, cosplayers often educate themselves in crafting specialties such as textiles, sculpture, face paint, fiberglass, fashion design, woodworking, and other uses of materials in the effort to render the look and texture of a costume accurately. Cosplayers often wear wigs in conjunction with their outfit to further improve the resemblance to the character. This is especially necessary for anime and manga or video-game characters who often have unnaturally colored and uniquely styled hair. Simpler outfits may be compensated for their lack of complexity by paying attention to material choice and overall high quality. To look more like the characters they are portraying, cosplayers might also engage in various forms of body modification. Cosplayers may opt to change their skin color utilizing make-up to more simulate the race of the character they are adopting. Contact lenses that match the color of their character's eyes are a common form of this, especially in the case of characters with particularly unique eyes as part of their trademark look. Contact lenses that make the pupil look enlarged to visually echo the large eyes of anime and manga characters are also used. Another form of body modification in which cosplayers engage is to copy any tattoos or special markings their character might have. Temporary tattoos, permanent marker, body paint, and in rare cases, permanent tattoos, are all methods used by cosplayers to achieve the desired look. Permanent and temporary hair dye, spray-in hair coloring, and specialized extreme styling products are all used by some cosplayers whose natural hair can achieve the desired hairstyle. It is also commonplace for them to shave off their eyebrows to gain a more accurate look. Some anime and video game characters have weapons or other accessories that are hard to replicate, and conventions have strict rules regarding those weapons, but most cosplayers engage in some combination of methods to obtain all the items necessary for their costumes; for example, they may commission a prop weapon, sew their own clothing, buy character jewelry from a cosplay accessory manufacturer, or buy a pair of off-the-rack shoes, and modify them to match the desired look. Cosplay may be presented in a number of ways and places. A subset of cosplay culture is centered on sex appeal, with cosplayers specifically choosing characters known for their attractiveness or revealing costumes. However, wearing a revealing costume can be a sensitive issue while appearing in public. People appearing naked at American science fiction fandom conventions during the 1970s were so common, a "no costume is no costume" rule was introduced. Some conventions throughout the United States, such as Phoenix Comicon (now known as Phoenix Fan Fusion) and Penny Arcade Expo, have also issued rules upon which they reserve the right to ask attendees to leave or change their costumes if deemed to be inappropriate to a family-friendly environment or something of a similar nature. The most popular form of presenting a cosplay publicly is by wearing it to a fan convention. Multiple conventions dedicated to anime and manga, comics, TV shows, video games, science fiction, and fantasy may be found all around the world. Cosplay-centered conventions include Cosplay Mania in the Philippines and EOY Cosplay Festival in Singapore. The single largest event featuring cosplay is the semiannual doujinshi market, Comic Market (Comiket), held in Japan during summer and winter. Comiket attracts hundreds of thousands of manga and anime fans, where thousands of cosplayers congregate on the roof of the exhibition center. In North America, the highest-attended fan conventions featuring cosplayers are San Diego Comic-Con and New York Comic Con held in the United States, and the anime-specific Anime North in Toronto, Otakon held in Washington, D.C. and Anime Expo held in Los Angeles. Europe's largest event is Japan Expo held in Paris, while the London MCM Expo and the London Super Comic Convention are the most notable in the UK. Supanova Pop Culture Expo is Australia's biggest event. Star Trek conventions have featured cosplay for many decades. These include Destination Star Trek, a UK convention, and Star Trek Las Vegas, a US convention. In different comic fairs, "Thematic Areas" are set up where cosplayers can take photos in an environment that follows that of the game or animation product from which they are taken. Sometimes the cosplayers are part of the area, playing the role of staff with the task of entertaining the other visitors. Some examples are the thematic areas dedicated to Star Wars or to Fallout. The areas are set up by not for profit associations of fans, but in some major fairs it is possible to visit areas set up directly by the developers of the video games or the producers of the anime. The appearance of cosplayers at public events makes them a popular draw for photographers. As this became apparent in the late 1980s, a new variant of cosplay developed in which cosplayers attended events mainly for the purpose of modeling their characters for still photography rather than engaging in continuous role play. Rules of etiquette were developed to minimize awkward situations involving boundaries. Cosplayers pose for photographers and photographers do not press them for personal contact information or private sessions, follow them out of the area, or take photos without permission. The rules allow the collaborative relationship between photographers and cosplayers to continue with the least inconvenience to each other. Some cosplayers choose to have a professional photographer take high quality images of them in their costumes posing as the character. Cosplayers and photographers frequently exhibit their work online and sometimes sell their images. As the popularity of cosplay has grown, many conventions have come to feature a contest surrounding cosplay that may be the main feature of the convention. Contestants present their cosplay, and often to be judged for an award, the cosplay must be self-made. The contestants may choose to perform a skit, which may consist of a short performed script or dance with optional accompanying audio, video, or images shown on a screen overhead. Other contestants may simply choose to pose as their characters. Often, contestants are briefly interviewed on stage by a master of ceremonies. The audience is given a chance to take photos of the cosplayers. Cosplayers may compete solo or in a group. Awards are presented, and these awards may vary greatly. Generally, a best cosplayer award, a best group award, and runner-up prizes are given. Awards may also go to the best skit and a number of cosplay skill subcategories, such as master tailor, master weapon-maker, master armorer, and so forth. The most well-known cosplay contest event is the World Cosplay Summit, selecting cosplayers from 40 countries to compete in the final round in Nagoya, Japan. Some other international events include European Cosplay Gathering (finals taking place at Japan Expo in Paris), EuroCosplay (finals taking place at London MCM Comic Con), and the Nordic Cosplay Championship (finals taking place at NärCon in Linköping, Sweden). This table contains a list of the most common cosplay competition judging criteria, as seen from World Cosplay Summit, Cyprus Comic Con, and ReplayFX. Portraying a character of the opposite sex is called crossplay. The practicality of crossplay and cross-dress stems in part from the abundance in manga of male characters with delicate and somewhat androgynous features. Such characters, known as bishōnen (lit. 'pretty boy'), are Asian equivalent of the elfin boy archetype represented in Western tradition by figures such as Peter Pan and Ariel. Male to female cosplayers may experience issues when trying to portray a female character because it is hard to maintain the sexualized femininity of a character. Male cosplayers may also be subjected to discrimination, including homophobic comments and being touched without permission. This affects men possibly even more often than it affects women, despite inappropriate contact already being a problem for women who cosplay, as is "slut-shaming". Animegao kigurumi players, a niche group in the realm of cosplay, are often male cosplayers who use zentai and stylized masks to represent female anime characters. These cosplayers completely hide their real features so the original appearance of their characters may be reproduced as literally as possible, and to display all the abstractions and stylizations such as oversized eyes and tiny mouths often seen in Japanese cartoon art. This does not mean that only males perform animegao or that masks are only female. "Cosplay Is Not Consent", a movement started in 2013 by Rochelle Keyhan, Erin Filson, and Anna Kegler, brought attention to the issue of sexual harassment in the convention attending cosplay community. Harassment of cosplayers include photography without permission, verbal abuse, touching, and groping. Harassment is not limited to women in provocative outfits as male cosplayers talked about being bullied for not fitting certain costume and characters. Starting in 2014, New York Comic Con placed large signs at the entrance stating that "Cosplay is Not Consent". Attendees were reminded to ask permission for photos and respect the person's right to say no. The movement against sexual harassment against cosplayers has continued to gain momentum and awareness since being publicized. Traditional mainstream news media like The Mercury News and Los Angeles Times have reported on the topic, bringing awareness of sexual harassment to those outside of the cosplay community. As cosplay has entered more mainstream media, ethnicity becomes a controversial point. Cosplayers of different skin color than the character are often ridiculed for not being 'accurate' or 'faithful'. Many cosplayers feel as if anyone can cosplay any character, but it becomes complicated when cosplayers are not respectful of the character's ethnicity. These views against non-white cosplayers within the community have been attributed to the lack of representation in the industry and in media. Issues such as blackface, brownface, and yellowface are still controversial since a large part of the cosplay community see these as separate problems, or simply an acceptable part of cosplay.[citation needed] Cosplay has influenced the advertising industry, in which cosplayers are often used for event work previously assigned to agency models. Some cosplayers have thus transformed their hobby into profitable, professional careers. Japan's entertainment industry has been home to the professional cosplayers since the rise of Comiket and Tokyo Game Show. The phenomenon is most apparent in Japan but exists to some degree in other countries as well. Professional cosplayers who profit from their art may experience problems related to copyright infringement. A cosplay model, also known as a cosplay idol, cosplays costumes for anime and manga or video game companies. Good cosplayers are viewed as fictional characters in the flesh, in much the same way that film actors come to be identified in the public mind with specific roles. Cosplayers have modeled for print magazines like Cosmode and a successful cosplay model can become the brand ambassador for companies like Cospa. Some cosplay models can achieve significant recognition. While there are many significant cosplay models, Yaya Han was described as having emerged "as a well-recognized figure both within and outside cosplay circuits". Jessica Nigri, used her recognition in cosplay to gain other opportunities such as voice acting and her own documentary on Rooster Teeth. Liz Katz used her fanbase to take her cosplay from a hobby to a successful business venture, sparking debate through the cosplay community whether cosplayers should be allowed to fund and profit from their work. In the 2000s, cosplayers started to push the boundaries of cosplay into eroticism paving the way to "erocosplay". The advent of social media coupled with crowdfunding platforms like Patreon and OnlyFans have allowed cosplay models to turn cosplay into profitable full-time careers. During protests During various protests, cosplaying as a satirization of important people and political events. In Myanmar various protests after the 2021 coup d'état various protests occurred with cosplayers. Youth groups protested on the roads by wearing cosplay costumes, skirts, wedding dresses, and other unusual clothing for daily life while holding signboards and vinyl banners that break with the country's more traditional protest messages for the purpose of grabbing attention from both domestic and international press media. Other times fictional characters are used to convey a message such as women dressing like characters from The Handmaid's Tale to protest bodily restrictions in the United States. Cosplay by country or region Cosplayers in Japan formerly referred to themselves as reiyā (レイヤー), pronounced "layer". In contemporary Japan, however, cosplayers are more commonly referred to as kosupure (コスプレ), pronounced "ko-su-pray", as the term reiyā is now more frequently used to describe literal layers (for example, hair or clothing). Words such as kawaii (可愛い) (lit. 'cute') and kakko ī (かっこいい) (lit. 'cool') were often used to describe these changes, expressions that were closely tied to notions of femininity and masculinity. Those who photograph players are known as cameko (カメコ), a shortened form of camera kozō (カメラ小僧) (lit. 'camera boy'). Originally, cameko would give printed photographs to players as gifts. Growing interest in cosplay events—both among photographers and cosplayers willing to model—has led to the formalization of procedures at events such as Comiket. Photography is conducted in designated areas separate from the exhibit halls. In Japan, wearing costumes outside of conventions or other designated areas is generally discouraged. Since 1998, Tokyo's Akihabara district has contained a number of cosplay restaurants catering to devoted anime and manga fans, in which waitresses dress as characters from video games, anime, or manga; maid cafés are particularly popular. In Japan, Tokyo's Harajuku district serves as a favored informal gathering place for engaging in cosplay in public. Events held in Akihabara also attract large numbers of cosplayers. Ishoku-hada (異色肌) is a form of Japanese cosplay in which players use body paint to alter their skin color to match that of the character they portray. This practice allows for the representation of anime or manga characters, as well as video game characters, with non-human skin tones. A 2014 survey conducted for the Comiket convention in Japan reported that approximately 75% of cosplayers attending the event were female. Cosplay is common in many East Asian countries. For example, it is a major part of the Comic World conventions taking place regularly in South Korea, Hong Kong and Taiwan. Historically, the practice of dressing up as characters from works of fiction can be traced as far as the 17th century late Ming dynasty China. Western cosplay developed primarily from science fiction and fantasy fandoms. Compared with Japan, Western cosplayers are more likely to portray characters originating from live-action television series and films. Western costuming traditions also encompass a variety of related hobbyist subcultures, including participants in Renaissance faires, live action role-playing games, and historical reenactments. Costume competitions at science fiction conventions commonly feature masquerades, in which costumes are formally judged during stage presentations, as well as hall costumes that are evaluated informally throughout the event. The growing international popularity of Japanese cartoon during the late 2000s contributed to a rise in American and other Western cosplayers portraying characters from manga and anime. Over the following decade, anime conventions became increasingly common across Western countries, often rivaling long-established science fiction, comic book, and historical conventions in terms of attendance. At these events, cosplayers—much like their Japanese counterparts—gather to display their costumes, be photographed, and participate in competitive costume events. Convention attendees also frequently choose to dress as characters from Western comic books, animated works, films, and video games. Despite increasing global exchange, cultural differences in taste remain evident. Certain costume styles that may be worn without hesitation by Japanese cosplayers are often avoided in Western contexts, particularly those that resemble Nazi uniforms. Western cosplayers may also encounter debates regarding legitimacy when portraying characters whose canonical racial backgrounds differ from their own, and instances of insensitivity toward cosplayers depicting characters of different skin tones have been documented. Western cosplayers who portray anime characters may likewise experience targeted ridicule or misunderstanding. In comparison with Japan, wearing costumes in public spaces is generally more socially accepted in countries such as the United Kingdom, Ireland, the United States, and Canada. These regions possess longer-standing traditions of Halloween costuming, fan dress, and related practices. Consequently, it is not uncommon for convention attendees in costume to be seen in nearby restaurants and public venues outside the immediate boundaries of the event itself. Media Japan is home to two especially popular cosplay magazines, Cosmode (コスモード) and ASCII Media Works' Dengeki Layers (電撃Layers). Cosmode has the largest share in the market and an English-language digital edition. Another magazine, aimed at a broader, worldwide audience is CosplayGen. In the United States, Cosplay Culture began publication in February 2015. Other magazines include CosplayZine featuring cosplayers from all over the world since October 2015, and Cosplay Realm Magazine which was started in April 2017. There are many books on the subject of cosplay as well. Cosplay groups and organizations See also Notes References Bibliography External links |
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[SOURCE: https://en.wikipedia.org/wiki/Bahrain_International_Circuit] | [TOKENS: 1442] |
Contents Bahrain International Circuit The Bahrain International Circuit (Arabic: حلبة البحرين الدولية, romanized: Ḥalba al-Baḥrayn ad-Dawliyya) is a 5.412 km (3.363 mi) motorsport venue opened in 2004 and used for drag racing, GP2 Series (now FIA Formula 2), and the annual Formula One Bahrain Grand Prix. The 2004 Grand Prix was the first Formula One race held in the Middle East. Beginning in 2006, Australian V8 Supercars raced at the BIC, with the event known as the Desert 400. However, the V8 Supercars did not return for the 2011 V8 Supercar season. 24 Hour endurance races are also hosted at BIC. The circuit has a FIA Grade 1 license. The circuit also has multiple layouts. History The construction of the Bahrain circuit was a national objective for Bahrain, initiated by the Crown Prince, Shaikh Salman bin Hamad Al Khalifa. The Crown Prince is the Honorary President of the Bahrain Motor Federation. TRL was asked to build the circuit, headed by Patrick Brogan. Race organizers were worried that the circuit would not be complete in time for the 2004 Bahrain Grand Prix and attempted to cancel the event; however, Formula One supremo Bernie Ecclestone refused this request. In the end, the circuit was not quite fully complete, but was good enough for the grand prix to go ahead. After the 2004 race and ahead of the 2005 race the track was realigned at turn four, decreasing the circuit's overall length by 5 metres in total. In 2007 the circuit became the first Grand Prix circuit to be awarded the distinguished FIA Institute Centre of Excellence award, given for excellent safety, race marshal, and medical facilities, and for the high standards of technology required to maintain these. At the 2009 Grand Prix, BIC announced a collaboration with @bahrain to develop land next to the circuit. @bahrain is part of the Mumtalakat group of companies. @bahrain will dedicate more than 1 million square meters of business, entertainment and educational space with a value in excess of US$2bn (BHD 850million), making it one of the largest investment projects to take place in Bahrain in the past five years. In 2011 the circuit was scheduled to be the first GP of the season. However, due to civil unrest in the country the race had to be cancelled in March 2011. On 4 June the FIA announced that the race would be scheduled for 30 October, the original slot for the inaugural Indian Grand Prix, which would be shifted to a season-closing date on 11 December. However, two days later following concerns from teams and other officials, the race organizers officially cancelled the race, choosing to focus their attention on the 2012 running. The 2012 Formula One calendar had the race scheduled for 22 April, the fourth of the season. During pre-season testing for the 2024 Formula 1 season, the second morning session was halted by a red flag and later cancelled as a drain cover in the approach to turn 10 of the circuit had been dislodged by Charles Leclerc's SF-24. The circuit was designed by German architect Hermann Tilke, the same architect who designed the Sepang International Circuit in Malaysia. The main contractor for the project was Cebarco-WCT. The circuit cost approximately 56.2 million Bahraini Dinars (US$150 million) to construct. It has six separate tracks, including a test oval and a drag strip. The circuit posed a unique problem. Positioned in the middle of a desert, there were worries that sand would blow onto the circuit and disrupt the race. However, organizers were able to keep the sand off the track by spraying an adhesive on the sand around the track. The surface of the track is made of graywacke aggregate, shipped to Bahrain from Bayston Hill quarry in Shropshire, England. The surface material is highly acclaimed by circuit bosses and Formula 1 drivers for the high level of grip it offers. The same aggregate material is used at the Yas Marina Circuit, venue of the Abu Dhabi Grand Prix. Shortly after the Formula One February 2014 testing, the first corner of the track was renamed after seven-time champion German driver Michael Schumacher in honour of his achievements and also in support after he suffered an almost fatal skiing accident late December 2013. Track layouts Formula One Grand Prix The first Bahrain Grand Prix took place on 4 April 2004, making history as the first Formula One Grand Prix to be held in the Middle East. Bahrain fought off fierce competition from elsewhere in the region to stage the race, with Egypt, Lebanon and the United Arab Emirates (UAE) all hoping for the prestige of hosting a Formula One Grand Prix (the UAE would host a Grand Prix from 2009). The Bahrain Grand Prix is usually the third race on the Formula One calendar, apart from the 2006 season, when Bahrain swapped places with the traditional opener, the Australian Grand Prix, which was pushed back to avoid a clash with the Commonwealth Games. In 2009, Bahrain was moved to the fourth race. For the 2010 season Bahrain was again the pre-season testing and season opener and Formula One cars drove the full 6.299 km (3.914 mi) "Endurance Circuit" to celebrate F1's 'diamond jubilee'. For 2011 however F1 was set to return to racing on the original layout used between 2004 and 2009. The race was postponed and finally cancelled due to protests in the country but F1 returned to the track for the 2012 Bahrain Grand Prix. 2014 saw the track host its first ever Grand Prix under lights, as the race was scheduled as a night race to celebrate the tenth year of Formula 1 at the circuit. Subsequent editions of the race have also been held at night. In 2020 the circuit hosted two Grands Prix, the Bahrain and Sakhir Grands Prix, after the calendar was revised following the COVID-19 pandemic with the latter using the Outer Circuit layout. Series hosted The Bahrain International Circuit hosts a number of high-profile series, including the FIA Formula One World Championship, the FIA World Endurance Championship, the FIA Formula 2 Championship, FIA Formula 3 Championship, and Porsche Carrera Cup Middle East. In the past the circuit has hosted the FIA GT Championship, Speedcar Series, Australian V8 Supercars, GP2 Asia Series, and a one-off Bahrain Superprix involving Formula Three cars, following on from the collapsed Korea Super Prix. The first ever Formula BMW World Final took place in Bahrain. Lap records As of February 2026, the fastest official race lap records at the Bahrain International Circuit are listed as: See also Notes References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Wikipedia:Rough_guide_to_semi-protection] | [TOKENS: 560] |
Contents Wikipedia:Rough guide to semi-protection Semi-protection is a measure commonly used on Wikipedia to protect pages from vandalism or editing disputes. A semi-protected article can only be edited by accounts which are at least 4 days old and have made at least 10 edits (autoconfirmed users). The official policy related to applying and removing semi-protection is located at Wikipedia:Protection policy § Semi-protection. This rough guide describes how the semi-protection policy is currently being applied by administrators. Note: Every case is different. Even if a page matches each of the § General considerations and § Criteria for semi-protection, it doesn't mean that page must be protected. Administrators may use their discretion on a case-by-case basis. Semi-protection is useful for pages that are highly visible on Wikipedia. An example of a semi-protected page on Wikipedia is September 11 attacks. General considerations Both editors requesting semi-protection at Wikipedia:Requests for page protection (WP:RFPP) and administrators considering its application must evaluate each case independently before determining an appropriate course of action. The template {{pp-protected}} is usually placed on protected pages to display the padlock. Criteria for semi-protection Articles subject to heavy and continued vandalism and other disruptive edits can be semi-protected. There are no explicit rules that determine the level of disruptive editing that is necessary to trigger semi-protection. Administrators should use their best judgment to determine if semi-protection is warranted. Here are some criteria that may be helpful to determine if semi-protection is appropriate: Determining the duration for semi-protection If semi-protection is to be tried, its first application should be for a short duration, a few hours, a few days, or a week depending on the type of page being protected and the level of disruption. It can also be helpful to review the article history to determine how long the disruption has been a significant problem. If vandalism continues after the protection expires, semi-protection can be re-applied, potentially for a longer duration. At some point, an administrator might determine that the semi-protection should be made indefinite. This is reserved for only the most vandalized articles and specific topics subject to general sanctions, and any administrator is free to lift 'indefinite' protections or reduce them to a duration that will eventually expire. Since effective page protection stops disruption, one can determine if protection is still needed by seeing if disruption returns without the protection. For this reason, all pages that are indefinitely semi-protected may have their protection removed from time to time, or reduced to pending-changes protection. The administrator should monitor the page after removing the protection. High-traffic pages, or pages with a lengthy protection log, usually aren't good candidates for such tests, however. |
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[SOURCE: https://en.wikipedia.org/wiki/Dreadlock] | [TOKENS: 7248] |
Contents Dreadlocks Dreadlocks, also known as dreads or locs, are a hairstyle made of rope-like strands of hair. Locs can form naturally in very curly hair, or they can be created with techniques like twisting, backcombing, or crochet. Etymology The word dreadlocks is usually understood to come from Jamaican Creole dread, "member of the Rastafarian movement who wears his hair in dreadlocks" (compare Nazirite), referring to their dread or awe of God. An older name for dreadlocks was elflocks, from the notion that elves had twisted the locks in people's sleep. Other origins have been proposed. Some authors trace the term to the Mau Mau, a group of whom apparently coined it from British colonialists in 1959 as a reference to their dreadful hair. In their 2014 book Hair Story: Untangling the Roots of Black Hair in America, Ayana Byrd and Lori Tharps claimed that the name dredlocs originated in the time of the slave trade: when transported Africans disembarked from the slave ships after spending months confined in unhygienic conditions, whites would report that their undressed and matted kinky hair was "dreadful". According to them, it is due to these circumstances that many people wearing the style today drop the a in dreadlock to avoid negative implications. The word locs refers to locks of entangled hair. Several languages have names for these locks: History According to Sherrow in Encyclopedia of Hair: A Cultural History, locs date back to ancient times in various cultures. In ancient Egypt, Egyptians wore locked hairstyles and wigs appeared on bas-reliefs, statuary and other artifacts. Mummified remains of Egyptians with locked wigs have also been recovered from archaeological sites. According to Maria Delongoria, braided hair was worn by people in the Sahara desert since 3000 BCE. Dreadlocks were also worn by followers of Abrahamic religions. For example, Ethiopian Coptic Bahatowie priests adopted dreadlocks as a hairstyle before the fifth century CE (400 or 500 CE). Locking hair was practiced by some ethnic groups in East, Central, West, and Southern Africa. The earliest known possible depictions of locs in Europe date back as far as 1600–1500 BCE in the Minoan Civilization, centered in Crete (now part of Greece). Frescoes discovered on the Aegean island of Thera (modern Santorini, Greece) portray individuals with long braided hair or long dreadlocks. Another source describes the hair of the boys in the Akrotiri Boxer Fresco as long tresses, not dreadlocks. Tresses of hair are defined by Collins Dictionary as braided hair, braided plaits, or long loose curls of hair. Pre-Columbian Aztec priests were described in Aztec codices (including the Durán Codex, the Codex Tudela and the Codex Mendoza) as wearing their hair untouched, allowing it to grow long and matted. Bernal Diaz del Castillo records: There were priests with long robes of black cloth... The hair of these priests was very long and so matted that it could not be separated or disentangled, and most of them had their ears scarified, and their hair was clotted with blood. In Senegal, the Baye Fall, followers of the Mouride movement, a Sufi movement of Islam founded in 1887 CE by Shaykh Aamadu Bàmba Mbàkke, are famous for growing dreadlocks and wearing multi-colored gowns. Cheikh Ibra Fall, founder of the Baye Fall school of the Mouride Brotherhood, popularized the style by adding a mystic touch to it. This sect of Islam in Senegal, where Muslims wear ndjan (dreadlocks), aimed to Africanize Islam. Dreadlocks to this group of Islamic followers symbolize their religious orientation. Jamaican Rastas also reside in Senegal and have settled in areas near Baye Fall communities. Baye Fall and Jamaican Rastas have similar cultural beliefs regarding dreadlocks. Both groups wear knitted caps to cover their locs and wear locs for religious and spiritual purposes. Male members of the Baye Fall religion wear locs to detach from mainstream Western ideals. In the 1970s, Americans and Britons attended reggae concerts and were exposed to various aspects of Jamaican culture, including dreadlocks. Hippies related to the Rastafarian idea of rejecting capitalism and colonialism, symbolized by the name "Babylon". Rastafarians rejected Babylon in multiple ways, including by wearing their hair naturally in locs to defy Western standards of beauty. The 1960s was the height of the civil rights movement in the U.S., and some White Americans joined Black people in the fight against inequality and segregation and were inspired by Black culture. As a result, some White people joined the Rastafarian movement. Dreadlocks were not a common hairstyle in the United States, but by the 1970s, some White Americans were inspired by reggae music, the Rastafarian movement, and African-American hair culture and started wearing dreadlocks. According to authors Bronner and Dell Clark, the clothing styles worn by hippies in the 1960s and 1970s were copied from African-American culture. The word hippie comes from the African-American slang word hip. African-American dress and hairstyles such as braids (often decorated with beads), dreadlocks, and language were copied by hippies and developed into a new countercultural movement used by hippies. In Europe in the 1970s, hundreds of Jamaicans and other Caribbean people immigrated to metropolitan centers of London, Birmingham, Paris, and Amsterdam. Communities of Jamaicans, Caribbeans, and Rastas emerged in these areas. Thus Europeans in these metropolitan cities were introduced to Black cultures from the Caribbean and Rastafarian practices and were inspired by Caribbean culture, leading some of them to adopt Black hair culture, music, and religion. However, the strongest influence of Rastafari religion is among Europe's Black population. When reggae music, which espoused Rastafarian ideals, gained popularity and mainstream acceptance in the 1970s, thanks to Bob Marley's music and cultural influence, dreadlocks (often called "dreads") became a notable fashion statement worldwide, and have been worn by prominent authors, actors, athletes, and rappers. Rastafari influenced its members worldwide to embrace dreadlocks. Black Rastas loc their hair to embrace their African heritage and accept African features as beautiful, such as dark skin tones, Afro-textured hair, and African facial features. Hip-hop and rap artists such as Lauryn Hill, Lil Wayne, T-Pain, Snoop Dog, J-Cole, Wiz Khalifa, Chief Keef, Lil Jon, and other artists wear dreadlocks, which further popularized the hairstyle in the 1990s, early 2000s, and present day. Dreadlocks are a part of hip-hop fashion and reflect Black cultural music of liberation and identity. Many rappers and Afrobeat artists in Uganda wear locs, such as Navio, Delivad Julio, Fik Fameica, Vyper Ranking, Byaxy, Liam Voice, and other artists. From reggae music to hip-hop, rap, and Afrobeat, Black artists in the African diaspora wear locs to display their Black identity and culture. Youth in Kenya who are fans of rap and hip-hop music, and Kenyan rappers and musicians, wear locs to connect to the history of the Mau Mau freedom fighters who wore locs as symbols of anti-colonialism, and to Bob Marley, who was a Rasta. Hip-hop and reggae fashion spread to Ghana and fused with traditional Ghanaian culture. Ghanaian musicians wear dreadlocks incorporating reggae symbols and hip-hop clothes mixed with traditional Ghanaian textiles, such as wearing Ghanaian headwraps to hold their locs. Ghanaian women wear locs as a symbol of African beauty. The beauty industry in Ghana believe locs are a traditional African hair practice and market hair care products to promote natural African hairstyles such as afros and locs. The previous generations of Black artists have inspired younger contemporary Black actresses to loc their hair, such as Chloe Bailey, Halle Bailey, and R&B and Pop music singer Willow Smith. More Black actors in Hollywood are choosing to loc their hair to embrace their Black heritage. Although more Black women in Hollywood and the beauty and music industries are wearing locs, there has never been a Black Miss America winner with locs, possibly because the hairstyle has not been popular with many conservative standards of beauty. For example, model Adesuwa Aighewi locked her hair and was told she might not receive any casting calls because of her dreadlocks. Some Black women in modeling agencies are forced to straighten their hair. However, more Black women are resisting and choosing to wear Black hairstyles such as afros and dreadlocks in fashion shows and beauty pageants. For example, in 2007 Miss Universe Jamaica and Rastafarian, Zahra Redwood, was the first Black woman to break the barrier on a world pageant stage when she wore locs, paving the way and influencing other Black women to wear locs in beauty pageants. In 2015, Miss Jamaica World Sanneta Myrie was the first contestant to wear locs to the Miss World Pageant. In 2018, Dee-Ann Kentish-Rogers of Britain was crowned Miss Universe wearing her locs and became the first Black British woman to win the competition with natural locs. By culture Locks have been worn for various reasons in many cultures and ethnic groups around the world throughout history. Their use has also been raised in debates about cultural appropriation. The practice of wearing braids and dreadlocks in Africa can be traced back to 3,000 BC in the Sahara Desert. It has been commonly thought that other cultures influenced the dreadlock tradition in Africa. The Kikuyu and Somali wear braided and locked hairstyles. Warriors among the Fulani, Wolof, and Serer in Mauritania, and Mandinka in Mali were known for centuries to have worn cornrows when young and dreadlocks when old. In West Africa, the water spirit Mami Wata is said to have long locked hair. Mami Wata's spiritual powers of fertility and healing come from her dreadlocks. West African spiritual priests called Dada wear dreadlocks to venerate Mami Wata in her honor as spiritual consecrations. Some Ethiopian Christian monks and Bahatowie priests of the Ethiopian Coptic Church lock their hair for religious purposes. In Yorubaland, Aladura church prophets called woolii mat their hair into locs and wear long blue, red, white, or purple garments with caps and carry iron rods used as a staff. Prophets lock their hair in accordance with the Nazarene vow in the Christian bible. This is not to be confused with the Rastafari religion that was started in the 1930s. The Aladura church was founded in 1925 and syncretizes indigenous Yoruba beliefs about dreadlocks with Christianity. Moses Orimolade Tunolase was the founder of the first African Pentecostal movement started in 1925 in Nigeria. Tunolase wore dreadlocks and members of his church wear dreadlocks in his honor and for spiritual protection. The Yoruba word Dada is given to children in Nigeria born with dreadlocks. Some Yoruba people believe children born with dreadlocks have innate spiritual powers, and cutting their hair might cause serious illness. Only the child's mother can touch their hair. "Dada children are believed to be young gods, they are often offered at spiritual altars for chief priests to decide their fate. Some children end up becoming spiritual healers and serve at the shrine for the rest of their lives." If their hair is cut, it must be cut by a chief priest and placed in a pot of water with herbs, and the mixture is used to heal the child if they get sick. Among the Igbo, Dada children are said to be reincarnated Jujuists of great spiritual power because of their dreadlocks. Children born with dreadlocks are viewed as special. The child continues to be recognized as mysterious and special. It is believed that the hair of Dada children was braided in heaven before they were born and will bring good fortune and wealth to their parents. When the child is older, the hair is cut during a special ritual. In Yoruba mythology, the Orisha Yemoja gave birth to a Dada who is a deified king in Yoruba. However, dreadlocks are viewed by some in a negative light in Nigeria due to their stereotypical association with gangs and criminal activity; men with dreadlocks face profiling from Nigerian police. In Ghana, among the Ashanti people, Okomfo priests are identified by their dreadlocks. They are not allowed to cut their hair and must allow it to mat and lock naturally. Locs are symbols of higher power reserved for priests. Other spiritual people in Southern Africa who wear dreadlocks are Sangomas. Sangomas wear red and white beaded dreadlocks to connect to ancestral spirits. Two African men were interviewed, explaining why they chose to wear dreadlocks. "One – Mr. Ngqula – said he wore his dreadlocks to obey his ancestors' call, given through dreams, to become a 'sangoma' in accordance with his Xhosa culture. Another – Mr. Kamlana – said he was instructed to wear his dreadlocks by his ancestors and did so to overcome 'intwasa', a condition understood in African culture as an injunction from the ancestors to become a traditional healer, from which he had suffered since childhood." In Zimbabwe, there is a tradition of locking hair called mhotsi worn by spirit mediums called svikiro. The Rastafarian religion spread to Zimbabwe and influenced some women in Harare to wear locs because they believe in the Rastafari's pro-Black teachings and rejection of colonialism. Maasai warriors in Kenya are known for their long, thin, red dreadlocks, dyed with red root extracts or red ochre (red earth clay). The Himba women in Namibia are also known for their red-colored dreadlocks. Himba women use red earth clay mixed with butterfat and roll their hair with the mixture. They use natural moisturizers to maintain the health of their hair. Hamar women in Ethiopia wear red-colored locs made using red earth clay. In Angola, Mwila women create thick dreadlocks covered in herbs, crushed tree bark, dried cow dung, butter, and oil. The thick dreadlocks are dyed using oncula, an ochre of red crushed rock. In Southern, Eastern, and Northern Africa, Africans use red ochre as sunscreen and cover their dreadlocks and braids with ochre to hold their hair in styles and as a hair moisturizer by mixing it with fats. Red ochre has a spiritual meaning of fertility, and in Maasai culture, the color red symbolizes bravery and is used in ceremonies and dreadlock hair traditions. Historians note that West and Central African people braid their hair to signify age, gender, rank, role in society, and ethnic affiliation. In many tribes, it is believed braided and locked hair provides spiritual protection, connects people to the spirit of the earth, bestows spiritual power, and enables people to communicate with the gods and spirits. In the 15th and 16th centuries, the Atlantic slave trade saw Black Africans forcibly transported from Sub-Saharan Africa to North America and, upon their arrival in the New World, their heads would be shaved in an effort to erase their culture. In the African diaspora, people loc their hair to have a connection to the spirit world and receive messages from spirits. It is believed locs of hair are antennas making the wearer receptive to spiritual messages. Other reasons people loc their hair are for fashion and to maintain the health of natural hair, also called kinky hair. In the 1960s and 1970s in the United States, the Black Power movement, Black is Beautiful movement, and the natural hair movement inspired many Black Americans to wear their hair natural in afros, braids, and locked hairstyles. The Black is Beautiful cultural movement spread to Black communities in Britain. In the 1960s and 1970s, Black people in Britain were aware of the civil rights movement and other cultural movements in Black America and the social and political changes occurring at the time. Rastafari culture in Europe influenced Afro-Britons to wear their hair in natural loc styles and afros as a way to fight against racism, Western standards of beauty, and to develop unity among Black people of diverse backgrounds. From the twentieth century to the present day, dreadlocks have been symbols of Black liberation and are worn by revolutionaries, activists, womanists, and radical artists in the diaspora. For example, Black American literary author Toni Morrison wore locs, and Alice Walker wears locs to reconnect with their African heritage. Natural Black hairstyles worn by Black women are seen as not feminine and unprofessional in some American businesses. Wearing locs in the diaspora signifies a person's racial identity and defiance of European standards of beauty, such as straight blond hair. Locs encourage Black people to embrace other aspects of their culture that are tied to Black hair, such as wearing African ornaments like cowrie shells, beads, and African headwraps that are sometimes worn with locs. Some Black Canadian women wear locs to connect to the global Black culture. Dreadlocks unite Black people in the diaspora because wearing locs has the same meaning in areas of the world where there are Black people: opposing Eurocentric standards of beauty and sharing a Black and African diaspora identity. For many Black women in the diaspora, locs are a fashion statement to express individuality and the beauty and versatility of Black hair. Locs are also a protective hairstyle to maintain the health of their hair by wearing kinky hair in natural locs or faux locs. To protect their natural hair from the elements during the changing seasons, Black women wear certain hairstyles to protect and retain the moisture in their hair. Black women wear soft locs as a protective hairstyle because they enclose natural hair inside them, protecting their natural hair from environmental damage. This protective soft loc style is created by "wrapping hair around the natural hair or crocheting pre-made soft locs into cornrows." In the diaspora, Black men and women wear different styles of dreadlocks. Each style requires a different method of care. Freeform locs are formed organically by not combing the hair or manipulating the hair. There are also goddess locs, faux locs, sister locs, twisted locs, Rasta locs, crinkle locs, invisible locs, and other loc styles. Some Indigenous Australians of North West and North Central Australia, as well as the Gold Coast region of Eastern Australia, have historically worn their hair in a locked style, sometimes also having long beards that are fully or partially locked. Traditionally, some wear the dreadlocks loose, while others wrap the dreadlocks around their heads or bind them at the back of the head. In North Central Australia, the tradition is for the dreadlocks to be greased with fat and coated with red ochre, which assists in their formation. In 1931 in Warburton Range, Western Australia, a photograph was taken of an Aboriginal Australian man with dreadlocks. In the 1970s, hippies from Australia's southern region moved to Kuranda, where they introduced the Rastafari movement as expressed in the reggae music of Peter Tosh and Bob Marley to the Buluwai people in the 1970s. Aboriginal Australians found parallels between the struggles of Black people in the Americas and their own racial struggles in Australia. Willie Brim, a Buluwai man born in the 1960s in Kuranda, identified with Tosh's and Marley's spiritually conscious music, and inspired particularly by Peter Tosh's album Bush Doctor, in 1978 he founded a reggae band called Mantaka after the area alongside the Barron River where he grew up. He combined his people's cultural traditions with the reggae guitar he had played since he was young, and his band's music reflects Buluwai culture and history. Now a leader of the Buluwai people and a cultural steward, Brim and his band send an "Aboriginal message" to the world. He and other Buluwai people wear dreadlocks as a native part of their culture and not as an influence from the Rastafari religion. Although Brim was inspired by reggae music, he is not a Rastafarian as he and his people have their own spirituality. Foreigners visiting Australia think the Buluwai people wearing dreadlocks were influenced by the Rastafarian movement, but the Buluwai say their ancestors wore dreadlocks before the movement began. Some Indigenous Australians wear an Australian Aboriginal flag (a symbol of unity and Indigenous identity in Australia) tied around their head to hold their dreadlocks. Within Tibetan Buddhism and other more esoteric forms of Buddhism, locks have occasionally been substituted for the more traditional shaved head. The most recognizable of these groups are known as the Ngagpas of Tibet. For Buddhists of these particular sects and degrees of initiation, their locked hair is not only a symbol of their vows but an embodiment of the particular powers they are sworn to carry. Hevajra Tantra 1.4.15 states that the practitioner of particular ceremonies "should arrange his piled up hair" as part of the ceremonial protocol. Archeologists found a statue of a male deity, Shiva, with dreadlocks in Stung Treng province in Cambodia. In a sect of tantric Buddhism, some initiates wear dreadlocks. The sect of tantric Buddhism in which initiates wear dreadlocks is called weikza and Passayana or Vajrayana Buddhism. This sect of Buddhism is practiced in Burma. The initiates spend years in the forest with this practice, and when they return to the temples, they should not shave their heads to reintegrate. The practice of wearing a jaṭā (dreadlocks) is observed in modern-day Hinduism, most notably by sadhus who worship Shiva.The Kapalikas, first commonly referenced in the 6th century CE, were known to wear the jaṭā as a form of deity imitation of the deva Bhairava-Shiva. Shiva is often depicted with dreadlocks. According to Ralph Trueb, "Shiva's dreadlocks represent the potent power of his mind that enables him to catch and bind the unruly and wild river goddess Ganga." In a village in Pune, Savitha Uttam Thorat, some women hesitate to cut their long dreadlocks because it is believed it will cause misfortune or bring down divine wrath. Dreadlocks practiced by the women in this region of India are believed to be possessed by the goddess Yellamma. Cutting off the hair is believed to bring misfortune onto the woman, because having dreadlocks is considered to be a gift from the goddess Yellamma (also known as Renuka). Some of the women have long and heavy dreadlocks that put a lot of weight on their necks, causing pain and limited mobility. Some in local government and police in the Maharashtra region demand the women cut their hair, because the religious practice of Yellamma forbids women from washing and cutting their dreadlocks, causing health issues. These locks of hair dedicated to Yellamma are called jade, believed to be evidence of divine presence. However, in Southern India, people advocate for the end of the practice. The goddess Angala Parameshvari in Indian mythology is said to have cataik-kari matted hair (dreadlocks). Women healers in India are identified by their locs of hair and are respected in spiritual rituals because they are believed to be connected to goddesses. A woman who has a jata is believed to derive her spiritual powers or shakti from her dreadlocks. Rastafari movement dreadlocks are symbolic of the Lion of Judah, and were inspired by the Nazarites of the Bible. Jamaicans locked their hair after seeing images of Ethiopians with locs fighting Italian soldiers during the Second Italo-Ethiopian War. The afro is the preferred hairstyle worn by Ethiopians. During the Italian invasion, Ethiopians vowed not to cut their hair using the Biblical example of Samson, who got his strength from his seven locks of hair, until emperor Ras Tafari Makonnen (Haile Selassie) and Ethiopia were liberated and Selassie was returned from exile. Scholars also state another indirect Ethiopian influence for Rastas locking their hair are the Bahatowie priests in Ethiopia and their tradition of wearing dreadlocks for religious reasons since the 5th century AD. Another African influence for Rastas wearing locs was seeing photos of Mau Mau freedom fighters with locs in Kenya fighting against the British authorities in the 1950s. Dreadlocks to the Mau Mau freedom fighters were a symbol of anti-colonialism, and this symbolism of dreadlocks was an inspiration for Rastas to loc their hair in opposition to racism and promote an African identity. The branch of Rastafari that was inspired to loc their hair after the Mau Mau freedom fighters was the Nyabinghi Order, previously called Young Black Faith. Young Black Faith were considered a radical group of younger Rastafari members. Eventually, other Rastafari groups started locking their hair. In the Rastafarian belief, people wear locs for a spiritual connection to the universe and the spirit of the earth. It is believed that by shaking their locs, they will bring down the destruction of Babylon. Babylon in the Rastafarian belief is systemic racism, colonialism, and any system of economic and social oppression of Black people. Locs are also worn to defy European standards of beauty and help to develop a sense of Black pride and acceptance of African features as beautiful. In another branch of Rastafari called Boboshanti Order of Rastafari, dreadlocks are worn to display a black person's identity and social protest against racism. The Bobo Ashanti are one of the strictest Mansions of Rastafari. They cover their locs with bright turbans and wear long robes and can usually be distinguished from other Rastafari members because of this. Other Rastas wear a Rastacap to tuck their locs under the cap. The Bobo Ashanti ("Bobo" meaning "black" in Iyaric; and "Ashanti" in reference to the Ashanti people of Ghana, whom the Bobos claim are their ancestors), were founded by Emmanuel Charles Edwards in 1959 during the period known as the "groundation", where many protests took place calling for the repatriation of African descendants and slaves to Kingston. A Boboshanti branch spread to Ghana because of repatriated Jamaicans and other Black Rastas moving to Ghana. Prior to Rastas living in Ghana, Ghanaians and West Africans previously had their own beliefs about locked hair. Dreadlocks in West Africa are believed to bestow children born with locked hair with spiritual power, and that Dada children, that is, those born with dreadlocks, were given to their parents by water deities. Rastas and Ghanaians have similar beliefs about the spiritual significance of dreadlocks, such as not touching a person's or child's locs, maintaining clean locs, locs spiritual connections to spirits, and locs bestowing spiritual powers to the wearer. Dreadlocks have become a popular hairstyle among professional athletes. However, some athletes are discriminated against and were forced to cut their dreadlocks. For example, in December 2018, a Black high school wrestler in New Jersey was forced to cut his dreadlocks 90 seconds before his match, sparking a civil rights case that led to the passage of the CROWN Act in 2019. In professional American football, the number of players with dreadlocks has increased since Mike McKenzie, Al Harris and Ricky Williams first wore the style during the 1990s. In 2012, about 180 National Football League players wore dreadlocks. A significant number of these players are defensive backs, who are less likely to be tackled than offensive players. According to the NFL's rulebook, a player's hair is considered part of their "uniform", meaning the locks are fair game when attempting to bring them down. In the NBA, there has been controversy over Brooklyn Nets guard Jeremy Lin, an Asian-American who garnered mild controversy over his choice of dreadlocks. Former NBA player Kenyon Martin accused Lin of appropriating African-American culture in a since-deleted social media post, after which Lin pointed out that Martin has multiple Chinese characters tattooed on his body. David Diamante, the American Boxing ring announcer of Italian American heritage, sports prominent dreadlocks. Formation and maintenance Dreadlocks can be formed through several methods. Very curly hair forms single-strand knots that can naturally entangle into dreadlocks. For other types of hair various methods utilized to create dreadlocks include crochet hooks and backcombing. Dreadlocks should not be confused with matting, which occurs from the unintentional neglect and damage of any type of hair. Hair discrimination On 3 July 2019, California became the first US state to prohibit discrimination over natural hair. Governor Gavin Newsom signed the CROWN Act into law, banning employers and schools from discriminating against hairstyles such as dreadlocks, braids, afros, and twists. Likewise, later in 2019, Assembly Bill 07797 became law in New York state; it "prohibits race discrimination based on natural hair or hairstyles". Scholars call discrimination based on hair "hairism". Despite the passage of the CROWN Act, hairism continues, with some Black people being fired from work or not hired because of their dreadlocks. According to the CROWN 2023 Workplace Research Study, sixty-six percent of Black women change their hairstyle for job interviews, and twenty-five percent of Black women said they were denied a job because of their hairstyle. The CROWN Act was passed to challenge the idea that Black people must emulate other hairstyles to be accepted in public and educational spaces. As of 2023, 24 states have passed the CROWN Act. July 3 is recognized as National CROWN Day, also called Black Hair Independence Day. The Perception Institute conducted a "Good Hair Study" using images of Black women wearing natural styles in locs, afros, twists, and other Black hairstyles. The Perception Institute is "a consortium of researchers, advocates and strategists" that uses psychological and emotional test studies to make participants aware of their racial biases. A Black-owned hair supply company, Shea Moisture, partnered with Perception Institute to conduct the study. The tests were done to reduce hair- and racially-based discrimination in education, civil justice, and law enforcement places. The study used an implicit-association test on 4,000 participants of all racial backgrounds and showed most of the participants had negative views about natural Black hairstyles. The study also showed Millennials were the most accepting of kinky hair texture on Black people. "Noliwe Rooks, a Cornell University professor who writes about the intersection of beauty and race, says for some reason, natural Black hair just frightens some White people." In September 2016, a lawsuit was filed by the Equal Employment Opportunity Commission against the company Catastrophe Management Solutions located in Mobile, Alabama. The court case ended with the decision that it was not a discriminatory practice for the company to refuse to hire an African American because they wore dreadlocks. In some Texas public schools, dreadlocks are prohibited, especially for male students, because long braided hair is considered unmasculine according to Western standards of masculinity which define masculinity as "short, tidy hair." Black and Native American boys are stereotyped and receive negative treatment and negative labeling for wearing dreadlocks, cornrows, and long braids. Non-white students are prohibited from practicing their traditional hairstyles that are a part of their culture. In 2017, the United States Army lifted the ban on dreadlocks. In the army, Black women can now wear braids and locs under the condition that they are groomed, clean, and meet the length requirements. From slavery into the present day, the policing of Black women's hair continues to be controlled by some institutions and people. Even when Black women wear locs and they are clean and well-kept, some people do not consider locs to be feminine and professional because of the natural kinky texture of Black hair. According to a 2011 article from The New Republic, Black men who wear locs are racially profiled and watched more by the police and are more often believed to be "thugs" or involved in gangs and violent crimes than Black men who do not wear dreadlocks. Some Black students in England are prohibited from wearing natural hairstyles such as dreadlocks, afros, braids and twists. Black students are suspended from school, are stereotyped, and receive negative treatment from teachers. In 2022 the Equality and Human Rights Commission issued guidance that such policies which had no exceptions on racial grounds were "likely to be unlawful". In Midrand, north of Johannesburg in South Africa, a Black girl was kicked out of school for wearing her hair in a natural dreadlock style [citation needed]. Hair and dreadlock discrimination is experienced by people of color all over the world who do not conform to Western standards of beauty. At Pretoria High School for Girls in Gauteng province in South Africa, Black girls are discriminated against for wearing African hairstyles and are forced to straighten their hair. Four African countries approved the wearing of dreadlocks in their courts: Kenya, Malawi, South Africa, and Zimbabwe. However, hairism continues despite the approval. Although locked hairstyles are a traditional practice on the African continent, some Africans disapprove of the hairstyle because of cultural taboos or pressure from Europeans in African schools and local African governments to conform to Eurocentric standards of beauty. Guinness Book of World Records On 10 December 2010, the Guinness Book of World Records rested its "longest dreadlocks" category after investigating its first and only female title holder, Asha Mandela, with this official statement: Following a review of our guidelines for the longest dreadlock, we have taken expert advice and made the decision to rest this category. The reason for this is that it is difficult, and in many cases impossible, to measure the authenticity of the locks due to expert methods employed in the attachment of hair extensions/re-attachment of broken-off dreadlocks. Effectively the dreadlock can become an extension and therefore impossible to adjudicate accurately. It is for this reason Guinness World Records has decided to rest the category and will no longer be monitoring the category for longest dreadlock. See also References Bibliography Further reading External links |
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[SOURCE: https://en.wikipedia.org/wiki/Kyubey] | [TOKENS: 1653] |
Contents Kyubey Kyubey (Japanese: キュゥべえ, Hepburn: Kyūbē) is a character of the 2011 anime series Puella Magi Madoka Magica and its 2013 sequel The Rebellion Story. They are also a "messenger of magic" that can grant any wish to a certain girl, on the condition that she become a magical girl and fight against the witches, who are in fact themselves corrupted magical girls. It is later revealed that their true name is Incubator. Kyubey's true goal in creating magical girls and witches is to counter entropy and stave off the heat death of the universe. Creation and design Kyubey was created and designed by writer Gen Urobuchi. As one of the primary villains in the series, producer Atsuhiro Iwakami stated that "the mash-up of cuteness and darkness is the central theme to Puella Magi Madoka Magica, and Kyubey is an epitome of that theme." A central goal in Urobuchi's writing was to highlight the moral and ethical dissonance between Kyubey and the young girls, which was done through actions in the series such as Kyubey eating their own corpse in order to recycle energy. Urobuchi compared Kyubey to monsters occurring in the works of horror fiction author H. P. Lovecraft, commenting of the character: "He (sic) is not evil, it is his lack of feelings that make him scary." Appearances Kyubey is a sexless extraterrestrial cat-like being posing as a familiar who can grant any wish to a certain girl, on the condition that she becomes a magical girl and fight against witches. When the chosen girl makes a contract with them, they extract her soul and places it inside a soul gem, reconstructing her body into a shell that is more resilient in order to fight witches. They constantly try to get Madoka Kaname to make a contract with them, as she allegedly possesses great magical potential within her that would allow her to become the most powerful magical girl. They can only be seen or heard by magical girls and those with "magical" potential and is able to communicate with them telepathically. Kyubey is later revealed to be a member of a hive-minded race called the Incubators, who eat their dead and take their predecessor's place and identity. The Incubators developed the technology to convert emotions into energy, which they use to counter entropy and prevent the impending heat death of the universe. Having evaluated countless races throughout the universe, the Incubators find ideal subjects among humans, specifically pubescent and prepubescent girls as they produce the most energy which reaches its zenith when a magical girl's soul gem turns into a grief seed. Kyubey claims their race lacks emotions (or, at least, that those in his race who have emotions are abnormal). They have little understanding of mortality or the value of life, considering their actions to simply be utilitarian in nature despite appearing cruel to others. Despite this, Kyubey is a skilled manipulator who leaves out the vital aspects of their contracts and only reveals the truth when asked, such as neglecting to explain that the creation of a soul gem involves the literal removal of the soul from their bodies until after its consequences are made evident. According to Kyubey, the very existence of the Magi-Witch system is what allowed the evolution of mankind's civilization, as many of the main events in human history have involved magical girls. Despite having answered all questions pointed their way, there is still much about the universe that Kyubey has not spoken of. In the side-story manga Puella Magi Kazumi Magica, Kyubey also appears as the contractor of all the magical girls in Asanaru City, including the Pleiades Saints. When the Pleiades learned the truth about magical girls, they took one of Kyubey's corpses and used it to create their Incubator Jubey, who could absorb darkness from soul gems. Furthermore, they had Umika cast a spell that would make Kyubey invisible to all other girls in the city and rewrite their own memories to believe they contracted with Jubey, in an attempt to stop more witches from being born. This ultimately backfires as Jubey turns out to be a failure. In The Rebellion Story, which takes place after the series, Kyubey seals Homura outside the Law of Circles' jurisdiction to force Madoka back into the physical world in an attempt to restore the witch system of the previous timelines since their kind has been harvesting less energy in the new system. Unfortunately, their plan backfires when Homura ended up stealing Madoka's powers for herself, enslaving the Incubators to take Madoka's place in taking on the curses of the new world. In the post-credits scene, Kyubey is last seen lying on the ground, disheveled and shivering, mentally scarred. A large amount of merchandise based on Kyubey has been created, such as a nendoroid figure by the Good Smile Company; QB Sofa and Bath Set; plush doll; and a hugging pillow. Reception and legacy Kyubey won the 1st Newtype Anime Awards for Best Mascot Character in 2011. They took third place and fifth place in the following two years, in 2013 and 2014. Kyubey won the 2011 Net Buzzword's Bronze Prize for his popular catchphrase; and also won the 1st Nikkan Anime Grand Prix's "Worst Dark Character" award by the Nikkan Sports newspaper. Emiri Katō won the 6th Seiyu Awards for Best supporting actress in 2012 for her portrayal of Kyubey. In December 2015, Kyubey was included among the "Anime's Most Despicable Villains", a poll conducted by MyNavi Student. They were voted third cutest mascot character. Andy Hanley from UK Anime Network initially described them as an "odd cat-like figure". Gabriella Ekens of Anime News Network characterized them as "the alien embodiment of utilitarian logic." Jacob Churosh of THEM Anime Reviews described, "Emiri Katou's contribution in the role of Kyuubey is also considerable; although he (sic) initially seems rather monotonously cheerful, Katou eventually manages to convey the relentless, strange rationality—what one might call the alien logic—that drives him." EJ Rivera, marking specialist for the Aniplex of America, stated in 2012 that "Fans love to hate him (sic)." The Kyubey character, for his (sic) part, is a screenwriting accomplishment in and of itself. So fleshed-out and complete is his worldview that it's hard not to start (ironically) empathizing with how he sees things, and the reveal of exactly who and what he is—and how he sees the world—is executed so well it's thrilling in and of itself. As a result, Kyubey has all the best dialogue in the show, and some of it is laugh-out-loud hilarious near the end, putting a button on everything that's happening with a cold, calculating attitude. We don't see this kind of character writing often, and that it's accomplished so well here is a minor miracle. Simply put, it just shouldn't work as well as it does, but the proof is all there on screen. — Zac Bertschy, Anime News Network Kyubey was listed by Paste magazine as the eighth-greatest anime villain. Lynzee Loveridge of Anime News Network ranked them at number 3 of "8 Shocking Betrayals" list for deceiving the magical girls. Comic Book Resources ranked Kyubey first in the website's "The 20 Strongest Alien Species In Anime" list, with writer Ashley Glenn stating "this is perhaps one of the most powerful aliens out there". Game Revolution also included Kyubey among their "greatest anime betrayals ever" list. References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Akihabara] | [TOKENS: 979] |
Contents Akihabara Akihabara (Japanese: 秋葉原) is a neighborhood in the Chiyoda ward of Tokyo, Japan, generally considered to be the area surrounding Akihabara Station (nicknamed Akihabara Electric Town). This area is part of the Sotokanda (外神田) and Kanda-Sakumachō districts of Chiyoda. There is an administrative district called Akihabara (part of Taitō ward), located north of Akihabara Electric Town surrounding Akihabara Neribei Park. The name Akihabara is a shortening of Akibagahara (秋葉ヶ原), which comes from Akiba (秋葉), named after a fire-controlling deity of a firefighting shrine built after the area was destroyed by a fire in 1869. Akihabara gained the nickname Akihabara Electric Town (秋葉原電気街, Akihabara Denki Gai) shortly after World War II for being a major shopping center for household electronic goods and the post-war black market. Akihabara is considered by many to be the center of Japanese otaku culture, and is a major shopping district for video games, anime, manga, electronics and computer-related goods. Icons from popular anime and manga are displayed prominently on the shops in the area, and numerous maid cafés and some arcades are found throughout the district. Geography The main area of Akihabara is located on a street just west of Akihabara Station. There is an administrative district called Akihabara north of Akihabara Electric Town surrounding Akihabara Neribei Park. This district is part of Taitō ward. History Akihabara was once near a city gate of Edo and served as a passage between the city and northwestern Japan. This made the region a home to many craftsmen and tradesmen, as well as some low-class samurai. One of Tokyo's frequent fires destroyed the area in 1869, and the people decided to replace the buildings of the area with a shrine called Chinkasha (now known as Akiba Shrine 秋葉神社 Akiba Jinja, lit. 'fire extinguisher shrine'), in an attempt to prevent the spread of future fires. The locals nicknamed the shrine Akiba after the deity that could control fire, and the area around it became known as Akibagahara, later Akihabara. After Akihabara Station was built in 1888, the shrine was moved to the Taitō ward, where it resides today. Since its opening in 1890, Akihabara Station became a major freight transit point, which allowed a vegetable and fruit market to spring up. In the 1920s, the station saw a large volume of passengers after opening for public transport. After World War II, the black market thrived in the absence of a strong government. This disconnection of Akihabara from government authority allowed the district to grow as a market city. In the 1950s, this climate turned Akihabara into a market region specializing in electronic household appliances, such as washing machines, refrigerators, television sets, and stereos, earning Akihabara the nickname "Electric Town". As household electronics began to lose their futuristic appeal in the 1980s, the shops of Akihabara shifted their focus to home computers, at a time when they were only used by specialists and hobbyists. This brought in a new type of consumer, computer nerds or otaku. The market in Akihabara latched onto their new customer base that was focused on anime, manga, and video games. The connection between Akihabara and otaku has grown to the point that the region is a center for otaku culture. Otaku culture The streets of Akihabara are covered with anime and manga icons, and cosplayers line the sidewalks handing out advertisements, especially for maid cafés. Release events, special events, and conventions are common in Akihabara. Architects design the stores of Akihabara to be opaque and closed, to reflect the desire of many otaku to live in their anime worlds rather than display their interests. Akihabara's role as a free market has allowed a large amount of amateur work to find an audience. Doujinshi (amateur or fanmade manga) has been growing in Akihabara since the 1970s. Transport Akihabara is accessible by train, bus and car. Akihabara Station Iwamotocho Station Suehirocho Station See also References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Guinness_World_Records#cite_note-JohnOliver-81] | [TOKENS: 3908] |
Contents Guinness World Records Page version status This is an accepted version of this page Guinness World Records, known from its inception in 1955 until 1999 as The Guinness Book of Records and in previous United States editions as The Guinness Book of World Records, is a British reference book published annually, listing world records both of human achievements and the extremes of the natural world. Sir Hugh Beaver created the concept in order to settle arguments debated in pubs, and twin brothers Norris and Ross McWhirter co-founded the book in London in late August 1955. The first edition topped the bestseller list in the United Kingdom by Christmas 1955. The following year the book was launched internationally, and as of the 2026 edition, it is now in its 71st year of publication, published in 100 countries and 40 languages, and maintains over 53,000 records in its database. The international franchise has extended beyond print to include television series and museums. The popularity of the franchise has resulted in Guinness World Records becoming the primary international source for cataloguing and verification of a huge number of world records. The organization employs record adjudicators to verify the authenticity of the setting and breaking of records. Following a series of owners, the franchise has been owned by the Jim Pattison Group since 2008, with its headquarters moved to South Quay Plaza, Canary Wharf, London, in 2017. Since 2008, Guinness World Records has orientated its business model away from selling books, and towards creating new world records as publicity exercises for individuals and organizations, which has attracted criticism. History On 10 November 1951, Sir Hugh Beaver, then the managing director of the Guinness Breweries, went on a shooting party in the North Slob, by the River Slaney in County Wexford, Ireland. After missing a shot at a golden plover, he became involved in an argument over whether the golden plover or the red grouse was the fastest game bird in Europe (the plover is faster, but neither is the fastest game bird in Europe). That evening at Castlebridge House, he realized that it was impossible to confirm in reference books whether or not the golden plover was Europe's fastest game bird. Beaver knew that there must have been numerous other questions debated nightly among the public, but there was no book in the world with which to settle arguments about records. He realized then that a book supplying the answers to this sort of question might prove successful. Beaver's idea became a reality when Guinness employee Christopher Chataway recommended university friends Norris and Ross McWhirter, who had been running a fact-finding agency in London. The twin brothers were commissioned in August 1954 to compile what became The Guinness Book of (Superlatives and now) Records.[clarification needed] A thousand copies were distributed for free to pubs across Britain and Ireland as a promotional asset for the Guinness brand, and they became immensely popular with customers. After the founding of The Guinness Book of Records office at the top of Ludgate House, 107 Fleet Street, London, the first 198-page edition was bound on 27 August 1955 and went to the top of the British bestseller list by Christmas. The following year, it was introduced into the United States by New York publisher David Boehm and sold 70,000 copies. Since then, Guinness World Records has sold more than 150 million copies in 100 countries and 40 languages. Due to the book's surprise success, many further editions were printed, eventually settling into a pattern of one revision a year, published in September/October, in time for Christmas. The McWhirters continued to compile it for many years. Both brothers had an encyclopedic memory; on the British children's television series Record Breakers (based upon the book), which was broadcast on the BBC from 1972 to 2001, they would take questions posed by children in the audience on various world records and were able to give the correct answer. Ross McWhirter was assassinated by two members of the Provisional Irish Republican Army in 1975, in response to offering a £50,000 reward for information that would lead to the capture of members of the organization. Following Ross's assassination, the feature on the show where questions about records posed by children were answered was called Norris on the Spot. Norris carried on as the book's sole editor. Guinness Superlatives, later Guinness World Records Limited, was incorporated in London in 1954 to publish the first book. Sterling Publishing owned the rights to the Guinness book in the US for decades until it was repurchased by Guinness in 1989 after an 18-month long lawsuit. The group was owned by Guinness PLC and subsequently Diageo until 2001, when it was purchased by Gullane Entertainment for £45.5 million ($65 million). Gullane was itself purchased by HIT Entertainment in 2002. In 2006, Apax Partners purchased HIT and subsequently sold Guinness World Records in early 2008 to the Jim Pattison Group, the parent company of Ripley Entertainment, which is licensed to operate Guinness World Records' Attractions. With offices in New York City and Tokyo, Guinness World Records' global headquarters remain in South Quay Plaza in Canary Wharf, London, while its museum attractions are based at Ripley headquarters in Orlando, Florida. Recent editions have focused on record feats by individuals. Competitions range from obvious ones such as Olympic weightlifting to the longest egg tossing distances, or for the longest time spent playing Grand Theft Auto IV or the largest number of hot dogs consumed in three minutes. Besides records about competitions, it contains such facts such as the heaviest tumor, the most poisonous fungus, the longest-running soap opera and the most valuable life-insurance policy, among others. Many records also relate to the youngest people to have achieved something, such as the youngest person to visit all nations of the world, currently held by Maurizio Giuliano. Each edition contains a selection of the records from the Guinness World Records database, as well as select new records, with the criteria for inclusion changing from year to year. The latest edition is the 72nd, published in August 2025. The retirement of Norris McWhirter from his consulting role in 1995 and the subsequent decision by Diageo Plc to sell The Guinness Book of Records brand have shifted the focus of the books from text-oriented to illustrated reference. A selection of records are curated for the book from the full archive but all existing Guinness World Records titles can be accessed by creating a login on the company's website. Applications made by individuals for existing record categories are free of charge. There is an administration fee of £5 (or $5) to propose a new record title. A number of spin-off books and television series have also been produced. Guinness World Records bestowed the record of "Person with the most records" on Ashrita Furman of Queens, New York, in April 2009; at that time, he held 100 records. In 2005, Guinness designated 9 November as International Guinness World Records Day to encourage breaking of world records. In 2006, an estimated 100,000 people participated in over 10 countries. Guinness reported 2,244 new records in 12 months, which was a 173% increase over the previous year. In February 2008, NBC aired The Top 100 Guinness World Records of All Time and Guinness World Records made the complete list available on their website. The popularity of the franchise has resulted in Guinness World Records becoming the primary international authority on the cataloguing and verification of a huge number of world records. Over its history, numerous world record categories have been discontinued. This list may include that the record poses a threat to health or the environment. Defining records For many records, Guinness World Records is the effective authority on the exact requirements for them and with whom records reside, the company providing adjudicators to events to determine the veracity of record attempts. The list of records which the Guinness World Records covers is not fixed, records may be added and also removed for various reasons. The public is invited to submit applications for records, which can be either the bettering of existing records or substantial achievements which could constitute a new record. The company also provides corporate services for companies to "harness the power of record-breaking to deliver tangible success for their businesses." Guinness World Records states several types of records it will not accept for ethical reasons, such as those related to the killing or harming of animals. In the 2006 Guinness Book of World Records, Colombian serial killer Pedro López was listed as the "most prolific serial killer", having murdered at least 110 people (with Lopez himself claiming he murdered over 300 people) in Colombia, Ecuador and Peru in the late 1960s to 1980s. This was later removed after complaints that it made a competition out of murder, however the record was reinstated in the 2026 edition. Several world records that were once included in the book have been removed for ethical reasons, including concerns for the well-being of potential record breakers. For example, following publication of the "heaviest pet" record, many owners overfed their pets beyond the bounds of what was healthy, and therefore such entries were removed. The Guinness Book also dropped records within their "eating and drinking records" section of Human Achievements in 1991 over concerns that potential competitors could harm themselves and expose the publisher to potential litigation. These changes included the removal of all spirit, wine and beer drinking records, along with other unusual records for consuming such unlikely things as bicycles and trees. Other records, such as sword swallowing and rally driving (on public roads), were closed from further entry as the current holders had performed beyond what are considered safe human tolerance levels. There have been instances of closed categories being reopened. For example, the sword swallowing category was listed as closed in the 1990 Guinness Book of World Records, but has since been reopened with Johnny Strange breaking a sword swallowing record on Guinness World Records Live. Similarly, the speed beer drinking records which were dropped from the book in 1991, reappeared 17 years later in the 2008 edition, but were moved from the "Human Achievements" section of the older book to the "Modern Society" section of the newer edition. As of 2011[update], it is required in the guidelines of all "large food" type records that the item be fully edible, and distributed to the public for consumption, to prevent food wastage. Chain letters are also not allowed: "Guinness World Records does not accept any records relating to chain letters, sent by post or e-mail." After Roger Guy English set the record for sleeplessness in 1974, the category was discontinued for being too dangerous. At the request of the U.S. Mint, in 1984, the book stopped accepting claims of large hoardings of pennies or other currency. Environmentally unfriendly records (such as the releasing of sky lanterns and party balloons) are no longer accepted or monitored, in addition to records relating to tobacco or cannabis consumption or preparation. In 2024, Guinness World Records was accused of laundering the reputation of the oppressive governments as it set world records for the UAE's police forces and Egypt's military. By 2024, the UAE achieved 526 records, of which 21 were credited to the Emirates' police force. Matthew Hedges, a British academic who was forced to sign a false confession, asked the records body to take down the Abu Dhabi police department's certificate for "most signatures on a scroll", along with other such titles. Concerns were also raised around the activities around Egypt, which moved from 22 records to 110 within a decade until 2024. James Lynch, co-founder of FairSquare, said the records were legitimizing Abdel Fattah el-Sisi's regime. The Guinness World Records stated that its record titles "cannot be purchased". Guinness World Records has been accused of romanticizing diseases, such as Graves' Disease and Pica. For some potential categories, Guinness World Records has declined to list some records that are too difficult or impossible to determine. For example, its website states: "We do not accept any claims for beauty as it is not objectively measurable." On 10 December 2010, Guinness World Records stopped accepting submissions for the "dreadlock" category after an investigation of its first and only female title holder, Asha Mandela, determining it was impossible to judge this record accurately. Change in business model Traditionally, the company made a large amount of its revenue via book sales to interested readers, especially children. The rise of the Internet began to cut into book sales starting in the 2000s, part of a general decline in the book industry. According to a 2017 story by Planet Money of NPR, Guinness began to realize that a lucrative new revenue source to replace falling book sales was the would-be record-holders themselves. While any person can theoretically send in a record to be verified for free, the approval process is slow. Would-be record breakers that paid fees ranging from US$12,000 to US$500,000 would be given advisors, adjudicators, help in finding good records to break as well as suggestions for how to do it, prompt service, and so on. In particular, corporations and celebrities seeking a publicity stunt to launch a new product or draw attention to themselves began to hire Guinness World Records, paying them for finding a record to break or to create a new category just for them. As such, they have been described as a native advertising company, with no clear distinction between content and advertisement. Television talk show host John Oliver criticized Guinness World Records on the programme Last Week Tonight with John Oliver in August 2019, during an episode about President of Turkmenistan Gurbanguly Berdimuhamedow. Oliver said Guinness took money from authoritarian governments for pointless vanity projects such as Berdimuhamedow's. Oliver asked Guinness to work with Last Week Tonight to adjudicate a record for "Largest cake featuring a picture of someone falling off a horse", but according to Oliver, the offer did not work out after Guinness insisted on a non-disparagement clause. Guinness World Records denied the accusations and stated that they declined Oliver's offer to participate because "it was merely an opportunity to mock one of our record-holders," and that Oliver did not specifically request the record for the largest marble cake. As of 2021, the Guinness World Record for "Largest marble cake" remains with Betty Crocker Middle East in Saudi Arabia. Following Oliver's episode, Guinness World Records' ethics were called into question by human rights groups. Museums In 1976, a Guinness Book of World Records museum opened in the Empire State Building. Speed shooter Bob Munden then went on tour promoting The Guinness Book of World Records by performing his record fast draws with a standard weight single-action revolver from a Western movie-type holster. His fastest time for a draw was 0.02 seconds. Among exhibits were life-size statues of the world's tallest man, Robert Wadlow, and world's largest earthworm, an X-ray photo of a sword swallower, repeated lightning strike victim Roy Sullivan's hat complete with lightning holes and a pair of gem-studded golf shoes on sale for $6,500. The museum closed in 1995. In more recent years, the Guinness company has permitted the franchising of small museums with displays based on the book, all currently (as of 2010[update]) located in towns popular with tourists: Tokyo, Copenhagen, San Antonio. There were once Guinness World Records museums and exhibitions at the London Trocadero, Bangalore, San Francisco, Myrtle Beach, Orlando, Atlantic City, and Las Vegas. The Orlando museum, which closed in 2002, was branded The Guinness Records Experience; the Hollywood, Niagara Falls, Copenhagen, and Gatlinburg museums also previously featured this branding. Retail and merchandise Guinness World Records operates an official online shop, the Guinness World Records Store, which offers items related to record-breaking achievements, including certificates of participation, apparel, and the annual Guinness World Records book. The shop provides record-holders and the general public with access to official Guinness World Records materials. Merchandise is part of the organization's broader engagement efforts beyond its publications and events. Television series Guinness World Records has commissioned various television series documenting world record breaking attempts, including: Rhianna Loren (2025) Specials: Gamer's edition In 2008, Guinness World Records released its gamer's edition, a supplement that keeps records for popular video game high scores, codes and feats in association with Twin Galaxies. The Gamer's Edition used to contain 258 pages, over 1,236 video game related world records and four interviews including one with Twin Galaxies founder Walter Day. Editions were published for the years 2008 through 2020, with the 2009 edition in hardcover. The 2025 edition is the first since 2020, returning after a five-year hiatus. Since 2020, the supplement has had 192 pages. The Guinness Book of British Hit Singles The Guinness Book of British Hit Singles was a music reference book first published in 1977. It was compiled by BBC Radio 1 DJs Paul Gambaccini and Mike Read with brothers Tim Rice and Jonathan Rice. It was the first in a number of music reference books that were to be published by Guinness Publishing with sister publication The Guinness Book of British Hit Albums coming in 1983. After being sold to Hit Entertainment, the data concerning the Official Chart Company's singles and albums charts were combined under the title British Hit Singles & Albums, with Hit Entertainment publishing the book from 2003 to 2006 (under the Guinness World Records brand). After Guinness World Records was sold to The Jim Pattison Group, it was effectively replaced by a series of books published by Ebury Publishing/Random House with the Virgin Book of British Hit Singles first being published in 2007 and with a Hit Albums book following two years later. Other media and products In 1975, Parker Brothers marketed a board game, The Guinness Game of World Records, based on the book. Players compete by setting and breaking records for activities such as the longest streak of rolling dice before rolling doubles, stacking plastic pieces, and bouncing a ball off alternating sides of a card, as well as answering trivia questions based on the listings in the Guinness Book of World Records. A video game, Guinness World Records: The Videogame, was developed by TT Fusion and released for Nintendo DS, Wii and iOS in November 2008. In 2012, Warner Bros. announced the development of a live-action film version of Guinness World Records with Daniel Chun as scriptwriter. The film, however, never entered production. Dr. Sunil Gupta is listed in the Guinness World Records for participating in the largest multi-location diabetic neuropathy screening conducted on World Diabetes Day, 14 November 2013, during which 1,676 screenings were performed across 27 locations in India. References |
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Contents Craig Barron Craig Barron (born April 6, 1961) is executive creative director at media company, Magnopus, after having worked as a visual effects artist for American film and television, specializing in matte painting effects. He produces visual development and virtual production services for motion pictures, television, museums and multimedia platforms. Starting at Industrial Light & Magic, Barron contributed to the visual effects on films such as The Empire Strikes Back, Raiders of the Lost Ark, and E.T. the Extra-Terrestrial. At his own VFX studio Matte World Digital, he produced visual effects for more than 100 films, including Batman Returns, Casino, and Zodiac. He is an Emmy and Academy Award recipient, film historian, museum curator, archivist and author with a focus on the history of visual effects in classic films, before and after the digital age. His presentations and short documentaries for AMPAS, TCM, and Criterion, reveal the formerly secret history of how visual effects pioneers created seamless visuals using matte paintings, miniatures and optical effects. Career Hired at age 18 by VFX cinematographer Richard Edlund in 1979, Barron was then the youngest person working at ILM. He started out in the matte painting department with VFX photographer Neil Krepela, and was apprentice to concept illustrator/matte painter Ralph McQuarrie. Barron eventually was responsible for compositing matte-painted effects for scenes in landmark visual-effects films, including The Empire Strikes Back, Raiders of the Lost Ark, and E.T. the Extra-Terrestrial. He later told Star Wars Insider that he had originally wanted a job in animation and stop motion, but he jumped at the chance to join the matte painting department when there was an opening. Accompanied by matte painters Michael Pangrazio and Chris Evans, at times on international location shoots, Barron and crew designed and photographed matte shots for feature films. From 1984 to 1988 he was matte photography supervisor, working to combine matte paintings and miniatures with live-action photography. He is credited as director of matte photography on Willow (1988), his last film at ILM, before leaving to start his own company Matte World. Co-founded by Barron, Pangrazio and executive producer Krystyna Demkowicz in 1988, Matte World produced seamless matte-painting effects for film and television productions from its Novato, California studio. Soon after formation, Barron's work for HBO's By Dawn's Early Light won an Emmy for Outstanding Visual Effects. Throughout the 1980s, Barron and his crew produced traditional effects shots with glass matte paintings and miniature models. Their work received an Academy Award nomination for Best Visual Effects for Batman Returns in 1992. That same year, the company was renamed Matte World Digital (MWD) to reflect the new technological tools available to matte painters. MWD produced digital environments for feature films, commercials, cable television, computer games and IMAX projects, serving the artistic visions of directors Martin Scorsese, Francis Ford Coppola, James Cameron, Alfonso Cuaron, Gore Verbinski, Ron Howard, Tim Burton, David Fincher, Leonard Nimoy, and Frank Darabont, among others. Barron contributed to the visual effects of more than 100 films at MWD, innovating digital-effects techniques for Zodiac, Alice in Wonderland, and The Curious Case of Benjamin Button, which won the Academy Award for Best Visual Effects in 2009. MWD closed in 2012 after 24 years of service. The company's last project was creating stereo CGI matte paintings of 1930s-era Paris and Georges Méliès' glass studio for Martin Scorsese's Hugo. Matte World Digital was the first company to apply radiosity rendering to film, for Martin Scorsese's Casino. Collaborating with software company LightScape, the MWD crew was able to simulate the reflective effect of millions of neon lights from the 1970s-era Las Vegas strip. Radiosity rendering provided a true simulation of bounce-light reflectivity in a computer-generated environment. For David Fincher's Zodiac, another film mainly set in the 1970s, shots were needed to establish the grittier San Francisco of that era. Barron shot digital images of existing city-building textures, then added painted period details in the computer. One such shot features the Embarcadero Freeway alongside the Ferry Building and San Francisco Bay. The freeway had been demolished after the 1989 Loma Prieta earthquake so MWD digitally rebuilt the structure, viewed from an overhead computer-generated "helicopter-shot" to introduce San Francisco in 1969. CG lighting techniques were applied for a sped-up animated sequence showing the Transamerica Pyramid being built, establishing the passage of time. Barron researched archival photographs and architectural drawings for the shot. Barron worked with Fincher again in 2008 to build several digital matte and CGI environments for The Curious Case of Benjamin Button. The interior of the film's New Orleans train station had to change and deteriorate, representing different eras. MWD built the CGI station interiors using Next Limit's Maxwell rendering software—software that was generally used as an architectural visualization and product-design tool. MWD revamped it to mimic real-world lighting as seen from multiple angles and light sources. While heading Matte World Digital, Barron co-produced and directed the science-fiction short, The Utilizer, broadcast on Syfy (then called the Sci-Fi Channel) in 1996. The film won the best special effects award at the Chicago International Film Festival. Barron was a visual effects supervisor at Tippett Studio in 2013, where he developed digital environments for film and commercial productions alongside his former ILM co-worker Phil Tippett. Growing up watching classic films, Barron was inspired by and curious about how special effects were created. He sought out and interviewed retired Hollywood studio-era cameramen and matte painters who revealed the formerly secretive world of visual effects techniques that were used in films such as King Kong, The Wizard of Oz, and Citizen Kane. This oral history of movie-making, along with a growing collection of behind-the-scenes photographs, were the basis of Barron's book, The Invisible Art: The Legends of Movie Matte Painting. The Invisible Art..., co-wrriten with Mark Cotta Vaz, is the first comprehensive book on the history of matte painting and its transition into the digital age. The New York Times called it "Eye-opening…increas[ing] our wonder at this heretofore 'invisible art.'" As a public-programs lecturer for the Academy of Motion Picture Arts and Sciences (AMPAS), Barron presents public screenings showcasing the art and technique of visual effects in classic studio films, often partnering with friend and fellow effects artist, sound designer Ben Burtt. The duo have been continuing guest hosts for Turner Classic Movies and Barron has been an ongoing contributor to the annual TCM Classic Film Festival in Hollywood since 2014. For their presentations, Barron and Burtt rely on extensive research and digital recreations to discover and uncover the hidden history of a century of film production. When preparing for a screening of Gunga Din, they visited the Lone Pine, California Alabama Hills location where the film was shot in 1938, and found pieces of the set buried there. Using camera drones, they then recreated the film's locations as CGI environments. Barron has been an adjunct associate professor at the USC School of Cinematic Arts since 2015. His "World of Visual Effects" course focuses on the history of visual effects in film and how visual effects have influenced narratives in filmmaking from its inception to today. Selected presentations Presentations and screenings co-hosted by Barron and Burtt unless otherwise noted. Barron produces and is featured in a number of documentary supplements for DVD and Blu-ray editions from The Criterion Collection and TCM. The documentary shorts, often in conjunction with Burtt, explain with interviews, animated sequences and reenactments, how 3D effects were produced in classic Hollywood films, such as Citizen Kane, It's a Wonderful Life, and The Incredible Shrinking Man. Selected documentary filmography Barron and Burtt write and produce the documentary series Secrets of the Hollywood Archives, a series that premiered on The Criterion Channel in 2022. Each five-minute episode focuses on one scene of a classic Hollywood film to demonstrate how studio VFX departments created its visual effects. In such films as Action in the North Atlantic, 12 O’Clock High, and Forbidden Planet, the producers dig through outtakes that were never released to the public, as well as production clips, stock shots and sound-effect recordings to find buried historical documentation of visual-effects history and techniques. Barron served on the planning committees tasked with developing the Academy Museum of Motion Pictures, a process that began in 2007. For the Museum’s inaugural exhibit on Citizen Kane, he co-produced videos honoring effects master Linwood Dunn and his use of mattes, miniatures and the optical printer to create Kane’s iconic visuals. Painted mattes and the Wayne Manor model for Batman Returns from the Matte World Digital archive were on display at the Academy Museum's inaugural opening in 2021. Barron joined Magnopus, a media company based in Los Angeles, in 2014. As a creative director and as of 2020, executive creative director, Barron specializes in virtual production, CGI and AI environment creation, and direction of interactive and immersive virtual-reality experiences for motion pictures and television, as well as remote educational experiences with augmented and virtual-reality for museums and other multimedia platforms. Barron directed the VR tie-in to 2017's Blade Runner 2049. Entitled Blade Runner 2049: Memory Lab, the 30-minute VR production is set in the world of the film where users act as replicant android hunters. A review in UploadVR said the experience, "...manages to contribute somewhat to 2049's story without stepping on it, shedding more light on one of the film's central characters that gives the entire piece an even deeper sense of purpose." Memory Lab was nominated for an Emmy for Outstanding Original Interactive Program in 2018. In partnership with Television City and Holocaust Museum LA, Barron wrote and directed a virtual museum experience app that brings Holocaust Museum LA's educational exhibits to global audiences. The Sobibor AR Exhibit uses augmented reality and holographic capture technology to help educators and students explore an animated 3D model of the Sobibor Death Camp with detailed historical information. Users can generate a virtual representation of the camp on their desktop, based on an original model by Holocaust survivor Thomas Blatt, while being guided through the experience by actor Ben Feldman, who appears as a holographic virtual guide to provide historical context and narration. The app has reached over 150,000 students through an educational program that provides teachers with detailed curriculum guides for classroom integration. The project was recognized as a Collision Awards finalist in the XR - Education & Training category for its innovative approach to Holocaust education, demonstrating how emerging technologies can make historical testimony more accessible and engaging for students. As Virtual Art Department (VAD) Supervisor, Barron oversaw the creation of virtual backgrounds for Remembering, a short film produced by and starring Brie Larson and directed by Elijah Allan-Blitz for Walt Disney Studios' StudioLab in 2022. Shot on Nant Studios' LED stage, the project also included an interactive app for Disney+ that breaks the fourth wall by extending the film's magical worlds into viewers' living rooms. The app allows viewers to pre-scan their living room and then integrates 3D elements like waterfalls, forests, and dolphins, transforming their home environment. Virtual Art Department (VAD) Supervisor, Barron led the design and creation of background environments for the 2024 Amazon Prime series, Fallout. His work on the LED virtual production stage helped to establish the show's dystopian world, providing the production with a real-time, final-pixel interactive backgrounds that seamlessly blended digital and practical sets. Barron conducted in-depth visual research into studio archives for The Wizard of Oz at Sphere, generating training data that helped create faithful representations of characters and enhanced environments with artist-assisted AI at Las Vegas’ Sphere venue. Collaborating with VFX artist Ben Grossmann and the Google AI team, he supervised animatics and contributed to AI outpainted environment extensions that adapted the 4:3 aspect ratio to the Sphere’s curved 160,000-square-foot display. Barron oversaw elements such as the enhanced Emerald City, Witch’s castle, and other Oz environments while preserving the authentic visual language of 1930s film production. In collaboration with the Academy Museum of Motion Pictures, Barron wrote and directed a mixed-reality experience for the museum's 2024–26 exhibition, Cyberpunk: Envisioning Possible Futures Through Cinema. Located in the museum's lobby, the immersive piece allows guests wearing AR headsets to be led by actor Rosa Salazar and director Ridley Scott through the evolution of virtual production. The experience demonstrates how virtual sets are built, inspired by films like Blade Runner, showcasing the future of virtual world-building and filmmaking. Awards, honors and affiliations Selected filmography Publications References External links |
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Editing Cosplay (section) Copy and paste: – — ° ′ ″ ≈ ≠ ≤ ≥ ± − × ÷ ← → · § Cite your sources: <ref></ref> {{}} {{{}}} | [] [[]] [[Category:]] #REDIRECT [[]] <s></s> <sup></sup> <sub></sub> <code></code> <pre></pre> <blockquote></blockquote> <ref></ref> <ref name="" /> {{Reflist}} <references /> <includeonly></includeonly> <noinclude></noinclude> {{DEFAULTSORT:}} <nowiki></nowiki> <!-- --> <span class="plainlinks"></span> Symbols: ~ | ¡ ¿ † ‡ ↔ ↑ ↓ • ¶ # ∞ ‹› «» ¤ ₳ ฿ ₵ ¢ ₡ ₢ $ ₫ ₯ € ₠ ₣ ƒ ₴ ₭ ₤ ℳ ₥ ₦ ₧ ₰ £ ៛ ₨ ₪ ৳ ₮ ₩ ¥ ♠ ♣ ♥ ♦ 𝄫 ♭ ♮ ♯ 𝄪 © ¼ ½ ¾ Latin: A a Á á À à  â Ä ä Ǎ ǎ Ă ă Ā ā à ã Å å Ą ą Æ æ Ǣ ǣ B b C c Ć ć Ċ ċ Ĉ ĉ Č č Ç ç D d Ď ď Đ đ Ḍ ḍ Ð ð E e É é È è Ė ė Ê ê Ë ë Ě ě Ĕ ĕ Ē ē Ẽ ẽ Ę ę Ẹ ẹ Ɛ ɛ Ǝ ǝ Ə ə F f G g Ġ ġ Ĝ ĝ Ğ ğ Ģ ģ H h Ĥ ĥ Ħ ħ Ḥ ḥ I i İ ı Í í Ì ì Î î Ï ï Ǐ ǐ Ĭ ĭ Ī ī Ĩ ĩ Į į Ị ị J j Ĵ ĵ K k Ķ ķ L l Ĺ ĺ Ŀ ŀ Ľ ľ Ļ ļ Ł ł Ḷ ḷ Ḹ ḹ M m Ṃ ṃ N n Ń ń Ň ň Ñ ñ Ņ ņ Ṇ ṇ Ŋ ŋ O o Ó ó Ò ò Ô ô Ö ö Ǒ ǒ Ŏ ŏ Ō ō Õ õ Ǫ ǫ Ọ ọ Ő ő Ø ø Œ œ Ɔ ɔ P p Q q R r Ŕ ŕ Ř ř Ŗ ŗ Ṛ ṛ Ṝ ṝ S s Ś ś Ŝ ŝ Š š Ş ş Ș ș Ṣ ṣ ß T t Ť ť Ţ ţ Ț ț Ṭ ṭ Þ þ U u Ú ú Ù ù Û û Ü ü Ǔ ǔ Ŭ ŭ Ū ū Ũ ũ Ů ů Ų ų Ụ ụ Ű ű Ǘ ǘ Ǜ ǜ Ǚ ǚ Ǖ ǖ V v W w Ŵ ŵ X x Y y Ý ý Ŷ ŷ Ÿ ÿ Ỹ ỹ Ȳ ȳ Z z Ź ź Ż ż Ž ž ß Ð ð Þ þ Ŋ ŋ Ə ə Greek: Ά ά Έ έ Ή ή Ί ί Ό ό Ύ ύ Ώ ώ Α α Β β Γ γ Δ δ Ε ε Ζ ζ Η η Θ θ Ι ι Κ κ Λ λ Μ μ Ν ν Ξ ξ Ο ο Π π Ρ ρ Σ σ ς Τ τ Υ υ Φ φ Χ χ Ψ ψ Ω ω {{Polytonic|}} Cyrillic: А а Б б В в Г г Ґ ґ Ѓ ѓ Д д Ђ ђ Е е Ё ё Є є Ж ж З з Ѕ ѕ И и І і Ї ї Й й Ј ј К к Ќ ќ Л л Љ љ М м Н н Њ њ О о П п Р р С с Т т Ћ ћ У у Ў ў Ф ф Х х Ц ц Ч ч Џ џ Ш ш Щ щ Ъ ъ Ы ы Ь ь Э э Ю ю Я я ́ IPA: t̪ d̪ ʈ ɖ ɟ ɡ ɢ ʡ ʔ ɸ β θ ð ʃ ʒ ɕ ʑ ʂ ʐ ç ʝ ɣ χ ʁ ħ ʕ ʜ ʢ ɦ ɱ ɳ ɲ ŋ ɴ ʋ ɹ ɻ ɰ ʙ ⱱ ʀ ɾ ɽ ɫ ɬ ɮ ɺ ɭ ʎ ʟ ɥ ʍ ɧ ʼ ɓ ɗ ʄ ɠ ʛ ʘ ǀ ǃ ǂ ǁ ɨ ʉ ɯ ɪ ʏ ʊ ø ɘ ɵ ɤ ə ɚ ɛ œ ɜ ɝ ɞ ʌ ɔ æ ɐ ɶ ɑ ɒ ʰ ʱ ʷ ʲ ˠ ˤ ⁿ ˡ ˈ ˌ ː ˑ ̪ {{IPA|}} This page is a member of 8 hidden categories (help): |
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[SOURCE: https://en.wikipedia.org/wiki/Body_language] | [TOKENS: 6808] |
Contents Body language Body language is a type of nonverbal communication in which physical behaviors, as opposed to words, are used to express or convey information. Such behavior includes facial expressions, body posture, gestures, eye movement, touch and the use of space. Although body language is an important part of communication, most of it happens without conscious awareness. In social communication, body language often complements verbal communication. Nonverbal communication has a significant impact on doctor-patient relationships, as it affects how open patients are with their doctor. As an unstructured, ungrammatical, and broadly-interpreted form of communication, body language is not a form of language. It differs from sign languages, which are true languages with complex grammar systems and exhibiting the fundamental properties considered to exist in all languages. Some researchers conclude that nonverbal communication accounts for the majority of information transmitted during interpersonal interactions. It helps to establish the relationship between two people and regulates interaction, yet it can be ambiguous. The interpretation of body language tends to vary in different cultural contexts. Within a society, consensus exists regarding the accepted understandings and interpretations of specific behaviors. However, controversy exists on whether body language is universal. The study of body language is also known as kinesics. Evolutionary origins of body language Body language was one of the oldest forms of communication between primates. Nonverbal communication in the form of gestures, facial expressions, and postures is also used in the transmission of ideas without using words. Studies show that in non-human primates, such as chimpanzees and bonobos gestures are not only instinctive but also learned through social interactions. This development is known as ontogenetic ritualization. The same applies to humans, for instance, raising an arm constitutes a sign to start a wrestling game. This gesture, with constant practice, served as a form of communication between people. Nonverbal communication in non-human primates, as in human primates, evolved based on a common evolutionary foundation. Even if it is more complex in humans. From an early age, humans develop body language through gestures, facial expressions, and postures for communication of feelings or to catch attention of something. They employ these non-verbal methods for more significant meanings and emotional content. In contrast, research indicates that in some primates, such gestures are used more frequently for immediate responses and are often more of a reaction in a more concrete context. Physical expressions Facial expression is an important part of body language and the expression of emotion. It can comprise movement of the eyes, eyebrows, lips, nose and cheeks. At one point, researchers believed that making a genuine smile was nearly impossible to do on command. More recently, however, a study conducted by researchers at Northeastern University found that people could convincingly fake a Duchenne smile, even when they were not feeling especially happy. The action of the pupil corresponds to mood and communicate the mood of a person when observed. Research has found that people have no control over their pupils, which involuntarily expand when expressing interest in another person or when looking at something. Normally, eyes instinctively blink at around 20 times per minute, but looking at a person the viewer finds attractive can make this rate faster.[better source needed]The eyes can communicate information that words may not be able to, the intensity and duration of eye contact can determine someone's intentions depending on the setting. Studies also show that during social exchanges, the eyes, which are used to send messages to others without words, work as a relay for the brain itself, with the need to process and interpret information. Variations in pupil size respond to cognitive and affective stimuli and therefore give instant clues about a person's understanding of a situation. Such pupillary changes also allow the identification of an individual's mental or emotional state. According to the academic researcher Deepika, in the workplace, strong eye contact is usually translated as sincerity and open communication. Furthermore, there are instances where people use closed communication, which refers to when people seem resistant to communication, for example, the avoidance of eye contact or crossed arms are interpreted as lack of interest regardless of whether it is intentional or subconscious. Studies and behavioral experiments have shown that facial expressions and bodily expressions are congruent in terms of conveying visible signs of a person's emotional state, and that emotions can be judged with a high level of accuracy based on facial expressions. At the same time, the brain processes another person's facial and bodily expressions simultaneously. The movement of the head can indicate various intentions and messages, and is often culture and context-dependent. The angle of facing and positioning of a person's head can be indicative of their mood, when considered along with patterns of muscular tension that occur concurrently at the face and neck.[note 1] Tilting the head up may demonstrate 'superiority emotions' such as self-assurance, pride, or contempt. When it is tilted down, this may indicate 'inferiority emotions' such as shame, shyness, or respect. Nonetheless, the accuracy of such interpretation depends on the intensity of the feeling or other context-related factors. For instance, feelings of contentment may instead feature the head being angled down somewhat. In many cultures, nodding of the head is considered a sign of saying 'yes', while shaking the head is usually interpreted as meaning 'no'. In India, a head bobble is the tilting of the head from side to side, whose interpretation can be ambiguous and context-dependent.[better source needed] A tilting of the head to the side can be an expression of interest in what the other person is communicating. It may be a sign of curiosity, uncertainty, or questioning. If the head is propped up by the hand when the head is tilted then this may indicate disinterest or be a sign of thinking about something. A head that is tilted forwards slightly while being pulled backward may indicate being suspicious.[better source needed] As a person's vocal chords are influenced physically by the tilt of their head and the respective pattern of muscle tension, it is possible to discern their head tilt by listening to how they talk. Head angle and movement have a large impact on the amplitude and pitch of one's speech. Emotions can also be detected through body postures. Research has shown that body postures are more accurately recognized when an emotion is compared with a different or neutral emotion. For example, a person feeling angry would portray dominance over the other, and their posture would display approach tendencies. Comparing this to a person feeling fearful: they would feel weak, and submissive and their posture would display avoidance tendencies. Sitting or standing postures can also indicate one's emotions. A person sitting still in the back of their chair, leaning forward with their head nodding along with the discussion implies that they are open, relaxed and generally ready to listen. On the other hand, a person who has their legs and arms crossed with the foot kicking could imply that they are feeling impatient and emotionally detached from the discussion.[better source needed] In a standing discussion, a person standing with arms akimbo with feet pointed towards the speaker could suggest that they are attentive and interested in the conversation.[better source needed] While many people attribute bodily posture purely to individual expression, there is evidence that points to posture as a product of cultural norms. In Bali, standing with arms akimbo is considered rude and may send signals of aggression. In general, the relative fullness or shallowness of the chest, especially around the sternum, can be a key indicator of both mood and attitude. When the body language of the chest is assessed in everyday circumstances, it involves an instinctive assessment of these factors of shape and volume. When the posture of the chest is fuller, and it is positioned relatively forward, then this is a sign of confidence. If it is thrusting prominently forward, then this may be an indication that the person wants to be socially prominent and make a statement of physical confidence. When the chest is pulled back then this can indicate a less confident attitude.[citation needed] If a person positions their chest closer towards another person it may be a sign of paying closer attention to them as part of a conversation, or, in other circumstances, it may be a sign of physical assertion and aggression. Gestures are movements made with body parts and may be voluntary or involuntary. Gestures can be used to convey various messages about what someone is thinking or feeling. Gestures can even be used to produce language, such as sign language. Arm gestures can be interpreted in several ways. In a discussion, when one stands, sits or even walks with folded arms, it is normally not a welcoming gesture. It could mean that they have a closed mind and are most likely unwilling to listen to the speaker's viewpoint. Another type of arm gesture also includes an arm crossed over the other, demonstrating insecurity and a lack of confidence.[better source needed] Hand gestures often signify the state of well-being of the person making them. Relaxed hands indicate confidence and self-assurance, while clenched hands may be interpreted as signs of stress or anger. If a person is wringing their hands, this demonstrates nervousness and anxiety.[better source needed] Finger gestures are also commonly used to exemplify one's speech as well as denote the state of well-being of the person making them. In certain cultures, pointing using one's index finger is deemed acceptable. However, pointing at a person may be viewed as aggressive in other cultures – for example, people who share Hindu beliefs consider finger pointing offensive. Instead, they point with a palm up open hand. Likewise, the thumbs up gesture could show "OK" or "good" in countries like the United States, South Africa, France, Lebanon and Germany. But this same gesture is insulting in other countries like Iran, Bangladesh and Thailand, where it is the equivalent of showing the middle finger in some cultures. It is difficult to distinguish a behavior motivated by an out-group bias—a negative response to a member of a different group—from one fueled by stereotype effect—a cognitive association between members of a specific out-group and a culturally held belief. Some behaviors are unique to some cultures, which leads to the outgroup having a harder time decoding the information, these interactions could lead to out-group bias. An example of a cultural difference in non-verbal communication is between Americans and the Greek. Americans nod up and down to indicate "yes" while they nod side to side to indicate "no". On the other hand, the Greek nod upwards to indicate "no" and downwards to indicate "yes". During American Greek interactions, the cultures clash and have a harder time decoding the non-verbal cues. Another way that out-group bias could be created is through low and high contact cultures. Low contact cultures are more individualistic, while high contact cultures are collectivistic. Low contact cultures express mostly verbally, and use less of the non-verbal cues, while high contact cultures use both forms of communication at the same time. People from low contact cultures could face a hard time decoding the gestures from those of high contact cultures, this can lead to out-group bias. Handshakes are regular greeting rituals and commonly used when meeting, greeting, offering congratulations, expressing camaraderie, or after the completion of an agreement. Research has shown that handshakes can improve the accuracy of first impressions, particularly in judging conscientiousness, especially among men. In negotiations, handshakes promote cooperative behavior and lead to better outcomes in both integrative and distributive scenarios. Negotiators who shake hands are more likely to openly reveal their preferences and craft fairer agreements. Studies have categorized several handshake styles, including the finger squeeze, the bone crusher (shaking hands too strongly), the limp fish (shaking hands too weakly), etc. Handshakes are popular in the United States and are appropriate for use between men and women. However, in Muslim cultures, men may not shake hands or touch women in any way and vice versa. Likewise, in Hindu cultures, Hindu men may never shake hands with women. Instead, they greet women by placing their hands as if praying.[citation needed] A firm, friendly handshake has long been recommended in the business world as a way to make a good first impression, and the greeting is thought to date to ancient times as a way of showing a stranger you had no weapons. Breathing is not just an automatic vital act. While most people tend to feel that breathing is automatic, the process is governed by an intricate neural control system called the breathing central pattern generator (bCPG), which involves interactions with brain regions that communicate with regions involved in feelings and cognition. Stress and anxiety make breathing faster or irregular, for instance. This physiological link helps to explain some aspects of body language, including breaths and breathing patterns that can be a signal of a person’s mood and state of mind. Researchers also study this link, because studying how breathing interacts with emotional regulation and cognition may reduce stress or enhance therapeutic practice. Breathing also plays a huge role in conversation because it provides air that powers speech. Breathing provides rapid shallow inhalations that prolong speech and provide control over once’s speech. Gait refers to how a person walks or runs. Body language and gait is usually considered in regard to walking because any concurrently given social signs are ordinarily more pronounced when a person is walking- as opposed to when they are running. Similarly to standing postures, a person’s walking gait can be directly indicative of their mood. If a person is walking with their head bowed, their shoulders slumped and with a heavy step then this typically means that they are feeling sad or unhappy about something. On the other hand, if they are walking with their head up, shoulders level or back, and stepping lightly then this ordinarily indicates that they are in a happier and more confident mood. In scientific studies of the relationship between gait and body language, one of the key measurements used is how light or heavy someone is on their feet. Untrained participants instinctively understand that it relates to states of positivity and negativity respectively. A cultural perception of how someone being light on their feet is an indicator of their mood, is demonstrated through expressions such as spring in their step and walking on air which emphasise that someone is in a positive emotional state i.e. they are happy or elated about something. This cultural awareness finds further expression in acting whereby actors manipulate how light or heavy they are on their feet in order to represent themselves as being in different moods. This helps to develop their character to the audience and demonstrate the emotional significance of any social interactions that they are involved in. Such presentations may be supported by other adjustments to the actor's gait in order to emphasize a particular mood. For example, walking with the head hung low, the body bent forward, and the shoulders dropped can all build upon an impression of sadness. Other subcategories Oculesics, a subcategory of body language, is the study of eye movement, eye behavior, gaze, and eye-related nonverbal communication. As a social or behavioral science, oculesics is a form of nonverbal communication focusing on deriving meaning from eye behavior. It shows how eye movement and attention can show emotions and interest that help regulate conversations, but is mostly based on culture. Oculesics is culturally dependent. For example, in traditional Anglo-Saxon culture, avoiding eye contact usually portrays a lack of confidence, certainty, or truthfulness. However, in the Latino culture, direct or prolonged eye contact means that you are challenging the individual with whom you are speaking or that you have a romantic interest in the person. Also, in many Asian cultures, prolonged eye contact may be a sign of anger or aggression. In South Asia children are expected to lower their gaze at elders as a form of respect. In many islamic countries prolonged eye contact can be seen as inappropriate and it is customary for men and women to lower their gaze when interacting with each other. Research has also shown that people can accurately decode distinct emotions by merely watching others communicate via touch. It shows how people use physical contact such as a hug, or a pat on the back, to show emotions and establish relationship and send social cues. A study by Jones and Yarbrough regarded communication with touch as the most intimate and involving form which helps people to keep good relationships with others. For example, Jones and Yarbrough explained that strategic touching is a series of touching usually with an ulterior or hidden motive thus making them seem to be using touch as a game to get someone to do something for them. Heslin outlines five haptic categories: Another notable area in the nonverbal world of body language is that of spatial relationships, which is also known as proxemics. Introduced by Edward T. Hall in 1966, proxemics is the study of measurable distances between people as they interact with one another. Hall came up with four distinct zones in which most people operate: Intimate distance for embracing, touching or whispering Personal distance for interactions among good friends or family members Social distance for interactions among acquaintances Public Distance used for public speaking In addition to physical distance, the level of intimacy between conversants can be determined by "socio-petal socio-fugal axis", or the "angle formed by the axis of the conversants' shoulders". Changing the distance between two people can convey a desire for intimacy, declare a lack of interest, or increase/decrease domination. It can also influence the body language that is used. For example, when people talk they like to face each other. If forced to sit side by side, their body language will try to compensate for this lack of eye-to-eye contact by leaning in shoulder-to-shoulder. As with other types of body language, proximity range varies with culture. Hall suggested that "physical contact between two people ... can be perfectly correct in one culture, and absolutely taboo in another". Tone of voice Certain body postures can significantly influence the tone of voice. The intra-abdominal pressure (IAP) is a direct influence on, and discernible in, tone of voice. Pitch, intonation, speed, and volume impact the way messages are decoded. The pitch of someone's voice can be interpreted in different ways, a high-pitched voice is associated with excitement, while a low voice is associated with seriousness. The intonation of a statement can helps people determine if a claim is being made or if a question is being asked. Statements with a rising intonation are usually questions. The speed and volume at which someone speaks helps determine the emotion behind the statement. For example, a loud-quick paced tone of voice is associated with urgency and anger, on the other hand, a slow-soft voice is associated with calmness and tenderness. Attitude Human communication is extremely complex and one must look at the whole in order to make any determination as to the attitudes being expressed. Body language is a major contributor to the attitude a person conveys to others. Albert Mehrabian maintains that during a conversation dealing with feelings and attitudes (i.e., like-dislike), 7% of what is communicated is via what is said, 38% is via tone of voice, and the majority, 55%, is via body language. This is also referred to as the '7%–38%–55% Rule', and is often considered in studies of human communications. While there is a wider debate about the percentage share which should be attributed to each of the three contributing factors, it is generally agreed upon that body language plays a fundamental role in determining the attitude a person conveys. A person may alter their body language in order to alter the attitude they convey; this may in turn influence the rapport they have with another person. Whether a formal or informal attitude is conveyed may influence the other person's response.[citation needed] Trust Body language which expresses trust will usually convey a sense of openness and warmth. Contrarily, mistrusting body language will appear relatively closed and cold. Body language which conveys a sense of trust can vary depending on the nature of the relationship.[better source needed] Nonverbal communication has a significant impact on doctor-patient relationships, as it affects how open patients are with their doctor. Having open body language, which is typically identified as having a relaxed posture, nodding, eye contact can contribute to patients having higher levels of trust with their doctors. According to, W.Y. Kee, patients who had a doctor that avoided eye contact by looking at a screen or had negative facial expressions contributed to patients feeling dissatisfied after their visit. The way body language is expressed changes depending on the gender and age of the person. Women and men express body language differently, especially in the workplace, women tend to express more intense nonverbal cues than men, this makes the cues easier to decode. These nonverbal signals impact the way men and women interact in the workplace, as according to Deepika, women tend be highly comfortable being close and communicating with other women. This is hypothesized to be the case because people that demonstrate similar nonverbal cues can interpret and decode communication signals more effectively. Body language which conveys trust in a business context is done so in a formal manner and in line with business etiquette. In the world of business, the power structures that tend to exist are communicated non-verbally. Nonverbal dominance refers to how people communicate power, control, and authority using gestures, posture, facial expressions, and voice. Nonverbal dominance becomes important in these business settings because it could impact sales and business relationships. For example, 'adaptors' refers to touching an object or oneself during a conversation or presentation. These communicate nervousness and uncertainty, which contributes to a lower rate of persuasiveness, this can lead to lower sales. Some examples of how people decode nonverbal dominance are silence, loud voices, and a non-smiling face. The study carried out by Burgoon demonstrated how participants could use nonverbal cues better to understand each other during a game of mafia. During the game, the participants had to take on different roles (spies or villagers) which had various levels of authority, as a result, participants adapted their body language to the role they played in the game. The study demonstrated that the spies were less dominant and more trustworthy, while the leader of the group was more dominant and demonstrated this dominance through their loud voice and upright posture. Overall, the study was able to demonstrate a correlation between the participants' role and how they adapted their body language to match the level of dominance. Body language between friends is typically more expressive and informal than body language in business. In casual settings, people display a lack of dominance more casually. For example, they may show more expressive facial expressions, nodding, and hand gestures. These nonverbal cues display open-body language, which contributes to improved communication among friends. These displays of body language may increase trust between friends, as nonverbal and verbal communication work together to form a clearer message. Body language in friendships can sometimes mean certain handshakes or gestures towards one another. It may also correlate to some sort of meaning for a certain idea or thing. The body language of trust in intimate relationships such as marriage and long term relationships is usually open and extremely personalized, even if it is not a physical dynamic that is displayed in friendships. In the west holding hands is a common gesture among romantic partners and it shows trust and communication between both partners. There are other forms of body language such as caressing and kissing, it can also serve to show openness and warmth in a distinctly personal manner. Through these gestures, you can tell when the partners are comfortable with each other, and a willingness to allow greater physical closeness than be acceptable in other types of relationships. Such patterns of body language are often established gradually over the course of courtship and are context-specific, meaning they cannot be appropriately transferred to non-intimate interaction. When people are in an intimate relationship, they often position themselves closer to each other than if they were in a different kind of relationship. Even though it may only be a small distance closer together, an observer can interpret this additional closeness to mean that they are in an intimate relationship. For example, spouses may sit, stand, and walk in each other's intimate space, whereas business colleagues may maintain more of a distance and outside of each other's intimate space. As the spouses are in an intimate relationship, they do not feel the need to maintain the same distance as the business colleagues. Readiness When you get onto a basketball court, all your teammates beside you, pumped up and ready to go, you form impressions of the other side, their strength and unity, their mood and body language. Of course the physicality element is stronger in sport, but something similar happens in politics, where you can read the mood of one side or the other simply by looking at them, sitting there all together. Body language can signal when the body is ready and to take action which may be categorized as either ‘readiness for physical exertion’ or ‘readiness for social interaction. Although individuals are usually prepared for both of these, body language reflects the area for which they are usually ready at a given moment. These states of readiness can influence the entire body including, tone of voice, posture, and the impression conveyed to others. When readiness feels increased it can be associated with high energy or intensity, deeper breathing, heightened nervous system activity, and a higher heart rate. There can also be physiological changes that can extend to the skin, which can appear fuller and more tense in states of readiness, and thinner or more flaccid when readiness is reduced. In cases of physical readiness, such effects are usually more noticeable in both intensity and visibility Harvard professor Amy Cuddy suggested in 2010 that two minutes of power posing – "standing tall, holding your arms out or toward the sky, or standing like Superman, with your hands on hips" – could increase confidence, but retracted the advice and stopped teaching it after a 2015 study was unable to replicate the effect. Universal vs. culture-specific Scholars have long debated on whether body language, particularly facial expressions, are universally understood. In Darwin's evolutionary theory, he postulated that facial expressions of emotion are inherited. On the other hand, scholars have questioned if culture influences one's bodily expression of emotions. Broadly, the theories can be categorized into two models: the cultural equivalence model and cultural advantage model. The cultural equivalence model predicts that "individuals should be equally accurate in understanding the emotions of ingroup and outgroup members". This model is rooted in Darwin's evolutionary theory, where he noted that both humans and animals share similar postural expressions of emotions such as anger/aggression, happiness, and fear. These similarities support the evolution argument that social animals (including humans) have a natural ability to relay emotional signals with one another, a notion shared by several academics (Chevalier-Skolnikoff, 1974; Linnankoski, Laakso, Aulanko, & Leinonen, 1994). Where Darwin notes similarity in expression among animals and humans, the Cultural Equivalence Model notes similarity in expression across cultures in humans, even though they may be completely different. One of the strongest pieces of evidence that supports this model was a study conducted by Paul Ekman, where members of a preliterate tribe in Papua New Guinea reliably recognized the facial expressions of individuals from the United States. Culturally isolated and with no exposure to US media, there was no possibility of cross-cultural transmission to the Papuan tribesmen. The term body language is usually applied in regard to people but may also be applied to animals. On the other hand, the cultural advantage model predicts that individuals of the same race "process the visual characteristics more accurately and efficiently than other-race faces". Other factors that increase accurate interpretation include familiarity with nonverbal accents. There are numerous studies that support both the cultural equivalence model and the cultural advantage model, but reviewing the literature indicates that there is a general consensus that seven emotions are universally recognized, regardless of cultural background: happiness, surprise, fear, anger, contempt, disgust, and sadness. Recently, scholars have shown that the expressions of pride and shame are universal. Tracy and Robins (2008) concluded that the expression of pride includes an expanded posture of the body with the head tilted back, with a low-intensity face and a non-Duchenne smile (raising the corner of the mouth). The expression of shame includes the hiding of the face, either by turning it down or covering it with the hands. Applications Body language is usually regarded as an involuntary and unconscious aspect of communication. However in some contexts it can be deliberately to make use of, both in performance and interpretation, to serve a specific purpose. Interest in body language has also grown commercially, there have been books and guides published to instruct consciously interpret nonverbal cues and apply them advantageously in different situations. The use of body language can be seen in a wide variety of fields. Body languages has seen applications in instructional teaching in areas such as second-language acquisition and also to enhance the teaching of subjects like mathematics. A related use of body language is as a substitution to verbal language to people who lack the ability to use that, be it because of deafness or aphasia. Body language has also been applied in the process of detecting deceit through micro-expressions, both in law enforcement and even in the world of poker. The importance of body language in second-language acquisition was inspired by the fact that to successfully learn a language is to achieve discourse, strategic, and sociolinguistic competencies. Sociolinguistic competence includes understanding the body language that aids the use of a particular language. This is usually also highly culturally influenced. As such, a conscious ability to recognize and even perform this sort of body language is necessary to achieve fluency in a language beyond the discourse level. The importance of body language to verbal language use is the need to eliminate ambiguity and redundancy in comprehension. Pennycook (1985) suggests to limit the use of non-visual materials to facilitate the teaching of a second language to improve this aspect of communication. He calls this being not just bilingual but also 'bi-kinesic'. Body language can be a useful aid not only in teaching a second language, but also in other areas. The idea behind using it is as a nonlinguistic input. It can be used to guide, hint, or urge a student towards the right answer. This is usually paired off with other verbal methods of guiding the student, be it through confirmation checks or modified language use. Tai in his 2014 paper provides a list of three main characteristic of body language and how they influence teaching. The features are intuition, communication, and suggestion. Although there is no scientific evidence that non-verbal cues can reliably detect deception (lie detection). The approach also has been broadly rejected by the scholarly community; some law enforcement agencies still use it. The Federal Bureau of Investigation, for example, has published several Law enforcement Bulletins describing body language as a tool for evaluating truthfulness and detecting deception. The body language of the members of law enforcement might influence the accuracy of eyewitness accounts. The game of poker involves the competence of reading and analyzing the body language of opponents (for example, poker tells), and moderating one's own body language (for example, poker bluff). Exaggerated, repetitious, and inappropriate body language is often used to achieve a humorous effect in comedy productions. Comedy double acts often use methods of complementary and contrasting comedic body language. Kinesics Kinesics is the study and interpretation of nonverbal communication related to the movement of any part of the body or the body as a whole. It was first developed by Ray Birdwhistell, who disavowed use of the term body language, as it did not meet the linguistic definition of language. Birdwhistell pointed out that "human gestures differ from those of other animals in that they are polysemic, that they can be interpreted to have many different meanings depending on the communicative context in which they are produced". And, he "resisted the idea that 'body language' could be deciphered in some absolute fashion". He also indicated that "every body movement must be interpreted broadly and in conjunction with every other element in communication". Sports Research on body language (nonverbal behavior, NVB) in sport is only slowly emerging, although it is considered important and has been frequently studied in other disciplines. NVB plays a crucial role in sports by conveying athletes' emotions, intentions, and psychological states. Research indicates that athletes' NVBs, such as facial expressions and postures, are correlated with internal factors like emotions and contextual variables like success. Observers, including opponents and referees, can interpret these NVBs, which can influence perceptions and decisions during competition. See also Notes Indeed, a bowed head probably leads raters to perceive the contraction of the Zygomatic Major (Action Unit 12) and a raised head to perceive the contraction of the Triangularis (Action Unit 15). Second, although we found no significant difference in the perception of mouth contraction at zero degrees between male and female actors, a large difference is perceived at other head angles even though the expression itself is fixed. Such a correspondence can be deliberately manipulated to produce different effects. For example, an actor can pose in a confident manner, while relaxing muscles in the neck which would ordinarily be more contracted in conjunction with the pose. He may thereby make it appear that he is actually afraid and the pose is merely an attempt to appear confident. References |
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[SOURCE: https://en.wikipedia.org/wiki/Authoritarianism] | [TOKENS: 7405] |
Contents Authoritarianism Authoritarianism is a political system characterized by the rejection of political plurality, the use of strong central power to preserve the political status quo, and reductions in democracy, separation of powers, civil liberties, and the rule of law. Authoritarian regimes may be either autocratic or oligarchic and may be based upon the rule of a party, the military, or the concentration of power in a single person. States that have a blurred boundary between democracy and authoritarianism have sometimes been characterized as "hybrid democracies", "hybrid regimes" or "competitive authoritarian" states. The political scientist Juan Linz, in an influential 1964 work, An Authoritarian Regime: Spain, defined authoritarianism as possessing four qualities: Minimally defined, an authoritarian government lacks free and competitive direct elections to legislatures, free and competitive direct or indirect elections for executives, or both. Broadly defined, authoritarian states include countries that lack human rights such as freedom of religion, or countries in which the government and the opposition do not alternate in power at least once following free elections. Authoritarian states might contain nominally democratic institutions such as political parties, legislatures and elections which are managed to entrench authoritarian rule and can feature fraudulent, non-competitive elections. Since 1946, the share of authoritarian states in the international political system increased until the mid-1970s but declined from then until the year 2000. Prior to 2000, dictatorships typically began with a coup and replaced a pre-existing authoritarian regime. Since 2000, dictatorships are most likely to begin through democratic backsliding whereby a democratically elected leader established an authoritarian regime. Characteristics Authoritarianism is characterized by highly concentrated and centralized government power maintained by political repression and the exclusion of potential or supposed challengers by armed force. It uses political parties and mass organizations to mobilize people around the goals of the regime. Adam Przeworski has theorized that "authoritarian equilibrium rests mainly on lies, fear and economic prosperity." Authoritarianism also tends to embrace the informal and unregulated exercise of political power, a leadership that is "self-appointed and even if elected cannot be displaced by citizens' free choice among competitors", the arbitrary deprivation of civil liberties and little tolerance for meaningful opposition. A range of social controls also attempt to stifle civil society while political stability is maintained by control over and support of the armed forces, a bureaucracy staffed by the regime and creation of allegiance through various means of socialization and indoctrination. Pippa Norris and Ronald Inglehart identify authoritarianism in politicians and political parties by looking for values of security, conformity, and obedience. Authoritarianism is marked by "indefinite political tenure" of the ruler or ruling party (often in a one-party state) or other authority. The transition from an authoritarian system to a more democratic form of government is referred to as democratization. Authoritarian regimes often adopt "the institutional trappings" of democracies such as constitutions. Constitutions in authoritarian states may serve a variety of roles, including "operating manual" (describing how the government is to function); "billboard" (signal of regime's intent), "blueprint" (outline of future regime plans), and "window dressing" (material designed to obfuscate, such as provisions setting forth freedoms that are not honored in practice). Authoritarian constitutions may help legitimize, strengthen, and consolidate regimes. An authoritarian constitution "that successfully coordinates government action and defines popular expectations can also help consolidate the regime's grip on power by inhibiting re coordination on a different set of arrangements." Unlike democratic constitutions, authoritarian constitutions do not set direct limits on executive authority; however, in some cases such documents may function as ways for elites to protect their own property rights or constrain autocrats' behavior. The Soviet Russia Constitution of 1918, the first charter of the new Russian Socialist Federated Soviet Republic (RSFSR), was described by Vladimir Lenin as a "revolutionary" document. It was, he said, unlike any constitution drafted by a nation-state. The concept of "authoritarian constitutionalism" has been developed by legal scholar Mark Tushnet. Tushnet distinguishes authoritarian constitutionalist regimes from "liberal constitutionalist" regimes ("the sort familiar in the modern West, with core commitments to human rights and self-governance implemented by means of varying institutional devices") and from purely authoritarian regimes (which reject the idea of human rights or constraints on leaders' power). He describes authoritarian constitutionalist regimes as (1) authoritarian dominant-party states that (2) impose sanctions (such as libel judgments) against, but do not arbitrarily arrest, political dissidents; (3) permit "reasonably open discussion and criticism of its policies"; (4) hold "reasonably free and fair elections", without systemic intimidation, but "with close attention to such matters as the drawing of election districts and the creation of party lists to ensure as best it can that it will prevail – and by a substantial margin"; (5) reflect at least occasional responsiveness to public opinion; and (6) create "mechanisms to ensure that the amount of dissent does not exceed the level it regards as desirable." Tushnet cites Singapore as an example of an authoritarian constitutionalist state, and connects the concept to that of hybrid regimes. The following is a non-exhaustive list of examples of states characterized as authoritarian, as seen in the sources in the Notes and references column. Countries listed also are not rated as democracies by The Economist Democracy Index, as 'free' by Freedom House's Freedom in the World index or reach a high score[clarification needed] at V-Dem Democracy Indices. The following is a non-exhaustive list of examples of states which were historically authoritarian. Ended with the People Power Revolution. Scholars such as Seymour Lipset, Carles Boix, Susan Stokes, Dietrich Rueschemeyer, Evelyne Stephens and John Stephens argue that economic development increases the likelihood of democratization. Adam Przeworski and Fernando Limongi argue that while economic development makes democracies less likely to turn authoritarian, there is insufficient evidence to conclude that development causes democratization (turning an authoritarian state into a democracy). Eva Bellin argues that under certain circumstances the bourgeoise and labor are more likely to favor democratization, but less so under other circumstances. Economic development can boost public support for authoritarian regimes in the short-to-medium term. According to Michael Albertus, most land reform programs tend to be implemented by authoritarian regimes that subsequently withhold property rights from the beneficiaries of the land reform. Authoritarian regimes do so to gain coercive leverage over rural populations. Authoritarian regimes typically incorporate similar political institutions to that of democratic regimes, such as legislatures and judiciaries, although they may serve different purposes. Democratic regimes are marked by institutions that are essential to economic development and individual freedom, including representative legislatures and competitive political parties. Most authoritarian regimes embrace these political structures, but use it in a way that reinforces their power. Authoritarian legislatures, for example, are forums through which leaders may enhance their bases of support, share power, and monitor elites. Additionally, authoritarian party systems are extremely unstable and unconducive to party development, largely due to monopolistic patterns of authority. Judiciaries may be present in authoritarian states where they serve to repress political challengers, institutionalize punishment, and undermine the rule of law. Democratic and authoritarian arguably differ most prominently in their elections. Democratic elections are generally inclusive, competitive, and fair. In most instances, the elected leader is appointed to act on behalf of the general will. Authoritarian elections, on the other hand, are frequently subject to fraud and extreme constraints on the participation of opposing parties. Autocratic leaders employ tactics like murdering political opposition and paying election monitors to ensure victory. The proportion of authoritarian regimes with elections and support parties has risen in recent years. This is largely due to the increasing popularity of democracies and electoral autocracies, leading authoritarian regimes to imitate democratic regimes in hopes of receiving foreign aid and dodging criticism. Flawed elections also give authoritarians a controlled way to monitor public sentiment. According to a 2018 study, most party-led dictatorships regularly hold popular elections. Prior to the 1990s, most of these elections had no alternative parties or candidates for voters to choose. Since the end of the Cold War, about two-thirds of elections in authoritarian systems allow for some opposition, but the elections are structured in a way to heavily favor the incumbent authoritarian regime. In 2020, almost half of all authoritarian systems had multi-party governments. Cabinet appointments by an authoritarian regime to outsiders can consolidate their rule by dividing the opposition and co-opting outsiders. Hindrances to free and fair elections in authoritarian systems may include: The foundations of stable authoritarian rule are that the authoritarian prevents contestation from the masses and other elites. The authoritarian regime may use co-optation or repression (or carrots and sticks) to prevent revolts. Authoritarian rule entails a balancing act whereby the ruler has to maintain the support of other elites (frequently through the distribution of state and societal resources) and the support of the public (through distribution of the same resources): the authoritarian rule is at risk if the balancing act is lopsided, as it risks a coup by the elites or an uprising by the mass public. According to a 2019 study by Sergei Guriev and Daniel Treisman, authoritarian regimes have over time become less reliant on violence and mass repression to maintain control. The study shows instead that authoritarians have increasingly resorted to manipulation of information as a means of control. Authoritarians increasingly seek to create an appearance of good performance, conceal state repression, and imitate democracy. While authoritarian regimes invest considerably in propaganda out of a belief that it enhances regime survival, scholars have offered mixed views as to whether propaganda is effective. Andrew J. Nathan notes that "regime theory holds that authoritarian systems are inherently fragile because of weak legitimacy, overreliance on coercion, over-centralization of decision making, and the predominance of personal power over institutional norms. ... Few authoritarian regimes – be they communist, fascist, corporatist, or personalist – have managed to conduct orderly, peaceful, timely, and stable successions." Political scientist Theodore M. Vestal writes that authoritarian political systems may be weakened through inadequate responsiveness to either popular or elite demands and that the authoritarian tendency to respond to challenges by exerting tighter control, instead of by adapting, may compromise the legitimacy of an authoritarian state and lead to its collapse. One exception to this general trend is the endurance of the authoritarian rule of the Chinese Communist Party which has been unusually resilient among authoritarian regimes. Nathan posits that this can be attributed to four factors such as (1) "the increasingly norm-bound nature of its succession politics"; (2) "the increase in meritocratic as opposed to factional considerations in the promotion of political elites"; (3) "the differentiation and functional specialization of institutions within the regime"; and (4) "the establishment of institutions for political participation and appeal that strengthen the CCP's legitimacy among the public at large." Some scholars have challenged notions that authoritarian states are inherently brittle systems that require repression and propaganda to make people comply with the authoritarian regime. Adam Przeworski has challenged this, noting that while authoritarian regimes do take actions that serve to enhance regime survival, they also engage in mundane everyday governance and their subjects do not hold a posture towards the regime at all moments of their life. He writes, "People in autocracies do not incessantly live under the shadow of dramatic historical events; they lead everyday routine lives." Similarly, Thomas Pepinsky has challenged the common mental image of an authoritarian state as one of grim totalitarianism, desperate hardship, strict censorship, and dictatorial orders of murder, torture and disappearances. He writes, "life in authoritarian states is mostly boring and tolerable." Yale University political scientist Milan Svolik argues that violence is a common characteristic of authoritarian systems. Violence tends to be common in authoritarian states because of a lack of independent third parties empowered to settle disputes between the dictator, regime allies, regime soldiers and the masses. Authoritarians may resort to measures referred to as coup-proofing (structures that make it hard for any small group to seize power). Coup-proofing strategies include strategically placing family, ethnic, and religious groups in the military; creating of an armed force parallel to the regular military; and developing multiple internal security agencies with overlapping jurisdiction that constantly monitor one another. Research shows that some coup-proofing strategies reduce the risk of coups occurring and reduce the likelihood of mass protests. However, coup-proofing reduces military effectiveness, and limits the rents that an incumbent can extract. A 2016 study shows that the implementation of succession rules reduce the occurrence of coup attempts. Succession rules are believed to hamper coordination efforts among coup plotters by assuaging elites who have more to gain by patience than by plotting. According to political scientists Curtis Bell and Jonathan Powell, coup attempts in neighboring countries lead to greater coup-proofing and coup-related repression in a region. A 2017 study finds that countries' coup-proofing strategies are heavily influenced by other countries with similar histories. A 2018 study in the Journal of Peace Research found that leaders who survive coup attempts and respond by purging known and potential rivals are likely to have longer tenures as leaders. A 2019 study in Conflict Management and Peace Science found that personalist dictatorships are more likely to take coup-proofing measures than other authoritarian regimes; the authors argue that this is because "personalists are characterized by weak institutions and narrow support bases, a lack of unifying ideologies and informal links to the ruler." According to a 2019 study, personalist dictatorships are more repressive than other forms of dictatorship. Typologies According to Yale professor Juan José Linz there a three main types of political regimes today: democracies, totalitarian regimes and, sitting between these two, authoritarian regimes (with hybrid regimes). According to University of Michigan professor Dan Slater, modern forms of authoritarianism are fundamentally dissimilar from historical forms of nondemocratic rule. He links modern authoritarianism to the era of mass politics, which began with the French Revolution. Several subtypes of authoritarian regimes have been identified by Linz and others. Linz identified the two most basic subtypes as traditional authoritarian regimes and bureaucratic-military authoritarian regimes: According to Barbara Geddes, there are seven typologies of authoritarian regimes: dominant party regimes, military regime, personalist regimes, monarchies, oligarchic regimes, indirect military regimes, or hybrids of the first three. Subtypes of authoritarian regimes identified by Linz are corporatist or organic-statistic, racial and ethnic "democracy" and post-totalitarian. Authoritarian regimes are also sometimes subcategorized by whether they are more personalistic or populist.[additional citation(s) needed] Personalistic authoritarian regimes are characterized by arbitrary rule and authority exercised "mainly through patronage networks and coercion rather than through institutions and formal rules." Personalistic authoritarian regimes have been seen in post-colonial Africa. By contrast, populist authoritarian regimes "are mobilizational regimes in which a strong, charismatic, manipulative leader rules through a coalition involving key lower-class groups." Examples include Argentina under Juan Perón, Russia under Vladimir Putin, Egypt under Gamal Abdel Nasser and Venezuela under Hugo Chávez and Nicolás Maduro. A typology of authoritarian regimes by political scientists Brian Lai and Dan Slater includes four categories: Lai and Slater argue that single-party regimes are better than military regimes at developing institutions (e.g. mass mobilization, patronage networks and coordination of elites) that are effective at continuing the regime's incumbency and diminishing domestic challengers; Lai and Slater also argue that military regimes more often initiate military conflicts or undertake other "desperate measures" to maintain control as compared to single-party regimes. John Duckitt suggests a link between authoritarianism and collectivism, asserting that both stand in opposition to individualism. Duckitt writes that both authoritarianism and collectivism submerge individual rights and goals to group goals, expectations and conformities. According to Steven Levitsky and Lucan Way, authoritarian regimes that are created in social revolutions are far more durable than other kinds of authoritarian regimes. Authoritarianism and democracy are not necessarily fundamental opposites and may be thought of as poles at opposite ends of a scale, so that it is possible for some democracies to possess authoritarian elements, and for an authoritarian system to have democratic elements.[verification needed] Authoritarian regimes may also be partly responsive to citizen grievances, although this is generally only regarding grievances that do not undermine the stability of the regime. An illiberal democracy, or procedural democracy, is distinguished from liberal democracy, or substantive democracy, in that illiberal democracies lack features such as the rule of law, protections for minority groups, an independent judiciary and the real separation of powers. A further distinction that liberal democracies have rarely made war with one another; research has extended the theory and finds that more democratic countries tend to have few wars (sometimes called militarized interstate disputes) causing fewer battle deaths with one another and that democracies have far fewer civil wars. Research shows that the democratic nations have much less democide or murder by government. Those were also moderately developed nations before applying liberal democratic policies. Research by the World Bank suggests that political institutions are extremely important in determining the prevalence of corruption and that parliamentary systems, political stability and freedom of the press are all associated with lower corruption. A 2006 study by economist Alberto Abadie has concluded that terrorism is most common in nations with intermediate political freedom. The nations with the least terrorism are the most and least democratic nations, and that "transitions from an authoritarian regime to a democracy may be accompanied by temporary increases in terrorism." Studies in 2013 and 2017 similarly found a nonlinear relationship between political freedom and terrorism, with the most terrorist attacks occurring in partial democracies and the fewest in "strict autocracies and full-fledged democracies." A 2018 study by Amichai Magen demonstrated that liberal democracies and polyarchies not only suffer fewer terrorist attacks as compared to other regime types, but also suffer fewer casualties in terrorist attacks as compared to other regime types, which may be attributed to higher-quality democracies' responsiveness to their citizens' demands, including "the desire for physical safety", resulting in "investment in intelligence, infrastructure protection, first responders, social resilience, and specialized medical care" which averts casualties. Magen also stated that terrorism in closed autocracies sharply increased starting in 2013. Within national democratic governments, there may be subnational authoritarian enclaves. A prominent examples of this includes the Southern United States after Reconstruction, as well as areas of contemporary Argentina and Mexico. Another type of authoritarian regime is the competitive authoritarian regime, a type of civilian regime that arose in the post-Cold War era. In a competitive authoritarian regime, "formal democratic institutions exist and are widely viewed as the primary means of gaining power, but ... incumbents' abuse of the state places them at a significant advantage vis-à-vis their opponents." The term was coined by Steven Levitsky and Lucan A. Way in their 2010 book of the same name to discuss a type of hybrid regime that emerged during and after the Cold War. Competitive authoritarian regimes differ from fully authoritarian regimes in that elections are regularly held, the opposition can openly operate without a high risk of exile or imprisonment and "democratic procedures are sufficiently meaningful for opposition groups to take them seriously as arenas through which to contest for power." Competitive authoritarian regimes lack one or more of the three characteristics of democracies such as free elections (i.e. elections untainted by substantial fraud or voter intimidation); protection of civil liberties (i.e. the freedom of speech, press and association) and an even playing field (in terms of access to resources, the media and legal recourse). Authoritarianism is considered a core concept of fascism and scholars agree that a fascist regime is foremost an authoritarian form of government, although not all authoritarian regimes are fascist. While authoritarianism is a defining characteristic of fascism, scholars argue that more distinguishing traits are needed to make an authoritarian regime fascist. Authoritarian socialism, or socialism from above, is an economic and political system supporting some form of socialist economics while rejecting political pluralism. As a term, it represents a set of economic-political systems describing themselves as "socialist" and rejecting the liberal-democratic concepts of multi-party politics, freedom of assembly, habeas corpus, and freedom of expression, either due to fear of counter-revolution or as a means to socialist ends. Journalists and scholars have characterised several countries, most notably the Soviet Union, China, Cuba, and their allies, as authoritarian socialist states. Multiple scholars have identified a form of libertarian authoritarianism emerging in the early 21st century. Wendy Brown describes it as emerging from neoliberalism, opposing both democracy and public institutions while defining freedom in terms of speech and actions that promote homophobia, white supremacy and male privilege. Other scholars have connected it to QAnon and to the Argentinian Presidency of Javier Milei. Carolin Amlinger and Oliver Nachtwey, in Offended Freedom: The Rise of Libertarian Authoritarianism, describe libertarian authoritarianism as arising from a backlash to government efforts to contain the COVID-19 pandemic and, more broadly, against the increasing complexity of the world, ultimately leading to hostility towards democracy. Writing in Jacobin and New Statesman, Amlinger and Nachtwey define libertarian authoritarians as those who believe in the abolition of the democratic state on the basis of its restrictions on individual freedoms, and "consider the democratic state itself, the authorities and their regulations, to be invasive and harmful"; they described the fundamental basis of libertarian authoritarianism to be based in "post-truth politics", and that in the late-modern era, believers validate their opinions "with proto-scientific evidence, rumours, conspiracy theories and fake news". They describe neoliberalism as an additional factor contributing towards the recent rise of the ideology. Individuals they identify as modern adherents to the ideology include Peter Thiel, Elon Musk, and Javier Milei, having merged their libertarianism with their "authoritarian tendencies". Totalitarianism is a label used by various political scientists to characterize the most tyrannical strain of authoritarian systems; in which the ruling elite, often subservient to a dictator, exert near-total control of the social, political, economic, cultural and religious aspects of society in the territories under its governance. Linz distinguished new forms of authoritarianism from personalistic dictatorships and totalitarian states, taking Francoist Spain as an example. Unlike personalistic dictatorships, new forms of authoritarianism have institutionalized representation of a variety of actors (in Spain's case, including the military, the Catholic Church, Falange, monarchists, technocrats and others). Unlike totalitarian states, the regime relies on passive mass acceptance rather than popular support. According to Juan Linz the distinction between an authoritarian regime and a totalitarian one is that an authoritarian regime seeks to suffocate politics and political mobilization while totalitarianism seeks to control and use them. Authoritarianism primarily differs from totalitarianism in that social and economic institutions exist that are not under governmental control. Building on the work of Yale political scientist Juan Linz, Paul C. Sondrol of the University of Colorado at Colorado Springs has examined the characteristics of authoritarian and totalitarian dictators and organized them in a chart: Sondrol argues that while both authoritarianism and totalitarianism are forms of autocracy, they differ in three key dichotomies: (1) Unlike their bland and generally unpopular authoritarian brethren, totalitarian dictators develop a charismatic "mystique" and a mass-based, pseudo-democratic interdependence with their followers via the conscious manipulation of a prophetic image. (2) Concomitant role conceptions differentiate totalitarians from authoritarians. Authoritarians view themselves as individual beings largely content to control and often maintain the status quo. Totalitarian self-conceptions are largely teleological. The tyrant is less a person than an indispensable function to guide and reshape the universe. (3) Consequently, the utilisation of power for personal aggrandizement is more evident among authoritarians than totalitarians. Lacking the binding appeal of ideology, authoritarians support their rule by a mixture of instilling fear and granting rewards to loyal collaborators, engendering a kleptocracy. Compared to totalitarianism, "the authoritarian state still maintains a certain distinction between state and society. It is only concerned with political power and as long as that is not contested it gives society a certain degree of liberty. Totalitarianism, on the other hand, invades private life and asphyxiates it." Another distinction is that "authoritarianism is not animated by utopian ideals in the way totalitarianism is. It does not attempt to change the world and human nature." Carl Joachim Friedrich writes that "a totalist ideology, a party reinforced by a secret police, and monopoly control of ... industrial mass society" are the three features of totalitarian regimes that distinguish them from other autocracies. Greg Yudin, a professor of political philosophy at the Moscow School of Social and Economic Sciences, argues "political passivity and civic disengagement" are "key features" of authoritarianism, while totalitarianism relies on "mass mobilization, terror and homogeneity of beliefs". Economic effects In 2010, Dani Rodrik wrote that democracies outperform autocracies in terms of long-term economic growth, economic stability, adjustments to external economic shocks, human capital investment, and economic equality. A 2019 study by Daron Acemoglu, Suresh Naidu, Pascual Restrepo, and James A. Robinson found that democracy increases GDP per capita by about 20 percent over the long-term. According to Amartya Sen, no functioning liberal democracy has ever suffered a large-scale famine. Studies suggest that several health indicators (life expectancy and infant and maternal mortality) have a stronger and more significant association with democracy than they have with GDP per capita, size of the public sector or income inequality. States that undergo democratic backsliding are more likely to face downgrades in their sovereign bond ratings. One of the few areas that some scholars have theorized that autocracies may have an advantage, is in industrialization. In the 20th century, Seymour Martin Lipset argued that low-income authoritarian regimes have certain technocratic "efficiency-enhancing advantages" over low-income democracies that gives authoritarian regimes an advantage in economic development. By contrast, Morton H. Halperin, Joseph T. Siegle and Michael M. Weinstein (2005) argue that democracies "realize superior development performance" over authoritarianism, pointing out that poor democracies are more likely to have steadier economic growth and less likely to experience economic and humanitarian catastrophes (such as refugee crises) than authoritarian regimes; that civil liberties in democracies act as a curb on corruption and misuse of resources; and that democracies are more adaptable than authoritarian regimes. Military effects According to Allan C. Stam and Dan Reiter, liberal democracies have an advantage in battlefield performance over non-democracies and illiberal democracies. They argue that this democratic advantage is derived from the fact that democratic soldiers fight harder, democratic states tend to ally together in war, and democracies can employ more economic resources towards combat. Due to elevated fears against military coups against authoritarian regimes, authoritarian regimes may also put loyalists in the military. This may reduce military effectiveness as loyalty is prioritized over experience when filling key positions within the military. However, critics argue that democracy itself makes little difference in war and that some other factors, such as overall power, determine whether a country would achieve victory or face defeat. In some cases, such as the Vietnam War, democracy may even have contributed to defeat. Jasen Castillo argues that autocratic states may in certain circumstances have an advantage over democracies; for example, authoritarian regimes may have ideologies that require unconditional loyalty, which may contribute to military cohesion. Historical trends Authoritarian rule before World War II includes short-lived dictatorships and has been claimed to be understudied. Both World War II (ending in 1945) and the Cold War (ending in 1991) resulted in the replacement of authoritarian regimes by either democratic regimes or regimes that were less authoritarian. World War II saw the defeat of the Axis powers by the Allied powers. All the Axis powers (Nazi Germany, Fascist Italy and Imperial Japan) had totalitarian or authoritarian governments, and two of the three were replaced by governments based on democratic constitutions. The Allied powers were an alliance of Democratic states and (later) the Communist Soviet Union. At least in Western Europe the initial post-war era embraced pluralism and freedom of expression in areas that had been under control of authoritarian regimes. The memory of fascism and Nazism was denigrated. The new Federal Republic of Germany banned its expression. In reaction to the centralism of the Nazi state, the new constitution of West Germany (Federal Republic of Germany) exercised "separation of powers" and placed "law enforcement firmly in the hands" of the sixteen Länder or states of the republic, not with the federal German government, at least not at first. Culturally there was also a strong sense of anti-authoritarianism based on anti-fascism in Western Europe. This was attributed to the active resistance from occupation and to fears arising from the development of superpowers. Anti-authoritarianism also became associated with countercultural and bohemian movements such as the Beat Generation in the 1950s, the hippies in the 1960s and punks in the 1970s. In South America, Argentina, Bolivia, Brazil, Paraguay, Chile and Uruguay moved away from dictatorships to democracy between 1982 and 1990. With the fall of the Berlin Wall in 1989 and the Soviet Union in 1991, the other authoritarian/totalitarian "half" of the Allied Powers of World War II collapsed. This led not so much to revolt against authority in general, but to the belief that authoritarian states (and state control of economies) were outdated. The idea that "liberal democracy was the final form toward which all political striving was directed" became very popular in Western countries and was celebrated in Francis Fukuyama's book The End of History and the Last Man. According to Charles H. Fairbanks Jr., "all the new states that stumbled out of the ruins of the Soviet bloc, except Uzbekistan and Turkmenistan, seemed indeed to be moving towards democracy in the early 1990s" as were the countries of East Central Europe and the Balkans. In December 2010, the Arab Spring arose in response to unrest over economic stagnation but also in opposition to oppressive authoritarian regimes, first in Tunisia, and spreading to Libya, Egypt, Yemen, Syria, Bahrain and elsewhere. Regimes were toppled in Tunisia, Libya, Egypt and partially in Yemen while other countries saw riots, civil wars or insurgencies. Most Arab Spring revolutions failed to lead to enduring democratization. In the decade following the Arab Spring, of the countries in which an autocracy was toppled in the Arab spring, only Tunisia had become a genuine democracy; Egypt backslid to return to a military-run authoritarian state, while Libya, Syria and Yemen experienced devastating civil wars. Since 2005, observers noted what some have called a "democratic recession", although some such as Steven Levitsky and Lucan Way have disputed that there was a significant democratic decline before 2013. In 2018, the Freedom House declared that from 2006 to 2018 "113 countries" around the world showed "a net decline" in "political rights and civil liberties" while "only 62" experienced "a net improvement." Its 2020 report marked the fourteenth consecutive year of declining scores. By 2020, all countries marked as "not free" by Freedom House had also developed practices of transnational repression, aiming to police and control dissent beyond state borders. Writing in 2018, American political journalist David Frum stated: "The hopeful world of the very late 20th century – the world of NAFTA and an expanding NATO; of the World Wide Web 1.0 and liberal interventionism; of the global spread of democracy under leaders such as Václav Havel and Nelson Mandela – now looks battered and delusive." Michael Ignatieff wrote that Fukuyama's idea of liberalism vanquishing authoritarianism "now looks like a quaint artifact of a vanished unipolar moment" and Fukuyama himself expressed concern. By 2018, only one Arab Spring uprising (that in Tunisia) resulted in a transition to constitutional democratic governance and a "resurgence of authoritarianism and Islamic extremism" in the region was dubbed the Arab Winter. Various explanations have been offered for the new spread of authoritarianism. They include the downside of globalization, and the subsequent rise of populism and neo-nationalism, and the success of the Beijing Consensus, i.e. the authoritarian model of the People's Republic of China. In countries such as the United States, factors blamed for the growth of authoritarianism include the 2008 financial crisis and slower real wage growth[better source needed] as well as social media's elimination of so-called "gatekeepers" of knowledge – the equivalent of disintermediation in economics – so that a large fraction of the population considers to be opinion what were once "viewed as verifiable facts" – including everything from the danger of global warming to the preventing the spread of disease through vaccination – and considers to be fact what are actually only unproven fringe opinions. In United States politics, white supremacist groups such as the Ku Klux Klan, neo-Nazi skinheads, and adherents of the Christian Identity, ideology have long operated as a loose network. In the internet age, far-right extremists throughout the U.S. and much of the West have consolidated further into a movement known as the Alt-Right, which has inspired numerous terrorist attacks while at the same time increasing the mainstream appeal of white supremacism. According to Azani et al.: The current resurgence of far-right ideology may be explained by a variety of factors, primarily, the strategic adjustment of white supremacists to soften overtly racist rhetoric in order to appeal to a wider audience. This new discourse attempts to normalize white supremacy, developing intellectual and theoretical foundations for racism based on the notion that the white race is at risk of eradication, threatened by the growing population of immigrants and people of colour. The pre-existing, offensive white supremacist, fascist and neo-Nazi ideas that drove the white power movement of the twentieth century were thus rebranded through a new innocuous defensive frame of white victimhood. As such, the new strategy of racist rhetoric has allowed the movement to co-opt mainstream political debates surrounding immigration and globalization, drawing large audiences through a deliberate obfuscation of the underlying ideology. Far-right extremism has played a key role in promoting the Great Replacement and White genocide conspiracy theories, and an "acceleration" of racial conflict through violent means such as assassinations, murders, terrorist attacks, and societal collapse in order to achieve the building of a white ethnostate. While many contemporary extreme far-right groups eschew the hierarchical structure of other authoritarian political organizations, they often explicitly promote cultural authoritarianism alongside xenophobia, racism, antisemitism, homophobia and misogyny, as well as authoritarian government interventions against perceived societal problems. There is no one consensus definition of authoritarianism, but several annual measurements are attempted. States characterized as authoritarian are typically not rated as democracies by The Economist Democracy Index or as 'free' by Freedom House's Freedom in the World index, and do not reach a high score on V-Dem Democracy Indices. According to an April 2025 survey, known as Bright Line Watch, of more than 500 U.S.-based political scientists, the vast majority think the United States is moving from liberal democracy to a form of authoritarianism. See also Notes References Citations Bibliography Further reading External links |
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Contents Guinness World Records Page version status This is an accepted version of this page Guinness World Records, known from its inception in 1955 until 1999 as The Guinness Book of Records and in previous United States editions as The Guinness Book of World Records, is a British reference book published annually, listing world records both of human achievements and the extremes of the natural world. Sir Hugh Beaver created the concept in order to settle arguments debated in pubs, and twin brothers Norris and Ross McWhirter co-founded the book in London in late August 1955. The first edition topped the bestseller list in the United Kingdom by Christmas 1955. The following year the book was launched internationally, and as of the 2026 edition, it is now in its 71st year of publication, published in 100 countries and 40 languages, and maintains over 53,000 records in its database. The international franchise has extended beyond print to include television series and museums. The popularity of the franchise has resulted in Guinness World Records becoming the primary international source for cataloguing and verification of a huge number of world records. The organization employs record adjudicators to verify the authenticity of the setting and breaking of records. Following a series of owners, the franchise has been owned by the Jim Pattison Group since 2008, with its headquarters moved to South Quay Plaza, Canary Wharf, London, in 2017. Since 2008, Guinness World Records has orientated its business model away from selling books, and towards creating new world records as publicity exercises for individuals and organizations, which has attracted criticism. History On 10 November 1951, Sir Hugh Beaver, then the managing director of the Guinness Breweries, went on a shooting party in the North Slob, by the River Slaney in County Wexford, Ireland. After missing a shot at a golden plover, he became involved in an argument over whether the golden plover or the red grouse was the fastest game bird in Europe (the plover is faster, but neither is the fastest game bird in Europe). That evening at Castlebridge House, he realized that it was impossible to confirm in reference books whether or not the golden plover was Europe's fastest game bird. Beaver knew that there must have been numerous other questions debated nightly among the public, but there was no book in the world with which to settle arguments about records. He realized then that a book supplying the answers to this sort of question might prove successful. Beaver's idea became a reality when Guinness employee Christopher Chataway recommended university friends Norris and Ross McWhirter, who had been running a fact-finding agency in London. The twin brothers were commissioned in August 1954 to compile what became The Guinness Book of (Superlatives and now) Records.[clarification needed] A thousand copies were distributed for free to pubs across Britain and Ireland as a promotional asset for the Guinness brand, and they became immensely popular with customers. After the founding of The Guinness Book of Records office at the top of Ludgate House, 107 Fleet Street, London, the first 198-page edition was bound on 27 August 1955 and went to the top of the British bestseller list by Christmas. The following year, it was introduced into the United States by New York publisher David Boehm and sold 70,000 copies. Since then, Guinness World Records has sold more than 150 million copies in 100 countries and 40 languages. Due to the book's surprise success, many further editions were printed, eventually settling into a pattern of one revision a year, published in September/October, in time for Christmas. The McWhirters continued to compile it for many years. Both brothers had an encyclopedic memory; on the British children's television series Record Breakers (based upon the book), which was broadcast on the BBC from 1972 to 2001, they would take questions posed by children in the audience on various world records and were able to give the correct answer. Ross McWhirter was assassinated by two members of the Provisional Irish Republican Army in 1975, in response to offering a £50,000 reward for information that would lead to the capture of members of the organization. Following Ross's assassination, the feature on the show where questions about records posed by children were answered was called Norris on the Spot. Norris carried on as the book's sole editor. Guinness Superlatives, later Guinness World Records Limited, was incorporated in London in 1954 to publish the first book. Sterling Publishing owned the rights to the Guinness book in the US for decades until it was repurchased by Guinness in 1989 after an 18-month long lawsuit. The group was owned by Guinness PLC and subsequently Diageo until 2001, when it was purchased by Gullane Entertainment for £45.5 million ($65 million). Gullane was itself purchased by HIT Entertainment in 2002. In 2006, Apax Partners purchased HIT and subsequently sold Guinness World Records in early 2008 to the Jim Pattison Group, the parent company of Ripley Entertainment, which is licensed to operate Guinness World Records' Attractions. With offices in New York City and Tokyo, Guinness World Records' global headquarters remain in South Quay Plaza in Canary Wharf, London, while its museum attractions are based at Ripley headquarters in Orlando, Florida. Recent editions have focused on record feats by individuals. Competitions range from obvious ones such as Olympic weightlifting to the longest egg tossing distances, or for the longest time spent playing Grand Theft Auto IV or the largest number of hot dogs consumed in three minutes. Besides records about competitions, it contains such facts such as the heaviest tumor, the most poisonous fungus, the longest-running soap opera and the most valuable life-insurance policy, among others. Many records also relate to the youngest people to have achieved something, such as the youngest person to visit all nations of the world, currently held by Maurizio Giuliano. Each edition contains a selection of the records from the Guinness World Records database, as well as select new records, with the criteria for inclusion changing from year to year. The latest edition is the 72nd, published in August 2025. The retirement of Norris McWhirter from his consulting role in 1995 and the subsequent decision by Diageo Plc to sell The Guinness Book of Records brand have shifted the focus of the books from text-oriented to illustrated reference. A selection of records are curated for the book from the full archive but all existing Guinness World Records titles can be accessed by creating a login on the company's website. Applications made by individuals for existing record categories are free of charge. There is an administration fee of £5 (or $5) to propose a new record title. A number of spin-off books and television series have also been produced. Guinness World Records bestowed the record of "Person with the most records" on Ashrita Furman of Queens, New York, in April 2009; at that time, he held 100 records. In 2005, Guinness designated 9 November as International Guinness World Records Day to encourage breaking of world records. In 2006, an estimated 100,000 people participated in over 10 countries. Guinness reported 2,244 new records in 12 months, which was a 173% increase over the previous year. In February 2008, NBC aired The Top 100 Guinness World Records of All Time and Guinness World Records made the complete list available on their website. The popularity of the franchise has resulted in Guinness World Records becoming the primary international authority on the cataloguing and verification of a huge number of world records. Over its history, numerous world record categories have been discontinued. This list may include that the record poses a threat to health or the environment. Defining records For many records, Guinness World Records is the effective authority on the exact requirements for them and with whom records reside, the company providing adjudicators to events to determine the veracity of record attempts. The list of records which the Guinness World Records covers is not fixed, records may be added and also removed for various reasons. The public is invited to submit applications for records, which can be either the bettering of existing records or substantial achievements which could constitute a new record. The company also provides corporate services for companies to "harness the power of record-breaking to deliver tangible success for their businesses." Guinness World Records states several types of records it will not accept for ethical reasons, such as those related to the killing or harming of animals. In the 2006 Guinness Book of World Records, Colombian serial killer Pedro López was listed as the "most prolific serial killer", having murdered at least 110 people (with Lopez himself claiming he murdered over 300 people) in Colombia, Ecuador and Peru in the late 1960s to 1980s. This was later removed after complaints that it made a competition out of murder, however the record was reinstated in the 2026 edition. Several world records that were once included in the book have been removed for ethical reasons, including concerns for the well-being of potential record breakers. For example, following publication of the "heaviest pet" record, many owners overfed their pets beyond the bounds of what was healthy, and therefore such entries were removed. The Guinness Book also dropped records within their "eating and drinking records" section of Human Achievements in 1991 over concerns that potential competitors could harm themselves and expose the publisher to potential litigation. These changes included the removal of all spirit, wine and beer drinking records, along with other unusual records for consuming such unlikely things as bicycles and trees. Other records, such as sword swallowing and rally driving (on public roads), were closed from further entry as the current holders had performed beyond what are considered safe human tolerance levels. There have been instances of closed categories being reopened. For example, the sword swallowing category was listed as closed in the 1990 Guinness Book of World Records, but has since been reopened with Johnny Strange breaking a sword swallowing record on Guinness World Records Live. Similarly, the speed beer drinking records which were dropped from the book in 1991, reappeared 17 years later in the 2008 edition, but were moved from the "Human Achievements" section of the older book to the "Modern Society" section of the newer edition. As of 2011[update], it is required in the guidelines of all "large food" type records that the item be fully edible, and distributed to the public for consumption, to prevent food wastage. Chain letters are also not allowed: "Guinness World Records does not accept any records relating to chain letters, sent by post or e-mail." After Roger Guy English set the record for sleeplessness in 1974, the category was discontinued for being too dangerous. At the request of the U.S. Mint, in 1984, the book stopped accepting claims of large hoardings of pennies or other currency. Environmentally unfriendly records (such as the releasing of sky lanterns and party balloons) are no longer accepted or monitored, in addition to records relating to tobacco or cannabis consumption or preparation. In 2024, Guinness World Records was accused of laundering the reputation of the oppressive governments as it set world records for the UAE's police forces and Egypt's military. By 2024, the UAE achieved 526 records, of which 21 were credited to the Emirates' police force. Matthew Hedges, a British academic who was forced to sign a false confession, asked the records body to take down the Abu Dhabi police department's certificate for "most signatures on a scroll", along with other such titles. Concerns were also raised around the activities around Egypt, which moved from 22 records to 110 within a decade until 2024. James Lynch, co-founder of FairSquare, said the records were legitimizing Abdel Fattah el-Sisi's regime. The Guinness World Records stated that its record titles "cannot be purchased". Guinness World Records has been accused of romanticizing diseases, such as Graves' Disease and Pica. For some potential categories, Guinness World Records has declined to list some records that are too difficult or impossible to determine. For example, its website states: "We do not accept any claims for beauty as it is not objectively measurable." On 10 December 2010, Guinness World Records stopped accepting submissions for the "dreadlock" category after an investigation of its first and only female title holder, Asha Mandela, determining it was impossible to judge this record accurately. Change in business model Traditionally, the company made a large amount of its revenue via book sales to interested readers, especially children. The rise of the Internet began to cut into book sales starting in the 2000s, part of a general decline in the book industry. According to a 2017 story by Planet Money of NPR, Guinness began to realize that a lucrative new revenue source to replace falling book sales was the would-be record-holders themselves. While any person can theoretically send in a record to be verified for free, the approval process is slow. Would-be record breakers that paid fees ranging from US$12,000 to US$500,000 would be given advisors, adjudicators, help in finding good records to break as well as suggestions for how to do it, prompt service, and so on. In particular, corporations and celebrities seeking a publicity stunt to launch a new product or draw attention to themselves began to hire Guinness World Records, paying them for finding a record to break or to create a new category just for them. As such, they have been described as a native advertising company, with no clear distinction between content and advertisement. Television talk show host John Oliver criticized Guinness World Records on the programme Last Week Tonight with John Oliver in August 2019, during an episode about President of Turkmenistan Gurbanguly Berdimuhamedow. Oliver said Guinness took money from authoritarian governments for pointless vanity projects such as Berdimuhamedow's. Oliver asked Guinness to work with Last Week Tonight to adjudicate a record for "Largest cake featuring a picture of someone falling off a horse", but according to Oliver, the offer did not work out after Guinness insisted on a non-disparagement clause. Guinness World Records denied the accusations and stated that they declined Oliver's offer to participate because "it was merely an opportunity to mock one of our record-holders," and that Oliver did not specifically request the record for the largest marble cake. As of 2021, the Guinness World Record for "Largest marble cake" remains with Betty Crocker Middle East in Saudi Arabia. Following Oliver's episode, Guinness World Records' ethics were called into question by human rights groups. Museums In 1976, a Guinness Book of World Records museum opened in the Empire State Building. Speed shooter Bob Munden then went on tour promoting The Guinness Book of World Records by performing his record fast draws with a standard weight single-action revolver from a Western movie-type holster. His fastest time for a draw was 0.02 seconds. Among exhibits were life-size statues of the world's tallest man, Robert Wadlow, and world's largest earthworm, an X-ray photo of a sword swallower, repeated lightning strike victim Roy Sullivan's hat complete with lightning holes and a pair of gem-studded golf shoes on sale for $6,500. The museum closed in 1995. In more recent years, the Guinness company has permitted the franchising of small museums with displays based on the book, all currently (as of 2010[update]) located in towns popular with tourists: Tokyo, Copenhagen, San Antonio. There were once Guinness World Records museums and exhibitions at the London Trocadero, Bangalore, San Francisco, Myrtle Beach, Orlando, Atlantic City, and Las Vegas. The Orlando museum, which closed in 2002, was branded The Guinness Records Experience; the Hollywood, Niagara Falls, Copenhagen, and Gatlinburg museums also previously featured this branding. Retail and merchandise Guinness World Records operates an official online shop, the Guinness World Records Store, which offers items related to record-breaking achievements, including certificates of participation, apparel, and the annual Guinness World Records book. The shop provides record-holders and the general public with access to official Guinness World Records materials. Merchandise is part of the organization's broader engagement efforts beyond its publications and events. Television series Guinness World Records has commissioned various television series documenting world record breaking attempts, including: Rhianna Loren (2025) Specials: Gamer's edition In 2008, Guinness World Records released its gamer's edition, a supplement that keeps records for popular video game high scores, codes and feats in association with Twin Galaxies. The Gamer's Edition used to contain 258 pages, over 1,236 video game related world records and four interviews including one with Twin Galaxies founder Walter Day. Editions were published for the years 2008 through 2020, with the 2009 edition in hardcover. The 2025 edition is the first since 2020, returning after a five-year hiatus. Since 2020, the supplement has had 192 pages. The Guinness Book of British Hit Singles The Guinness Book of British Hit Singles was a music reference book first published in 1977. It was compiled by BBC Radio 1 DJs Paul Gambaccini and Mike Read with brothers Tim Rice and Jonathan Rice. It was the first in a number of music reference books that were to be published by Guinness Publishing with sister publication The Guinness Book of British Hit Albums coming in 1983. After being sold to Hit Entertainment, the data concerning the Official Chart Company's singles and albums charts were combined under the title British Hit Singles & Albums, with Hit Entertainment publishing the book from 2003 to 2006 (under the Guinness World Records brand). After Guinness World Records was sold to The Jim Pattison Group, it was effectively replaced by a series of books published by Ebury Publishing/Random House with the Virgin Book of British Hit Singles first being published in 2007 and with a Hit Albums book following two years later. Other media and products In 1975, Parker Brothers marketed a board game, The Guinness Game of World Records, based on the book. Players compete by setting and breaking records for activities such as the longest streak of rolling dice before rolling doubles, stacking plastic pieces, and bouncing a ball off alternating sides of a card, as well as answering trivia questions based on the listings in the Guinness Book of World Records. A video game, Guinness World Records: The Videogame, was developed by TT Fusion and released for Nintendo DS, Wii and iOS in November 2008. In 2012, Warner Bros. announced the development of a live-action film version of Guinness World Records with Daniel Chun as scriptwriter. The film, however, never entered production. Dr. Sunil Gupta is listed in the Guinness World Records for participating in the largest multi-location diabetic neuropathy screening conducted on World Diabetes Day, 14 November 2013, during which 1,676 screenings were performed across 27 locations in India. References |
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Contents Drag (entertainment) Drag is a performance of exaggerated femininity, masculinity, or other forms of gender expression, usually for entertainment purposes. Drag usually involves cross-dressing. A drag queen is someone (usually male) who performs femininely and a drag king is someone (usually female) who performs masculinely. Performances often involve comedy, music, social satire, and at times political commentary. The term may be used as a noun as in the expression in drag or as an adjective as in drag show. Etymology The origin of the term drag is uncertain; it may date as far back as the Elizabethan era in England, where it was used to describe male actors playing female roles in theaters where cross-dressing was the norm. The first recorded use of drag in reference to actors dressed in women's clothing is from 1870. One suggested etymological root is 19th-century theater slang, from the sensation of long skirts trailing on the floor. Another possible origin is the Yiddish term trogn meaning "to wear", from the German tragen. It may also have been based on the term grand rag, which was historically used for a masquerade ball. In folk custom Men dressed as women have been featured in certain traditional customs for centuries. For example, the characters of some regional variants of the traditional mummers' play, which were traditionally always performed by men, include Besom Bet(ty); numerous variations on Bessy or Betsy; Bucksome Nell; Mrs Clagdarse; Dame Dolly; Dame Dorothy; Mrs Finney; Mrs Frail; and many others. The variant performed around Plough Monday in Eastern England is known as the Plough Play (also Wooing Play or Bridal Play) and usually involves two female characters, the young "Lady Bright and Gay" and "Old Dame Jane" and a dispute about a bastard child. A character called Bessy also accompanied the Plough Jags (also known as Plough Jacks, Plough Stots, Plough Bullocks, etc.) even in places where no play was performed: "she" was a man dressed in women's clothes, who carried a collecting box for money and other largesse. "Maid Marian" of the Abbots Bromley Horn Dance is played by a man, and the Maid Marians referred to in old documents as having taken part in May Games and other festivals with Morris dancers would most probably also have been men. The "consort" of the Castleton Garland King was traditionally a man (until 1956, when a woman took over the role) and was originally simply referred to as "The Woman". Theatre Cross-dressing elements of performance traditions are a widespread and longstanding cultural phenomena. The ancient Roman playwright Plautus' (c. 254–184 BCE) Menaechmi includes a scene in which Menaechmus I puts on his wife's dress, then wears a cloak over it, intending to remove the dress from the house and deliver it to his mistress. Menaechmus says: "Look at me. Do I look the part?" [Age me aspice. ecquid adsimulo similiter?] Peniculus responds: "What in the world have you got on?" [Quis istest ornatus tuos?] Menaechmus says: "Tell me I am gorgeous." [Dic hominem lepidissimum esse me.] In England, actors in Shakespearean plays, and all Elizabethan theatre (in the 1500s and 1600s), were all male; female parts were played by young men in drag because women were banned from performing publicly. Shakespeare used the conventions to enrich the gender confusions of As You Like It, and Ben Jonson manipulated the same conventions in Epicœne, or The Silent Woman (1609). During the reign of Charles II (1660–1685) the rules were relaxed to allow women to play female roles on the London stage, reflecting the French fashion, and the convention of men routinely playing female roles consequently disappeared. In the 1890s, the slapstick drag traditions of undergraduate productions (notably Hasty Pudding Theatricals at Harvard College, annually since 1891, and at other Ivy League schools like Princeton University's Triangle Club or the University of Pennsylvania's Mask and Wig Club), and many other universities in which women were not permitted admission, were permissible fare to the same upper-class American audiences that were scandalized to hear that in New York City, rouged young men in skirts were standing on tables to dance the can-can in Bowery dives like The Slide. Drag shows were popular night club entertainment in New York in the 1920s, then were forced underground, until the "Jewel Box Revue" played Harlem's Apollo Theater in the 1950s with their show, "49 Men and a Girl". For most of the performance, the "girls" were men in glamorous drag. At the end, the "one girl" was revealed to be the dashing young "man" in dinner clothes—Stormé DeLarverie—the MC who had been introducing each of the evening's acts. The plot device of the film Shakespeare in Love (1998) turns upon the Elizabethan convention of the Shakespearean originals and the changes that came with women being allowed on stage during the reign of Charles II. However, drag remains a strong tradition in British comedy. This is seen in current-day British pantomime, where traditional roles such as the pantomime dame are played by a man in drag and the principal boy, such as Prince Charming or Dick Whittington, is played by a girl or young woman, as well as in comedy troupes such as Monty Python (formed in 1969). Within the dramatic fiction, a double standard historically affected the uses of drag. In male-dominated societies where active roles were reserved to men, a woman might dress as a man under the pressures of her dramatic predicament. In these societies a man's position was above a woman's, causing a rising action that suited itself to tragedy, sentimental melodrama and comedies of manners that involved confused identities. A man dressed as a woman was thought to be a falling action only suited to broad low comedy and burlesque. Les Ballets Trockadero de Monte Carlo are an all-male ballet troupe where much of the humor is in seeing male dancers en travesti; performing roles usually reserved to females, wearing tutus and dancing en pointe with considerable technical skill. These conventions of male-dominated societies were largely unbroken before the 20th century, when rigid gender roles were undermined and began to dissolve. This evolution changed drag in the last decades of the 20th century. Among contemporary drag performers, the theatrical drag queen or street queen may at times be seen less as a "female impersonator" per se, but simply as a drag queen. Examples include The Cockettes, Danny La Rue or RuPaul. Ball culture Ballroom culture (also known as "ball culture", and other names) is an underground LGBT subculture that originated in 1920s New York in which people "walk" (i.e., compete) for trophies, prizes, and glory at events known as balls. Ball participants are mainly young African-American and Latin American members of the LGBTQ community. Attendees dance, vogue, walk, pose, and support one another in one or more of the numerous drag and performance competition categories. Categories are designed to simultaneously epitomize and satirize various genders, social classes and archetypes in society, while also offering an escape from reality. The culture extends beyond the extravagant formal events as many participants in ball culture also belong to groups known as "houses", a longstanding tradition in LGBT communities, and racial minorities, where chosen families of friends live in households together, forming relationships and community to replace families of origin from which they may be estranged. Ball culture first gained exposure to a mainstream audience in 1990 when its voguing dance style was featured in Madonna's song "Vogue", and in Jennie Livingston's documentary Paris is Burning the same year. Voguing is a highly stylized type of modern house dance that emerged in the 1980s and evolved out of 1960s ball culture in Harlem, New York. In 2018, the American television series Pose showcased Harlem's ball culture scene of the 1980s and was nominated for numerous awards. Opera In Baroque opera, where soprano roles for men were sung by castrati, Handel's heroine Bradamante, in the opera Alcina, disguises herself as a man to save her lover, played by a male soprano; contemporary audiences were not the least confused. In Romantic opera, certain roles of young boys were written for alto and soprano voices and acted by women en travestie (in English, in "trouser roles"). The most familiar trouser role in pre-Romantic opera is Cherubino in Mozart's Marriage of Figaro (1786). In Beethoven's opera Fidelio Leonore, the faithful wife of Florestan, disguises herself as a man to save her husband. Romantic opera continued the convention: there are trouser roles for women in drag in Rossini's Semiramide (Arsace), Donizetti's Rosamonda d'Inghilterra and Anna Bolena, Berlioz's Benvenuto Cellini, and even a page in Verdi's Don Carlo. The convention was beginning to die out with Siebel, the ingenuous youth in Charles Gounod's Faust (1859) and the gypsy boy Beppe in Mascagni's L'Amico Fritz, so that Offenbach gave the role of Cupid to a real boy in Orphée aux Enfers. But Sarah Bernhardt played Hamlet in tights, giving French audiences a glimpse of Leg (the other in fact being a prosthesis) and Prince Orlovsky, who gives the ball in Die Fledermaus, is a mezzo-soprano, to somewhat androgynous effect. The use of travesti in Richard Strauss's Rosenkavalier (1912) is a special case, unusually subtle and evocative of its 18th-century setting, and should be discussed in detail at Der Rosenkavalier. Film and television The self-consciously risqué bourgeois high jinks of Brandon Thomas's Charley's Aunt (London, 1892) were still viable theatre material in La Cage aux Folles (1978), which was remade, as The Birdcage, as late as 1996. Dame Edna, the drag persona of Australian actor Barry Humphries, was the host of several specials, including The Dame Edna Experience. Dame Edna also toured internationally, playing to sell-out crowds, and appeared on TV's Ally McBeal. Dame Edna represented an anomalous example of the drag concept. Her earliest incarnation was unmistakably a man dressed (badly) as a suburban housewife. Edna's manner and appearance became so feminised and glamorised that even some of her TV show guests appear not to see that the Edna character was played by a man. The furor surrounding Dame Edna's "advice" column in Vanity Fair magazine suggests that one of her harshest critics, actress Salma Hayek, was unaware Dame Edna was a female character played by a man. In 2009, RuPaul's Drag Race first premiered as a television show in the United States. The show has gained mainstream and global appeal, and it has exposed multiple generations of audiences to drag culture. In the United States, early examples of drag clothing can be found in gold rush saloons of California. The Barbary Coast district of San Francisco was known for certain saloons, such as Dash, which attracted female impersonator patrons and workers. William Dorsey Swann was the first person to call himself "queen of drag". He was a former slave, who was freed after the American Civil War, from Maryland. By the 1880s, he was organizing and hosting drag balls in Washington, D.C. The balls included folk dances, such as the cakewalk, and the male guests often dressed in female clothing. In the early 20th century, drag—as an art form and culture—began to flourish with minstrel shows and vaudeville. Performers such as Julian Eltinge and Bothwell Browne were drag queens and vaudeville performers. The Progressive Era brought a decline in vaudeville entertainment, but drag culture began to grow in nightclubs and bars, such as Finnochio's Club and Black Cat Bar in San Francisco. During this period, Hollywood films included examples of drag. While drag was often used as a last-resort tactic in situational farce (its only permissible format at the time), some films provided a more empathetic lens than others. In 1919, Bothwell Browne appeared in Yankee Doodle in Berlin. In 1933, Viktor und Viktoria came out in Germany, which later inspired First a Girl (1935) in the United States. That same year, Katharine Hepburn played a character who dressed as a male in Sylvia Scarlett. In 1959, drag made a big Hollywood splash in Some Like It Hot (1959). In the 1960s, Andy Warhol and his Factory scene included superstar drag queens, such as Candy Darling and Holly Woodlawn, both immortalized in the Lou Reed song "Walk on the Wild Side". By the early 1970s, drag was influenced by the psychedelic rock and hippie culture of the era. A San Francisco drag troupe, The Cockettes (1970–1972), performed with glitter eyeshadow and gilded mustaches and beards. The troupe also coined the term "genderfuck". Drag broke out from underground theatre in the persona of Divine in John Waters' Pink Flamingos (1972): see also Charles Pierce. The cult hit movie musical The Rocky Horror Picture Show (1975) inspired several generations of young people to attend performances in drag, although many of these fans would not call themselves drag queens or transvestites. For many decades, American network television, only the broadest slapstick drag tradition was generally represented. Few American TV comedians consistently used drag as a comedy device, among them Milton Berle, Flip Wilson, and Martin Lawrence, although drag characters have occasionally been popular on sketch TV shows like In Living Color (with Jim Carrey's grotesque female bodybuilder) and Saturday Night Live (with the Gap Girls, among others). On the popular 1960s military sitcom, McHale's Navy, Ensign Parker (Tim Conway) sometimes had to dress in drag (often with hilarious results) whenever McHale and/or his crew had to disguise themselves in order to carry out their elaborate schemes. Gilligan's Island occasionally features men dressing in women's clothes, though this was not considered drag since it was not for a performance. On stage and screen, the actor-playwright-screenwriter-producer Tyler Perry has included his drag character of Madea in some of his most noted productions, such as the stage play Diary of a Mad Black Woman and the feature film he based upon it. Maximilliana and RuPaul co-star together in the TV show Nash Bridges starring Don Johnson and Cheech Marin during the two-part episode "'Cuda Grace". Maximilliana, looking passable, leads one of the investigators to believe he is "real" and sexually advances only to learn that he is, in fact, male, much to his chagrin. In the United Kingdom, drag has been more common in comedy, on both film and television. Alastair Sim plays the headmistress Miss Millicent Fritton in The Belles of St Trinian's (1954) and Blue Murder at St Trinian's (1957). He played the role straight; no direct joke about the actor's true gender is made. However, Miss Fritton is quite non-feminine in her pursuits of betting, drinking and smoking. The gag is that whilst her school sends out girls into a merciless world, it is the world that need beware. Despite this, or perhaps because of Sim's portrayal, subsequent films in the series went on to use actresses in the headmistress role (Dora Bryan and Sheila Hancock respectively). The 21st century re-boot of the series however reverted to drag, with Rupert Everett in the role. On television, Benny Hill portrayed several female characters. The Monty Python troupe and The League of Gentlemen often played female parts in their skits. The League of Gentlemen are also credited with the first ever portrayal of "nude drag", where a man playing a female character is shown naked but still with the appropriate female anatomy, like fake breasts and a merkin. Within the conceit of the sketch/film, they are actually women: it is the audience who are in on the joke. Monty Python women, whom the troupe called pepperpots, are random middle-aged working/lower middle class typically wearing long brown coats that were common in the 1960s. Save for a few characters played by Eric Idle, they looked and sounded very little like actual women with their caricatural outfits and shrill falsettos. However, when a sketch called for a "real" woman, the Pythons almost always called on Carol Cleveland. The joke is reversed in the Python film Life of Brian where "they" are pretending to be men, including obviously false beards, so that they can go to the stoning. When someone throws the first stone too early the Pharisee asks "who threw that", and they answer "she did, she did,..." in high voices. "Are there any women here today?" he says, "No no no" they say in gruff voices. In the 1970s the most familiar drag artist on British television was Danny La Rue. La Rue's act was essentially a music hall one, following on from a much older, and less sexualised tradition of drag. His appearances were often in variety shows such as The Good Old Days (itself a pastiche of music hall) and Sunday Night at the London Palladium. Such was his popularity that he made a film, Our Miss Fred (1972). Unlike the "St Trinians" films, the plot involved a man having to dress as a woman. David Walliams and (especially) Matt Lucas often play female roles in the television comedy Little Britain; Walliams plays Emily Howard—a "rubbish transvestite", who makes an unconvincing woman. In the UK, non-comedic representations of drag acts are less common, and usually a subsidiary feature of another story. A rare exception is the television play (1968) and film (1973) The Best Pair of Legs in the Business. In the film version Reg Varney plays a holiday camp comedian and drag artist whose marriage is failing. Early representations of drag in Canadian film included the 1971 film Fortune and Men's Eyes, adapted from a theatrical play by John Herbert, and the 1974 film Once Upon a Time in the East, adapted from a theatrical play by Michel Tremblay. The 1977 film Outrageous!, starring Canadian drag queen Craig Russell as a fictionalized version of himself, was an important milestone in Canadian film, as one of the first gay-themed films ever to receive widespread theatrical distribution in North America. A sequel film, Too Outrageous!, was released in 1987. In the 1980s, the sketch comedy series CODCO and The Kids in the Hall both made prominent use of drag performance. The Kids in the Hall consisted of five men, while CODCO consisted of three men and two women; however, all ten performers, regardless of their own gender, performed both male and female characters. Notably, both troupes also had openly gay members, with Scott Thompson of The Kids in the Hall and Greg Malone and Tommy Sexton of CODCO being important pioneers of gay representation on Canadian TV in their era. The use of drag in CODCO also transitioned to a lesser extent into the new series This Hour Has 22 Minutes in the 1990s; although cross-gender performance is not as central to 22 Minutes as it was in CODCO, Cathy Jones and Mary Walsh, the two cast members common to both series, both continued to play selected male characters. The Canadian film Lilies, directed by John Greyson and adapted from a theatrical play by Michel Marc Bouchard, made use of drag as a dramatic device. Set in a men's prison, the film centres on a play within a play staged by one of the prisoners; however, as the roles in the play are performed by fellow prisoners, even the female characters within it are played by men, and the film blends scenes in which they are clearly depicted as men performing in their own clothes in the prison chapel with scenes in which they are performing in drag in more "realistic" settings. It became the first gay-themed film ever to win the Genie Award for Best Picture. The short-lived French-language sitcom Cover Girl, aired in 2005 on Télévision de Radio-Canada, centred on three drag queens sharing ownership of a drag cabaret in Montreal. In 2017 Ici ARTV aired Ils de jour, elles de nuit, a documentary series profiling Montreal drag queens Rita Baga, Barbada de Barbades, Gaby, Lady Boom Boom, Lady Pounana and Tracy Trash. The documentary web series Canada's a Drag, launched on CBC Gem in 2018, has profiled various Canadian drag performers, inclusive of all genders, over four seasons to date. Canada's Drag Race, a Canadian spinoff of the American RuPaul's Drag Race franchise, was launched in 2020 on Crave. The same year also saw the release of Phil Connell's film Jump, Darling, centred on a young aspiring drag queen, and Thom Fitzgerald's film Stage Mother, about a religious woman who inherits her son's drag club after his death, as well as the comedy web series Queens, starring several real Toronto-area drag queens. 2023 saw the release of the films Enter the Drag Dragon, Solo, Gamodi and Queen Tut. OutTV, a Canadian television channel devoted to LGBTQ programming, has aired the documentary series Drag Heals, the reality competition shows Call Me Mother and Sew Fierce, and the satirical reality competition parody Drag House Rules. It has also been directly involved as a production partner in some American programs, including The Boulet Brothers' Dragula and Hey Qween!. In 2025, Documentary and CBC Gem premiered Michelle Ross: Unknown Icon, a documentary film by Alison Duke about Canadian drag icon Michelle Ross. Music The world of popular music has a venerable history of drag. Marlene Dietrich was a popular actress and singer who sometimes performed dressed as a man, such as in the films Blue Angel and Morocco. In the glam rock era many male performers (such as David Bowie and The New York Dolls) donned partial or full drag. This tradition waned somewhat in the late 1970s but was revived in the synth-pop era of the 1980s, as pop singers Boy George (of Culture Club), Pete Burns (of Dead or Alive), and Philip Oakey (of The Human League), frequently appeared in a sort of semi-drag, while female musicians of the era dabbled in their own form of androgyny, with performers like Annie Lennox, Phranc and The Bloods sometimes performing as drag kings. The male grunge musicians of the 1990s sometimes performed wearing deliberately ugly drag—that is, wearing dresses but making no attempt to look feminine, not wearing makeup and often not even shaving their beards. (Nirvana did this several times, notably in the "In Bloom" video.) However, possibly the most famous drag artist in music in the 1990s was RuPaul. Maximilliana worked with RuPaul in the Nash Bridges episode "Cuda Grace" and was a regular at the now defunct Queen Mary Show Lounge in Studio City, California until the very end. Max (short for Maximilliana) is most well known for her performance as Charlie/Claire in Ringmaster: the Jerry Springer Movie. Max has also appeared in other movies including Shoot or Be Shot and 10 Attitudes as well as on television shows including Nash Bridges as mentioned above, Clueless, Gilmore Girls, The Tonight Show with Jay Leno, Mas Vale Tarde with Alex Cambert, MadTV, The Tyra Banks Show, The Tom Joyner Show, America's Got Talent, and many others. In Japan there are several musicians in the visual kei scene, such as Mana (Moi dix Mois and Malice Mizer), Kaya (Schwarz Stein), Hizaki and Jasmine You (both Versailles), who always or usually appear in full or semi-drag. Drag kings and queens A drag queen (first use in print, 1941) is a person, usually a man, that dresses in drag, either as part of a performance or for personal fulfillment. The term "drag queen" distinguishes such men from transvestites, transsexuals or transgender people. Those who "perform drag" as comedy do so while wearing dramatically heavy and often elaborate makeup, wigs, and prosthetic devices (breasts) as part of the performance costume. Women who dress as men and perform as hypermasculine men are sometimes called drag kings; however, drag king also has a much wider range of meanings. It is currently most often used to describe entertainment (singing or lip-synching) in which there is no necessarily firm correlation between a performer's deliberately macho onstage persona and offstage gender identity or sexual orientation, just as individuals assigned male at birth who do female drag for the stage may or may not identify as being either gay or female in their real-life personal identities. A bio queen, or female-bodied queen, on the other hand, is usually a cisgender woman performing in the same context as traditional (men-as-women) drag and displaying such features as exaggerated hair and makeup. Examples are the performance of the actress and singer Lady Gaga during her first appearance in the 2018 film A Star is Born, and singer-songwriter Chappell Roan's drag queen–influenced aesthetic. Constructing a drag persona can be seen as a form of "stigma resistance", where consumers who practice drag are able to "embody pride" and work to combat stigma and shame. Stigma often operates through a process of shame, and drag queens are often both socially and economically marginalized. However, drag practices can also provide a means of stigma resistance, offering new ways of managing individual stigma with performances in a supportive community. Venkatraman et al's (2024) interviewees also highlighted that building pride in one's self and identity through drag could then permeate outward into other aspects of the drag performer's life, while Berkowitz and Belgrave (2010) indicate the empowering rewards of drag. Criticism Drag has sometimes been criticized as sexist, misogynist, or as presenting stereotypes of women in a way that can be humiliating to women. See also References Further reading |
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[SOURCE: https://en.wikipedia.org/wiki/Miniature_effect] | [TOKENS: 728] |
Contents Miniature effect A miniature effect is a special effect created for motion pictures and television programs using scale models. Scale models are often combined with high speed photography or matte shots to make gravitational and other effects appear convincing to the viewer. The use of miniatures has largely been superseded by computer-generated imagery in contemporary cinema. Where a miniature appears in the foreground of a shot, this is often very close to the camera lens — for example when matte-painted backgrounds are used. Since the exposure is set to the object being filmed so the actors appear well-lit, the miniature must be over-lit in order to balance the exposure and eliminate any depth of field differences that would otherwise be visible. This foreground miniature usage is referred to as forced perspective. Another form of miniature effect uses stop motion animation. The use of scale models in the creation of visual effects by the entertainment industry dates back to the earliest days of cinema. Models and miniatures are copies of people, animals, buildings, settings, and objects. Miniatures or models are used to represent things that do not really exist, or that are too expensive or difficult to film in reality, such as explosions, floods, or fires. From 1900 to the mid-1960s French director Georges Méliès incorporated special effects in his 1902 film Le Voyage dans la Lune (A Trip to the Moon) — including double-exposure, split screens, miniatures and stop-action. Some of the most influential visual effects films of these early years such as Metropolis (1927), Citizen Kane (1941), Godzilla (1954) The Ten Commandments (1956). The 1933 film King Kong made extensive use of miniature effects including scale models and stop-motion animation of miniature elements. From the mid-1960s The use of miniatures in 2001: A Space Odyssey was a major development. In production for three years, the film was a significant advancement in creating convincing models. In the early 1970s, miniatures were often used to depict disasters in such films as The Poseidon Adventure (1972), Earthquake (1974) and The Towering Inferno (1974). The resurgence of the science fiction genre in film in the late 1970s saw miniature fabrication rise to new heights in such films as Close Encounters of the Third Kind, (1977), Star Wars (also 1977), Alien (1979), Star Trek: The Motion Picture (1979) and Blade Runner (1982). Iconic film sequences such as the tanker truck explosion from The Terminator (1984) and the bridge destruction in True Lies (1994) were achieved through the use of large-scale miniatures. Largely replaced by CGI The release of Jurassic Park (1993) was a turning point in the use of computers to create effects for which physical miniatures would have previously been employed. While the use of computer-generated imagery (CGI) has largely overtaken their use since then, they are still often employed, especially for projects requiring physical interaction with fire, explosions, or water. Independence Day (1996), Titanic (1997), Godzilla (1998), the Star Wars prequel trilogy (1999–2005), The Lord of the Rings trilogy (2001–2003), Casino Royale (2006), The Dark Knight (2008), Inception (2010), and Interstellar (2014) are examples of highly successful films that have utilized miniatures for a significant component of their visual effects work. Techniques Notable model-makers Miniature effects companies References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Giancarlo_Esposito] | [TOKENS: 2499] |
Contents Giancarlo Esposito Giancarlo Giuseppe Alessandro Esposito (Italian: [dʒaŋˈkarlo dʒuˈzɛppe alesˈsandro eˈspɔːzito]; born April 26, 1958) is an American actor and director. He rose to prominence for his portrayal of Gus Fring in the AMC crime drama series Breaking Bad (2009–2011), a role he reprised in the spin-off Better Call Saul (2017–2022). For this role, Esposito won the Critics' Choice Television Award for Best Supporting Actor in a Drama Series twice and earned three nominations for the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series. His other television roles include federal agent Mike Giardello in the NBC series Homicide: Life on the Street (1998–1999), Sidney Glass / Magic Mirror in the ABC fantasy series Once Upon a Time (2011–2017), Tom Neville in the NBC series Revolution (2012–2014), Dr. Edward Ruskins in the Netflix series Dear White People (2017–2021), Stan Edgar in the Amazon series The Boys (2019–present) and The Boys Presents: Diabolical (2022), and Moff Gideon in the Disney+ series The Mandalorian (2019–2023), the lattermost of which earned him two Primetime Emmy Award nominations. He also portrayed Adam Clayton Powell Jr. in the MGM+ series Godfather of Harlem (2019–2023), acted in the HBO drama series Westworld (2016), and starred in the Netflix television series Kaleidoscope (2023), The Gentlemen (2024), and The Residence (2025). In 2025, he also had a guest role in the second season of the crime mystery series Poker Face. He is also known for his collaboration with Spike Lee acting in several of his films, such as School Daze (1988), Do the Right Thing (1989), Mo' Better Blues (1990), Jungle Fever (1991) and Malcolm X (1992). His other major films include Taps (1981), King of New York (1990), Bob Roberts (1992), Fresh (1994), The Usual Suspects (1995), Ali (2001), Monkeybone (2001), Last Holiday (2006), Rabbit Hole (2010), Okja (2017), Megalopolis (2024), MaXXXine (2024), and Captain America: Brave New World (2025). He voiced Akela in the live-action remake of The Jungle Book (2016). Life and career Giancarlo Giuseppe Alessandro Esposito was born in Copenhagen, Denmark. He is the son of Giovanni "John" C. Esposito (1931–2002), an Italian stagehand and carpenter from Naples, and Elizabeth "Leesa" Foster (1926–2017), an African-American opera and nightclub singer from Alabama. Esposito lived in Rome, Italy, until he was five, when his family moved to the United States, settling in Manhattan, New York City. He attended Elizabeth Seton College in New York and earned a two-year degree in radio and television communications. Esposito made his Broadway debut in 1968, playing a child opposite Shirley Jones in the short-lived musical Maggie Flynn (1968), set during the New York Draft Riots of 1863. He was also a member of the youthful cast of the Stephen Sondheim–Harold Prince collaboration Merrily We Roll Along, which closed with 16 performances and 56 previews in 1981. During the 1980s, Esposito appeared in films such as Maximum Overdrive, King of New York, and Trading Places. He also performed in TV shows such as Miami Vice and Spenser: For Hire. He played J. C. Pierce, a cadet in the 1981 movie Taps. In 1988, he landed his breakout role as the leader ("Dean Big Brother Almighty") of the black fraternity "Gamma Phi Gamma" in director Spike Lee's film School Daze, exploring color relations at black colleges. Over the next four years, Esposito and Lee collaborated on three other movies: Do the Right Thing, Mo' Better Blues, and Malcolm X. During the 1990s, Esposito appeared in the acclaimed indie films Night on Earth, Fresh and Smoke, as well as its sequel Blue in the Face. He also appeared in the mainstream films Harley Davidson and the Marlboro Man with Mickey Rourke, Reckless with Mia Farrow, and Waiting to Exhale starring Whitney Houston and Angela Bassett. In 1996, Esposito was featured in a music video "California" by French superstar Mylène Farmer, directed by Abel Ferrara. Esposito played FBI agent Mike Giardello on the TV crime drama Homicide: Life on the Street. That role drew from both his African American and Italian ancestry. He played this character during the show's seventh and final season, and reprised the role for its 2000 made-for-TV movie. He had another multiracial role as Sergeant Paul Gigante in the television comedy, Bakersfield P.D. In 1997, Esposito played the film roles of Darryl in Trouble on the Corner and Charlie Dunt in Nothing to Lose. Other TV credits include NYPD Blue, Law & Order, The Practice, New York Undercover, and Fallen Angels: Fearless. Esposito has portrayed drug dealers (Fresh, Breaking Bad, King of New York, Better Call Saul, The Gentlemen), policemen (The Usual Suspects, Derailed), political radicals (Bob Roberts, Do the Right Thing), and a demonic version of the Greek god of sleep Hypnos from another dimension (Monkeybone). In 2001, he played Cassius Marcellus Clay Sr. in Ali, and Miguel Algarín, friend and collaborator of Nuyorican poet Miguel Piñero, in Piñero. In 2002, Esposito was cast as a legal eagle in the David E. Kelley television drama Girls Club. Although the series only lasted one season, and did not garner generally positive reviews, it represented a personal turning point for Esposito, who relayed to The Washington Post: "I started to play bosses. And I realized, 'Oh, okay, this is an opportunity.' It was really a great opening for me to show who I really was. And it's kept going like that." In 2005, Esposito played an unsympathetic detective named Esposito in the film Hate Crime, which centers upon homophobia as a theme. In 2006, Esposito starred in Last Holiday as Senator Dillings, alongside Queen Latifah and Timothy Hutton. Esposito played Robert Fuentes, a Miami businessman with shady connections, on the UPN television series South Beach. He appeared in New Amsterdam and CSI: Miami. In Feel the Noise (2007), he played ex-musician Roberto, the Puerto Rican father of Omarion Grandberry's character, aspiring rap star "Rob". In 2008, he made his directorial debut with Gospel Hill, serving also as producer and star of the film. New York theater credits for Esposito include The Me Nobody Knows, Lost in the Stars, Seesaw, and Merrily We Roll Along. In 2008, he appeared on Broadway as Gooper in an African American production of Tennessee Williams' Pulitzer Prize-winning drama Cat on a Hot Tin Roof, directed by Debbie Allen and starring James Earl Jones, Phylicia Rashad, Anika Noni Rose, and Terrence Howard. From 2009 to 2011, Esposito appeared in seasons 2 through 4 of the AMC drama Breaking Bad, as Gus Fring, the head of a New Mexico-based methamphetamine drug ring. In the fourth season, he was the show's primary antagonist, and won critical acclaim for this role. He won the Best Supporting Actor in a Drama award at the 2012 Critics' Choice Television Awards and was nominated for an Outstanding Supporting Actor in a Drama Series award at the 2012 Primetime Emmy Awards, but lost to co-star Aaron Paul. Esposito appeared in the film Rabbit Hole (2010). He also appeared in the first season of the ABC program Once Upon a Time, which debuted in October 2011. He portrayed the split role of Sidney Glass, a reporter for The Daily Mirror in the town of Storybrooke, Maine, who is really a genie trapped in the Magic Mirror, possessed by The Evil Queen in a parallel fairy tale world. Esposito would periodically reprise the role in later seasons as a guest star. Esposito appeared in Revolution as Major Tom Neville, a central character who kills Ben Matheson in the pilot. He escorts a captured Danny to the capital Philadelphia of the Monroe Republic. Esposito also appeared in Community as a guest star for the episode titled "Digital Estate Planning". He performed again in the fourth season, in the episode titled "Paranormal Parentage". Esposito has additionally appeared in a video of the action role-playing sci-fi first-person shooter game Destiny. Esposito voices antagonist Faraday in the Netflix anime series Cyberpunk: Edgerunners (2022). Esposito also voices Antón Castillo, the main antagonist of the video game Far Cry 6, who was modeled after Esposito's appearance. He was also included in the videogame Payday 2, as the supporting character, then antagonist "The Dentist". He has joined the DC Universe Animated Original Movies series. He played Ra's al Ghul in Son of Batman and Eric Needham / Black Spider in Batman: Assault on Arkham. He also had a recurring role in the first season of The Get Down on Netflix. In 2017, Esposito reprised his role as Gus Fring in the Breaking Bad prequel series, Better Call Saul. In 2019, he appeared in the first-season finale of The Boys as Stan Edgar, and reprised the role in the second and third season. In 2016, Esposito voiced Akela in the film The Jungle Book, which was directed by Jon Favreau. Esposito and Favreau would work together once again in the Disney+ series The Mandalorian in which Esposito appears in a starring role, while Favreau acts as an executive producer for the series and as its writer. He plays the role of New York congressman Adam Clayton Powell Jr. in the 2019 Epix series Godfather of Harlem. In July 2020, Esposito began teasing his role in "a huge video game". His role was later revealed as the main antagonist of Ubisoft's Far Cry 6, in which he would portray and voice Antón Castillo, the dictatorial ruler of the fictional Caribbean island country of Yara. In 2022, Esposito played Taxi Driver in Euphoria, a film installation by Julian Rosefeldt. In 2024, he launched his first graphic novel, The Venetian. In December 2024, Esposito was announced as a cast member in independent drama Out Come the Wolves, based on the Rancid 1995 album of the same name. In February 2025, Esposito appeared as Seth Voelker/Sidewinder of the Serpent Society in the Marvel Cinematic Universe (MCU) film Captain America: Brave New World. Esposito was added to the film's reshoots. Personal life Esposito was married to Joy McManigal. They have four daughters. They later divorced. After his divorce, Esposito had to file for bankruptcy, and he considered suicide by arranging his own murder to provide insurance money for his children before being cast in Breaking Bad. He was raised Catholic and considered becoming a priest. Acting credits Awards and nominations Notes References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Puppetry] | [TOKENS: 8383] |
Contents Puppetry Puppetry is a form of theatre or performance that involves the manipulation of puppets —– inanimate objects, often resembling some type of human or animal figure, that are animated or manipulated by a human called a puppeteer. Such a performance is also known as a puppet production. The script for a puppet production is called a puppet play. Puppeteers use movements from hands and arms to control devices such as rods or strings to move the body, head, limbs, and in some cases the mouth and eyes of the puppet. The puppeteer sometimes speaks in the voice of the character of the puppet, while at other times they perform to a recorded soundtrack. There are many different varieties of puppets, and they are made of a wide range of materials, depending on their form and intended use. They can be extremely complex or very simple in their construction. The simplest puppets are finger puppets, which are tiny puppets that fit onto a single finger, and sock puppets, which are formed from a sock and operated by inserting one's hand inside the sock, with the opening and closing of the hand simulating the movement of the puppet's "mouth". A hand puppet or glove puppet is controlled by one hand which occupies the interior of the puppet and moves the puppet around. Punch and Judy puppets are familiar examples. Other hand or glove puppets are larger and require two puppeteers for each puppet. Japanese bunraku puppets are an example of this. Marionettes are suspended and controlled by a number of strings, plus sometimes a central rod attached to a control bar held from above by the puppeteer. Rod puppets are made from a head attached to a central rod. Over the rod is a body form with arms attached controlled by separate rods. They have more movement possibilities as a consequence than a simple hand or glove puppet. Puppetry is a very ancient form of theatre which was first recorded in the 5th century BC in Ancient Greece. Some forms of puppetry may have originated as long ago as 3000 years BCE. Puppetry takes many forms, but they all share the process of animating inanimate performing objects to tell a story. Puppetry occurs in almost all human societies, where puppets are used for the purpose of entertainment through performance, as sacred objects in rituals, as symbolic effigies in celebrations such as carnivals, and as a catalyst for social and psychological change in transformative arts. History Puppetry is a very ancient art form, thought to have originated about 4000 years ago. Puppets have been used since the earliest times to animate and communicate the ideas and needs of human societies. Some historians claim that they pre-date actors in theatre. There is evidence that they were used in Egypt as early as 2000 BCE when string-operated figures of wood were manipulated to perform the action of kneading bread. Wire controlled, articulated puppets made of clay and ivory have also been found in Egyptian tombs. Hieroglyphs also describe "walking statues" being used in ancient Egyptian religious dramas. Puppetry was practiced in ancient Greece and the oldest written records of puppetry can be found in the works of Herodotus and Xenophon, dating from the 5th century BC. Sub-Saharan Africa may have inherited some of the puppet traditions of ancient Egypt. Certainly, secret societies in many African ethnic groups still use puppets in ritual dramas as well as in their healing and hunting ceremonies.[citation needed] Today, puppetry continues as a popular form, often within a ceremonial context, and as part of a wide range of folk forms including dance, storytelling, and masked performance.[citation needed] In the 2010s throughout rural Africa, puppetry still performed the function of transmitting cultural values and ideas that in large African cities is increasingly undertaken by formal education, books, cinema, and television.[citation needed] China has a history of puppetry dating back 3000 years, originally in pi-yung xi, the "theatre of the lantern shadows", or as it is more commonly known today, Chinese shadow theatre. By the Song dynasty (960–1279 AD), puppets played to all social classes including the courts, yet puppeteers, as in Europe, were considered to be from a lower social stratum. Glove puppetry, a variant of hand puppet theatre originating in Fujian and popular in Taiwan, is performed with puppeteers working behind or beneath the stage. Japan has many forms of puppetry, including the bunraku. Bunraku developed out of Shinto temple rites and gradually became a highly sophisticated form of puppetry. Chikamatsu Monzaemon, considered by many to be Japan's greatest playwright, gave up writing kabuki plays and focused exclusively on the puppet-only bunraku plays. Initially consisting of one puppeteer, by 1730 three puppeteers were used to operate each puppet in full view of the audience. The puppeteers, who dressed all in black, would become invisible when standing against a black background, while the torches illuminated only the carved, painted and costumed wooden puppets. Korea's tradition of puppetry is thought to have come from China. The oldest historical evidence of puppetry in Korea comes from a letter written in 982 A.D. from Choe Seung-roe to the King. In Korean, the word for puppet is Kkoktugakshi. Gagsi means a "bride" or a "young woman", which was the most common form the dolls took. A kkoktugakshi puppet play has eight scenes. The Indonesian wayang theater was influenced by Indian traditions. Some scholars trace the origin of puppets to India 4000 years ago, where the main character in Sanskrit plays was known as Sutradhara, "the holder of strings". Wayang is a strong tradition of puppetry native to Indonesia, especially in Java and Bali. In Java, wayang kulit, an elaborate form of shadow puppetry, is very popular. Javanese rod puppets have a long history and are used to tell fables from Javanese history. Another popular puppetry form in Indonesia is wayang golek. Thailand has hun krabok, a popular form of rod puppet theatre. Vietnam developed the art form of water puppetry, unique to that country. The puppets are built out of wood and the shows are performed in a waist-high pool. A large rod under the water is used by puppeteers to support and control the puppets, creating the appearance of the puppets moving over water. The origin of this form of puppetry dates back 700 years when the rice fields would flood and the villagers would entertain each other. Puppet show competitions between Vietnamese villages eventually led to the creation of secretive and exclusive puppet societies. The Philippines first developed its art of puppetry during the Spanish colonial period. The oldest known Filipino puppetry is the carrillo, also known as kikimut, titire, and potei. It was first recorded in 1879. It involves small carts used in puppet plays with figures made of cardboard utilized for shadow plays. In the late 1800s, another Filipino puppetry developed. Higantes are giant papier-mâché puppets paraded through town during the Higantes Festival. These puppets are made as a devotion to San Clemente and as a mockery against colonial-era land owners who discriminated against Filipinos. Various traditions are connected with the higantes. Since the 20th century, multiple puppet arts have developed in the Philippines. A notable Filipino puppeteer is Amelia Lapeña Bonifacio. In Burma, today called Myanmar, an elaborate form of puppet shows, called Yoke thé, evolved, based on royal patronage. The probable date of the origin of Burmese marionettes is given as around 1780, during the reign of King Singu Min, and their introduction is credited to the Minister of Royal Entertainment, U Thaw. From their inception, marionettes enjoyed great popularity in the courts of the Konbaung dynasty. Little has changed since the creation of the art by U Thaw, and the set of characters developed by him is still in use today. India has a long tradition of puppetry. In the ancient Indian epic Mahabharata there are references to puppets. Another ancient reference to puppetry is found in Tamil classic ‘Silappadikaaram’ written around 1st or 2nd century B.C. Kathputli, a form of string puppet performance native to Rajasthan, is notable and there are many Indian ventriloquists and puppeteers. The first Indian ventriloquist, Professor Y. K. Padhye, introduced this form of puppetry to India in the 1920s and his son, Ramdas Padhye, subsequently popularised ventriloquism and puppetry. Almost all types of puppets are found in India. There is evidence for puppetry in the Indus Valley civilization. Archaeologists have unearthed one terracotta doll with a detachable head capable of manipulation by a string dating to 2500 BC. Another figure is a terracotta monkey which could be manipulated up and down a stick, achieving minimum animation in both cases. Puppets are described in the epic Mahabharata, Tamil literature from the Sangam era, and various literary works dating from the late centuries BC to the early centuries AD, including the Edicts of Ashoka. Works like the Natya Shastra and the Kama Sutra elaborate on puppetry in some detail. India has an ancient tradition of string puppets or marionettes. Marionettes with jointed limbs controlled by strings allow far greater flexibility and are therefore the most articulate of the puppets. Rajasthan, Orissa, Karnataka and Tamil Nadu are some of the regions where this form of puppetry has flourished. The traditional marionettes of Rajasthan are known as Kathputli. Carved from a single piece of wood, these puppets are like large dolls that are colourfully dressed. The string puppets of Orissa are known as Kundhei. The string puppets of Karnataka are called Gombeyatta. Puppets from Tamil Nadu, known as Bommalattam, combine the techniques of rod and string puppets. Shadow puppets are an ancient part of India's culture and art, particularly regionally as the keelu bomme and Tholu bommalata of Andhra Pradesh, the Togalu gombeyaata in Karnataka, the charma bahuli natya in Maharashtra, the Ravana chhaya in Odisha, the Tholpavakoothu in Kerala and the thol bommalatta in Tamil Nadu. Shadow puppet play is also found in pictorial traditions in India, such as temple mural painting, loose-leaf folio paintings, and the narrative paintings. Dance forms such as the Chhau of Odisha literally mean "shadow". The shadow theatre dance drama theatre are usually performed on platform stages attached to Hindu temples, and in some regions these are called Koothu Madams or Koothambalams. In many regions, the puppet drama play is performed by itinerant artist families on temporary stages during major temple festivals. Legends from the Hindu epics Ramayana and the Mahabharata dominate their repertoire. However, the details and the stories vary regionally. During the 19th century and early parts of the 20th century of the colonial era, Indologists believed that shadow puppet plays had become extinct in India, though mentioned in its ancient Sanskrit texts. In the 1930s and thereafter, states Stuart Blackburn, these fears of its extinction were found to be false as evidence emerged that shadow puppetry had remained a rural tradition in central Kerala mountains, most of Karnataka, northern Andhra Pradesh, parts of Tamil Nadu, Odisha and southern Maharashtra. The Marathi people, particularly of low caste, had preserved and performed the legends of Hindu epics as a folk tradition. The importance of Marathi artists is evidenced, states Blackburn, from the puppeteers speaking Marathi as their mother tongue in many non-Marathi speaking states of India. According to Beth Osnes, the tholu bommalata shadow puppet theatre dates back to the 3rd century BCE. The puppets used in a tholu bommalata performance, states Phyllis Dircks, are "translucent, lusciously multicolored leather figures four to five feet tall, and feature one or two articulated arms". The process of making the puppets is an elaborate ritual, where the artist families in India pray, go into seclusion, produce the required art work, then celebrate the "metaphorical birth of a puppet" with flowers and incense. The tholu pava koothu of Kerala uses leather puppets whose images are projected on a backlit screen. The shadows are used to creatively express characters and stories in the Ramayana. A complete performance of the epic can take forty-one nights, while an abridged performance lasts as few as seven days. One feature of the tholu pava koothu show is that it is a team performance of puppeteers, while other shadow plays such as the wayang of Indonesia are performed by a single puppeteer for the same Ramayana story. There are regional differences within India in the puppet arts. For example, women play a major role in shadow play theatre in most parts of India, except in Kerala and Maharashtra. Almost everywhere, except Odisha, the puppets are made from tanned deer skin, painted and articulated. Translucent leather puppets are typical in Andhra Pradesh and Tamil Nadu, while opaque puppets are typical in Kerala and Odisha. The artist troupes typically carry over a hundred puppets for their performance in rural India. Rod puppets are an extension of glove-puppets, but are often much larger and supported and manipulated by rods from below. This form of puppetry now is found mostly in West Bengal and Orissa. The traditional rod puppet form of West Bengal is known as Putul Nautch. They are carved from wood and follow the various artistic styles of a particular region. The traditional rod puppet of Bihar is known as Yampuri. Glove puppets are also known as sleeve, hand or palm puppets. The head is made of either papier mâché, cloth or wood, with two hands emerging from just below the neck. The rest of the figure consists of a long, flowing skirt. These puppets are like limp dolls, but in the hands of an able puppeteer, are capable of producing a wide range of movements. The manipulation technique is simple the movements are controlled by the human hand, the first finger inserted in the head and the middle finger and the thumb in the two arms of the puppet. With the help of these three fingers, the glove puppet comes alive. The tradition of glove puppets in India is popular in Uttar Pradesh, Orissa, West Bengal and Kerala. In Uttar Pradesh, glove puppet plays usually present social themes, whereas in Orissa such plays are based on stories of Radha and Krishna. In Orissa, the puppeteer plays a dholak (hand drum) with one hand and manipulates the puppet with the other. The delivery of the dialogue, the movement of the puppet and the beat of the dholak are well synchronised and create a dramatic atmosphere. In Kerala, the traditional glove puppet play is called Pavakoothu. Afghanistan has produced a form of puppetry known as buz-baz. During a performance a puppeteer will simultaneously operate a marionette of a markhor while playing a dambura (long-necked lute). Middle Eastern puppetry, like its other theatre forms, is influenced by the Islamic culture. Karagoz, the Turkish Shadow Theatre, has widely influenced puppetry in the region and it is thought to have passed from China by way of India. Later, it was taken by the Mongols from the Chinese and passed to the Turkish peoples of Central Asia. The art of Shadow Theater was brought to Anatolia by the Turkish people emigrating from Central Asia. Other scholars claim that shadow theater came to Anatolia in the 16th century from Egypt. The advocates of this view claim that shadow theatre found its way into the Ottoman palaces when Yavuz Sultan Selim conquered Egypt in 1517. He saw shadow theatre performed during a party in his honour and he was said to be so impressed with it that he took the puppeteer back to his palace in Istanbul where his 21 year-old son, later Sultan Suleyman the Magnificent, developed an interest in the plays. In other areas, the style of shadow puppetry known as khayal al-zill, a metaphor translated as "shadows of the imagination" or "shadow of fancy", still survives. This is a shadow play with live music, "the accompaniment of drums, tambourines and flutes...also..."special effects" – smoke, fire, thunder, rattles, squeaks, thumps, and whatever else might elicit a laugh or a shudder from his audience" In Iran, puppets are known to have existed much earlier than 1000 AD, but initially only glove and string puppets were popular . Other genres of puppetry emerged during the Qajar era (18th and 19th centuries) as influences from Turkey spread to the region. Kheimeh Shab-Bazi is a traditional Persian puppet show which is performed in a small chamber by a musical performer and a storyteller called a morshed or naghal. These shows often take place alongside storytelling in traditional tea and coffee-houses (Ghahve-Khane). The dialogue takes place between the morshed and the puppets. A recent example of puppetry in Iran is the touring opera Rostam and Sohrab. Although there are few remaining examples of puppets from ancient Greece, historical literature and archaeological findings shows the existence of puppetry. The Greek word translated as "puppet" is "νευρόσπαστος" (nevrospastos), which literally means "drawn by strings, string-pulling", from "νεῦρον" (nevron), meaning either "sinew, tendon, muscle, string", or "wire", and "σπάω" (spaō), meaning "draw, pull". Aristotle referred to pulling strings to control heads, hands and eyes, shoulders and legs. Plato's work also contains references to puppetry. The Iliad and the Odyssey were presented using puppetry. The roots of European puppetry probably extend back to the Greek plays with puppets played to the "common people" in the 5th century BC. By the 3rd century BC these plays would appear in the Theatre of Dionysus at the Acropolis. In ancient Greece and ancient Rome clay dolls, and a few of ivory, dated from around 500 BC, were found in children's tombs. These dolls had articulated arms and legs, and in some cases an iron rod extending up from the tops of their heads. This rod was used to manipulate the doll from above, as it is done today in Sicilian puppetry. A few of these dolls had strings in place of rods. Some researchers believe these ancient figures were toys and not puppets, due to their small size. The Christian church used marionettes to perform morality plays. It is believed that the word marionette originates from the little figures of the Virgin Mary, hence the word "marionette" or "Mary doll. Comedy was introduced to the plays as time went by, and ultimately led to a church edict banning puppetry. Puppeteers responded by setting up stages outside cathedrals and became even more ribald and slapstick. Out of this grew the Italian comedy called Commedia dell'arte. Puppets were used at times in this form of theatre and sometimes Shakespeare's plays were performed using marionettes instead of actors. An early depiction of a puppet show within a castelet (shown right) illustrates fol. 54v of Li romans du boin roi Alixandre ('The Romance of the Good King Alexander'), a Flemish manuscript illuminated by the workshop of Jehan de Grise between 1338 and 1344. In Sicily, the sides of donkey carts are decorated with intricate, painted scenes from the Frankish romantic poems, such as The Song of Roland. These same tales are enacted in traditional puppet theatres featuring hand-made marionettes of wood. In Sicilian this is called "Opera dei pupi", or "Opera of the puppets". The "Opera dei pupi" and the Sicilian tradition of cantastorie, the word for storyteller, are rooted in the Provençal troubadour tradition, in Sicily during the reign of Frederick II, Holy Roman Emperor, in the first half of the 13th century. The 18th century was a period in the development of all Italian theatre, including the marionette theatre. The rod puppet was mainly of lower-class origin, but the marionette theatre was popular in aristocratic circles, as a celebration of the Age of Enlightenment. The effects, and the construction of the puppets, the puppet theatres, and the puppet narratives, were all popular, particularly in Venice. In the 19th century, the marionettes of Pietro Radillo became more complex and instead of just the rod and two strings, Radillo's marionettes were controlled by as many as eight strings, which increased control over the individual body parts of the marionettes.[citation needed] Guignol is the main character in the French puppet show which has come to bear his name. Although often thought of as children's entertainment, Guignol's sharp wit and linguistic verve have always been appreciated by adults as well, as shown by the motto of a Lyon troupe: "Guignol amuses children… and witty adults". Laurent Mourguet, Guignol's creator, fell on hard times during the French Revolution, and in 1797 started to practice dentistry, which in those days was the pulling of teeth. To attract patients, he started setting up a puppet show in front of his dentist's chair. His first shows featured Polichinelle, a character borrowed from the Italian commedia dell'arte. By 1804 the success was such that he gave up dentistry altogether and became a professional puppeteer, creating his own scenarios drawing on the concerns of his working-class audience and improvising references to the news of the day. He developed characters closer to the daily lives of his Lyon audience, first Gnafron, a wine-loving cobbler, and in 1808 Guignol. Other characters, including Guignol's wife Madelon and the gendarme Flagéolet soon followed, but these are never more than foils for the two heroes. Guignol's victory is the triumph of good over evil. The traditional British Punch and Judy puppetry traces its roots to the 16th century to the Italian commedia dell'arte. The character of "Punch" derives from the character Pulcinella, which was Anglicized to Punchinello. He is a manifestation of the Lord of Misrule and Trickster, figures of deep-rooted mythologies. Punch's wife was originally "Joan", but later became "Judy". In the late 18th and early 19th centuries, the familiar Punch and Judy puppet show which existed in Britain was performed in an easily transportable booth. The British Puppet and Model Theatre Guild in the early 20th century instigated a resurgence of puppetry. Two of the Guild's founders, H. W. Whanslaw and Waldo Lanchester, both worked to promote and develop puppetry with publications of books and literature, mainly focusing on the art of the marionette. Lanchester had a touring theatre and a permanent venue in Malvern, Worcestershire, regularly taking part in the Malvern Festival and attracting the attention of George Bernard Shaw. One of Shaw's last plays, Shakes versus Shav, was written for and first performed in 1949 by the company.[citation needed] From 1957 to 1969, Gerry Anderson produced many television series starring marionettes, starting with Roberta Leigh's The Adventures of Twizzle and ending with The Secret Service. Many of these series employed a technique called supermarionation, which automatically synchronized the pre-recorded character dialogue to the puppets' mouth movements. Anderson returned to puppetry in 1983 with Terrahawks and the unaired pilot Space Police in 1987. Current British puppetry theatres include the Little Angel Theatre in Islington, London, Puppet Theatre Barge in London, Norwich Puppet Theatre, the Harlequin Puppet Theatre, Rhos-on-Sea, Wales, and the Biggar Puppet Theatre, Biggar, Lanarkshire, Scotland. British puppetry now covers a wide range of styles and approaches. There are also a number of British theatre companies, including Horse and Bamboo Theatre, and Green Ginger, which integrate puppetry into highly visual productions. From 1984 to 1996, puppetry was used as a vehicle for political satire in the British television series Spitting Image. Puppetry has also been influencing mainstream theatre, and several recent productions combine puppetry with live action, including Warhorse, at the Royal National Theatre and Madam Butterfly at the English National Opera.[citation needed] Many regional variants of Pulcinella were developed as the character spread across Europe. In the Netherlands it is Jan Klaassen (and Judy is Katrijn); in Denmark Mester Jackel; in Russia Petrushka; and in Romania Vasilache. In Russia, the Central Puppet Theatre in Moscow and its branches in every part of the country enhanced the reputation of the puppeteer and puppetry in general. There is a long tradition of puppetry in Germany and Austria. Much of it derives from the 16th-century tradition of the Italian commedia dell'arte. The German version of the British character of 'Punch' is called Kasperle of Kaspar while Judy is called Grete. In the 18th century, operas were specifically composed for marionette puppets. Gluck, Haydn, de Falla and Respighi all composed adult operas for marionettes. In 1855, Count Franz Pocci founded the Munich Marionette Theatre. A German dramatist, poet, painter and composer, Pocci wrote 40 puppet plays for his theatre. Albrecht Roser has made a considerable impact with his marionettes in Stuttgart. His characters Clown Gustaf and Grandmother are well-known. Grandmother, while outwardly charming, is savagely humorous in her observations about all aspects of society and the absurdities of life. In Lindau, the Lindau Marionette Opera was founded in 2000 by Bernard Leismueller and Ralf Hechelmann. The company performs a large number of operas as well as a marionette ballet, Swan Lake. In Augsburg, the Augsburg Marionette Theatre was founded in 1943 by Walter Oehmichen. It continues to this day along with an adjoining puppet museum under the grandsons of the founder, Klaus Marschall and Juergen Marschall. Much earlier in nearby Salzburg, Austria, the Salzburg Marionette Theatre was founded in 1913 by Professor Anton Aicher. The Salzburg Marionette Theatre still continues the tradition of presenting full-length opera using marionettes in their own purpose built theatre until recently under the direction of Gretl Aicher. It performs mainly operas such as Die Fledermaus and The Magic Flute and a small number of ballets such as The Nutcracker. There is also a marionette theatre at Schoenbrunn Palace in Vienna founded by Christine Hierzer-Riedler and Werner Hierzer over 40 years ago. The marionette theatre performs world famous operas, musicals and fairy tales. Marionette puppet theatre has had a very long history in entertainment in Prague, and elsewhere in the former Czechoslovakia and then in the Czech Republic and Slovakia. It can be traced deep into the early part of the Middle Ages. Marionettes first appeared around the time of the Thirty Years' War. The first noted Czech puppeteer was Jan Jiří Brat, who was born in 1724. He was the son of a local carpenter and created his own puppet theatre. Matěj Kopecký was a 19th-century Czech puppeteer, and was responsible for communicating the ideas of national awareness. In 1911, Jindřich Veselý co-founded the Czech Association of Friends of Puppet Theatre and in 1912 advocated the publication of the oldest specialist puppet-theatre magazine still published today, Loutkář. Veselý played a key role in founding UNIMA (International Puppetry Association) in 1929, and was elected its first president. In 1920 and 1926 respectively, Josef Skupa created his puppet characters: Spejbl and Hurvínek, comical father and his rascal son. In 1930, he set up the first modern professional puppet theatre. An important puppet organisation is the National Marionette Theatre in Prague. Its repertoire mainly features a marionette production of Mozart's opera Don Giovanni. The production has period costumes and 18th-century setting. There are other companies, including Buchty a Loutky ("Cakes and Puppets"), founded by Marek Bečka. Puppets have been used extensively in animated films since 1946. Jiří Trnka was an acknowledged leader in this area. Miroslav Trejtnar is a puppeteer and teacher of traditional Czech marionette-making skills. In 2016, Czech and Slovak Puppetry was included on the UNESCO Intangible Cultural Heritage Lists. Throughout this period, puppetry developed separately from the emerging mainstream of actor theatres, and the 'ragged' puppeteers performed outside of theatre buildings at fairs, markets etc., continuing to be classified along with bandits. In the 19th century, puppetry faced competition from other forms of theatre such as vaudeville and music hall. The Teotihuacan culture (Central Mexico) of 600 AD made figurines with moveable arms and legs as part of their funerary rites. Native Americans also used ceremonial puppets. In 1519, two puppeteers accompanied Hernando Cortez on his first journey to Mexico. Europeans brought their own puppet traditions with them, but gradually distinctive styles, forms and puppet characters developed in North America. During the Depression, folk puppeteers traveled with carnivals, working with their own scripts and with dioramas and marionettes of their own manufacture. Some advances in 20th-century puppetry have originated in the United States. Marionette puppetry was combined with television as early as the 1940s, with Howdy Doody of the United States being a notable marionette in this field. Bil Baird worked on revitalising marionette theatre and puppetry in the United States. He and his wife, Cora Eisenberg, had their own marionette theatre in New York. Ventriloquist, Edgar Bergen also made a major contribution. In the 1960s Peter Schumann's Bread and Puppet Theater developed the political and artistic possibilities of puppet theatre in a distinctive, powerful and immediately recognizable way. At roughly the same time, Jim Henson was creating a type of soft, foam-rubber and cloth puppet which became known collectively as Muppets. Initially, through the children's television show Sesame Street, and later in The Muppet Show and on film, these inspired many imitators and are today are recognised almost everywhere (Henson also branched out into animatronics through the formation of his Creature Shop, as showcased in his films The Dark Crystal and Labyrinth). Wayland Flowers also made a contribution to adult puppetry with his satirical puppet, Madame. Sid and Marty Krofft are two of Americas puppeteers and were mainly known for their live action children's TV series in the 60s and 70s. Puppets also have been used in the Star Wars films, notably with the character of Yoda. His voice and manipulation was provided by Frank Oz. The Aboriginal peoples of Australia have a long tradition of oral storytelling which goes back many thousands of years. They used masks and other objects to convey themes about morality and nature. Masks were carved from wood and heavily decorated with paint and feathers. In Australia in the 1960s, Peter Scriven founded the Marionette Theatre of Australia and staged marionette productions such as The Tintookies, Little Fella Bindi, The Explorers and The Water Babies. Phillip Edmiston, who worked alongside Peter Scriven at the Marionette Theatre of Australia, went on to mount in 1977 a lavish marionette production of The Grand Adventure under the umbrella of his own company, Theatrestrings. With 127 marionettes, the A$120,000 production opened in Nambour in the Civic Hall on 28 May 1977 and subsequently toured to Sydney, Melbourne and Brisbane. The musical was composed by Eric Gross with book and lyrics by Hal Saunders. The story broadly told of Captain James Cook's South Sea Island voyage with botanist Joseph Banks on HMS Endeavour. Edmiston went on to tour Queensland throughout the 1980s and 1990s with numerous productions with his new company Queensland Marionette Theatre. Bilbar Puppet Theatre, established by Barbara Turnbull and her husband Bill Turnbull, toured Australia extensively under the auspices of the Queensland Arts Council in the 1970s and 1980s. Their shows included The Lucky Charm, Funnybone, Mozart's opera Bastien and Bastienne, and Lazy Liza. Bilbar Puppet Theatre's puppets are now held at the Queensland Performing Arts Centre, Brisbane. David Poulton toured marionette shows via the Queensland Arts Council along his 'Strings and Things' with his wife Sally for many years from the late 1970s. Gwen and Peter Iliffe also toured with Puppet People. One of their shows was Bees Hey using the music of Bizet. Another successful group were Ehmer Puppets. David Hamilton tours independently and formerly toured under the auspices of the Queensland Arts Council. Some of his puppets were displayed in a special puppet exhibition mounted at the Queensland Performing Arts Complex in 2018. Comedian and radio broadcaster Jamie Dunn was famous for his Muppet-style character, Agro, who featured on several Seven Network television programs throughout the 1980s and 1990s. Formally trained in the United States by puppeteers from the Jim Henson Company, Brett Hansen and his Brisbane-based Larrikin Puppets company is one of only a few Muppet-style puppeteers actively performing in Australia. Cabaret Puppet Theatre, based in Brisbane's Redlands area, also tours with productions for children and adults. In Melbourne, Handspan Theatre (1977–2002) evolved from humble collective beginnings to a large, design-rich theatre format dubbed 'Visual Theatre', and became a hothouse for innovative projects and multimedia collaborations within Australia and around the world. In 2021, Melbourne Puppet Kerfuffle was formed by Rob Irvin and teacher Chris Elkington with the vision of touring schools and kindergartens providing educational puppet shows based on curriculum topics. They have since expanded into providing entertainment for shopping centres and festivals across Victoria and interstate. A post-graduate course existed at the Victorian College of the Arts, University of Melbourne in the late 1990s, but has since been discontinued. Australian puppeteer Norman Hetherington was famous for his marionette, Mr. Squiggle, who featured on an Australian Broadcasting Commission television program from 1 July 1959 until 9 July 1999. In every episode he would create several pictures from "squiggles" sent in by children from around the country. Richard Bradshaw OAM is another Australian puppeteer. He is a past president of UNIMA Australia, former artistic director of the Marionette Theatre Company of Australia, and does shadow puppetry and writing in the field. Rod Hull also made a contribution with his puppet Emu. In the 1960s, Hull presented a children's breakfast television programme in Australia. Snuff Puppets is one of Australia's modern puppet theatre troupes. Based in Melbourne, their work contains black humour, political and sexual satire. There is an annual winter festival of puppets at the City of Melbourne's ArtPlay and at Federation Square in Melbourne. In Sydney, Jeral Puppets, founded by John and Jackie Lewis in 1966, regularly performs at Puppeteria Puppet Theatre and on tour. Spare Parts Puppet Theatre of Fremantle, Western Australia was founded by Peter Wilson, Cathryn Robinson, and Beverley Campbell-Jackson in 1981, as part of an artist-in-residency program initiated by the WA Institute of Technology (now Curtin University of Technology). The company's first project was a puppet adaptation of Christopher Marlowe's Doctor Faustus for the 1981 Festival of Perth. Contemporary era From early in the 19th century, puppetry began to inspire artists from the 'high-art' traditions. In 1810, Heinrich von Kleist wrote an essay 'On the Marionette Theatre', admiring the "lack of self-consciousness" of the puppet. Puppetry developed throughout the 20th century in a variety of ways. Supported by the parallel development of cinema, television and other filmed media it now reaches a larger audience than ever. Another development, starting at the beginning of the century, was the belief that puppet theatre, despite its popular and folk roots, could speak to adult audiences with an adult, and experimental voice, and reinvigorate the high art tradition of actors' theatre. Sergei Obraztsov explored the concept of kukolnost ('puppetness'). Others, including Edward Gordon Craig and Erwin Piscator were influenced by puppetry. Maeterlinck, Shaw, Lorca and others wrote puppet plays, and artists such as Picasso, Jarry, and Léger began to work in theatre. Craig's concept of the "übermarionette" —— in which the director treats the actors like objects —— has been highly influential on contemporary "object theatre" and "physical theatre".[citation needed] Tadeusz Kantor frequently substituted actors for puppets, or combined the two, and conducted each performance from the edge of the stage, in some ways similar to a puppeteer. Kantor influenced a new formalist generation of directors such as Richard Foreman and Robert Wilson who were concerned with the 'object' in theatrical terms "putting it on stage and finding different ways of looking at it" (Foreman). Puppeteers such as Tony Sarg, Waldo Lanchester, John Wright, Bil Baird, Joan Baixas, Sergei Obratsov, Philipe Genty, Peter Schumann, Dattatreya Aralikatte, The Little Players, Jim Henson, Dadi Pudumjee, and Julie Taymor have also continued to develop the forms and content of puppetry, so that the phrase 'puppet theatre' is no longer limited to traditional forms of marionettes, glove, or rod puppets. Directors and companies like Peter Schumann of Bread and Puppet Theatre, Bob Frith of Horse and Bamboo Theatre, and Sandy Speiler of In the Heart of the Beast Puppet and Mask Theatre have also combined mask and puppet theatre where the performer, puppets and objects are integrated within a largely visual theatre world that minimises the use of spoken language. The Jim Henson Foundation, founded by puppeteer and Muppet creator Jim Henson, is a philanthropic, charitable organization created to promote and develop puppetry in the United States. It has bestowed 440 grants to innovative puppet theatre artists. Puppetry troupes in the early 21st-century such as HomeGrown Theatre in Boise, Idaho continue the avant garde satirical tradition for millennials. Events The International Puppet Festival (PIF) has taken place annually mid-September in Zagreb, Croatia since 1968. The Puppet Festival Mississauga has taken place annually in March in Mississauga, Ontario, Canada since 2020. Types See also Notes References Books and articles External links |
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Contents Guinness World Records Page version status This is an accepted version of this page Guinness World Records, known from its inception in 1955 until 1999 as The Guinness Book of Records and in previous United States editions as The Guinness Book of World Records, is a British reference book published annually, listing world records both of human achievements and the extremes of the natural world. Sir Hugh Beaver created the concept in order to settle arguments debated in pubs, and twin brothers Norris and Ross McWhirter co-founded the book in London in late August 1955. The first edition topped the bestseller list in the United Kingdom by Christmas 1955. The following year the book was launched internationally, and as of the 2026 edition, it is now in its 71st year of publication, published in 100 countries and 40 languages, and maintains over 53,000 records in its database. The international franchise has extended beyond print to include television series and museums. The popularity of the franchise has resulted in Guinness World Records becoming the primary international source for cataloguing and verification of a huge number of world records. The organization employs record adjudicators to verify the authenticity of the setting and breaking of records. Following a series of owners, the franchise has been owned by the Jim Pattison Group since 2008, with its headquarters moved to South Quay Plaza, Canary Wharf, London, in 2017. Since 2008, Guinness World Records has orientated its business model away from selling books, and towards creating new world records as publicity exercises for individuals and organizations, which has attracted criticism. History On 10 November 1951, Sir Hugh Beaver, then the managing director of the Guinness Breweries, went on a shooting party in the North Slob, by the River Slaney in County Wexford, Ireland. After missing a shot at a golden plover, he became involved in an argument over whether the golden plover or the red grouse was the fastest game bird in Europe (the plover is faster, but neither is the fastest game bird in Europe). That evening at Castlebridge House, he realized that it was impossible to confirm in reference books whether or not the golden plover was Europe's fastest game bird. Beaver knew that there must have been numerous other questions debated nightly among the public, but there was no book in the world with which to settle arguments about records. He realized then that a book supplying the answers to this sort of question might prove successful. Beaver's idea became a reality when Guinness employee Christopher Chataway recommended university friends Norris and Ross McWhirter, who had been running a fact-finding agency in London. The twin brothers were commissioned in August 1954 to compile what became The Guinness Book of (Superlatives and now) Records.[clarification needed] A thousand copies were distributed for free to pubs across Britain and Ireland as a promotional asset for the Guinness brand, and they became immensely popular with customers. After the founding of The Guinness Book of Records office at the top of Ludgate House, 107 Fleet Street, London, the first 198-page edition was bound on 27 August 1955 and went to the top of the British bestseller list by Christmas. The following year, it was introduced into the United States by New York publisher David Boehm and sold 70,000 copies. Since then, Guinness World Records has sold more than 150 million copies in 100 countries and 40 languages. Due to the book's surprise success, many further editions were printed, eventually settling into a pattern of one revision a year, published in September/October, in time for Christmas. The McWhirters continued to compile it for many years. Both brothers had an encyclopedic memory; on the British children's television series Record Breakers (based upon the book), which was broadcast on the BBC from 1972 to 2001, they would take questions posed by children in the audience on various world records and were able to give the correct answer. Ross McWhirter was assassinated by two members of the Provisional Irish Republican Army in 1975, in response to offering a £50,000 reward for information that would lead to the capture of members of the organization. Following Ross's assassination, the feature on the show where questions about records posed by children were answered was called Norris on the Spot. Norris carried on as the book's sole editor. Guinness Superlatives, later Guinness World Records Limited, was incorporated in London in 1954 to publish the first book. Sterling Publishing owned the rights to the Guinness book in the US for decades until it was repurchased by Guinness in 1989 after an 18-month long lawsuit. The group was owned by Guinness PLC and subsequently Diageo until 2001, when it was purchased by Gullane Entertainment for £45.5 million ($65 million). Gullane was itself purchased by HIT Entertainment in 2002. In 2006, Apax Partners purchased HIT and subsequently sold Guinness World Records in early 2008 to the Jim Pattison Group, the parent company of Ripley Entertainment, which is licensed to operate Guinness World Records' Attractions. With offices in New York City and Tokyo, Guinness World Records' global headquarters remain in South Quay Plaza in Canary Wharf, London, while its museum attractions are based at Ripley headquarters in Orlando, Florida. Recent editions have focused on record feats by individuals. Competitions range from obvious ones such as Olympic weightlifting to the longest egg tossing distances, or for the longest time spent playing Grand Theft Auto IV or the largest number of hot dogs consumed in three minutes. Besides records about competitions, it contains such facts such as the heaviest tumor, the most poisonous fungus, the longest-running soap opera and the most valuable life-insurance policy, among others. Many records also relate to the youngest people to have achieved something, such as the youngest person to visit all nations of the world, currently held by Maurizio Giuliano. Each edition contains a selection of the records from the Guinness World Records database, as well as select new records, with the criteria for inclusion changing from year to year. The latest edition is the 72nd, published in August 2025. The retirement of Norris McWhirter from his consulting role in 1995 and the subsequent decision by Diageo Plc to sell The Guinness Book of Records brand have shifted the focus of the books from text-oriented to illustrated reference. A selection of records are curated for the book from the full archive but all existing Guinness World Records titles can be accessed by creating a login on the company's website. Applications made by individuals for existing record categories are free of charge. There is an administration fee of £5 (or $5) to propose a new record title. A number of spin-off books and television series have also been produced. Guinness World Records bestowed the record of "Person with the most records" on Ashrita Furman of Queens, New York, in April 2009; at that time, he held 100 records. In 2005, Guinness designated 9 November as International Guinness World Records Day to encourage breaking of world records. In 2006, an estimated 100,000 people participated in over 10 countries. Guinness reported 2,244 new records in 12 months, which was a 173% increase over the previous year. In February 2008, NBC aired The Top 100 Guinness World Records of All Time and Guinness World Records made the complete list available on their website. The popularity of the franchise has resulted in Guinness World Records becoming the primary international authority on the cataloguing and verification of a huge number of world records. Over its history, numerous world record categories have been discontinued. This list may include that the record poses a threat to health or the environment. Defining records For many records, Guinness World Records is the effective authority on the exact requirements for them and with whom records reside, the company providing adjudicators to events to determine the veracity of record attempts. The list of records which the Guinness World Records covers is not fixed, records may be added and also removed for various reasons. The public is invited to submit applications for records, which can be either the bettering of existing records or substantial achievements which could constitute a new record. The company also provides corporate services for companies to "harness the power of record-breaking to deliver tangible success for their businesses." Guinness World Records states several types of records it will not accept for ethical reasons, such as those related to the killing or harming of animals. In the 2006 Guinness Book of World Records, Colombian serial killer Pedro López was listed as the "most prolific serial killer", having murdered at least 110 people (with Lopez himself claiming he murdered over 300 people) in Colombia, Ecuador and Peru in the late 1960s to 1980s. This was later removed after complaints that it made a competition out of murder, however the record was reinstated in the 2026 edition. Several world records that were once included in the book have been removed for ethical reasons, including concerns for the well-being of potential record breakers. For example, following publication of the "heaviest pet" record, many owners overfed their pets beyond the bounds of what was healthy, and therefore such entries were removed. The Guinness Book also dropped records within their "eating and drinking records" section of Human Achievements in 1991 over concerns that potential competitors could harm themselves and expose the publisher to potential litigation. These changes included the removal of all spirit, wine and beer drinking records, along with other unusual records for consuming such unlikely things as bicycles and trees. Other records, such as sword swallowing and rally driving (on public roads), were closed from further entry as the current holders had performed beyond what are considered safe human tolerance levels. There have been instances of closed categories being reopened. For example, the sword swallowing category was listed as closed in the 1990 Guinness Book of World Records, but has since been reopened with Johnny Strange breaking a sword swallowing record on Guinness World Records Live. Similarly, the speed beer drinking records which were dropped from the book in 1991, reappeared 17 years later in the 2008 edition, but were moved from the "Human Achievements" section of the older book to the "Modern Society" section of the newer edition. As of 2011[update], it is required in the guidelines of all "large food" type records that the item be fully edible, and distributed to the public for consumption, to prevent food wastage. Chain letters are also not allowed: "Guinness World Records does not accept any records relating to chain letters, sent by post or e-mail." After Roger Guy English set the record for sleeplessness in 1974, the category was discontinued for being too dangerous. At the request of the U.S. Mint, in 1984, the book stopped accepting claims of large hoardings of pennies or other currency. Environmentally unfriendly records (such as the releasing of sky lanterns and party balloons) are no longer accepted or monitored, in addition to records relating to tobacco or cannabis consumption or preparation. In 2024, Guinness World Records was accused of laundering the reputation of the oppressive governments as it set world records for the UAE's police forces and Egypt's military. By 2024, the UAE achieved 526 records, of which 21 were credited to the Emirates' police force. Matthew Hedges, a British academic who was forced to sign a false confession, asked the records body to take down the Abu Dhabi police department's certificate for "most signatures on a scroll", along with other such titles. Concerns were also raised around the activities around Egypt, which moved from 22 records to 110 within a decade until 2024. James Lynch, co-founder of FairSquare, said the records were legitimizing Abdel Fattah el-Sisi's regime. The Guinness World Records stated that its record titles "cannot be purchased". Guinness World Records has been accused of romanticizing diseases, such as Graves' Disease and Pica. For some potential categories, Guinness World Records has declined to list some records that are too difficult or impossible to determine. For example, its website states: "We do not accept any claims for beauty as it is not objectively measurable." On 10 December 2010, Guinness World Records stopped accepting submissions for the "dreadlock" category after an investigation of its first and only female title holder, Asha Mandela, determining it was impossible to judge this record accurately. Change in business model Traditionally, the company made a large amount of its revenue via book sales to interested readers, especially children. The rise of the Internet began to cut into book sales starting in the 2000s, part of a general decline in the book industry. According to a 2017 story by Planet Money of NPR, Guinness began to realize that a lucrative new revenue source to replace falling book sales was the would-be record-holders themselves. While any person can theoretically send in a record to be verified for free, the approval process is slow. Would-be record breakers that paid fees ranging from US$12,000 to US$500,000 would be given advisors, adjudicators, help in finding good records to break as well as suggestions for how to do it, prompt service, and so on. In particular, corporations and celebrities seeking a publicity stunt to launch a new product or draw attention to themselves began to hire Guinness World Records, paying them for finding a record to break or to create a new category just for them. As such, they have been described as a native advertising company, with no clear distinction between content and advertisement. Television talk show host John Oliver criticized Guinness World Records on the programme Last Week Tonight with John Oliver in August 2019, during an episode about President of Turkmenistan Gurbanguly Berdimuhamedow. Oliver said Guinness took money from authoritarian governments for pointless vanity projects such as Berdimuhamedow's. Oliver asked Guinness to work with Last Week Tonight to adjudicate a record for "Largest cake featuring a picture of someone falling off a horse", but according to Oliver, the offer did not work out after Guinness insisted on a non-disparagement clause. Guinness World Records denied the accusations and stated that they declined Oliver's offer to participate because "it was merely an opportunity to mock one of our record-holders," and that Oliver did not specifically request the record for the largest marble cake. As of 2021, the Guinness World Record for "Largest marble cake" remains with Betty Crocker Middle East in Saudi Arabia. Following Oliver's episode, Guinness World Records' ethics were called into question by human rights groups. Museums In 1976, a Guinness Book of World Records museum opened in the Empire State Building. Speed shooter Bob Munden then went on tour promoting The Guinness Book of World Records by performing his record fast draws with a standard weight single-action revolver from a Western movie-type holster. His fastest time for a draw was 0.02 seconds. Among exhibits were life-size statues of the world's tallest man, Robert Wadlow, and world's largest earthworm, an X-ray photo of a sword swallower, repeated lightning strike victim Roy Sullivan's hat complete with lightning holes and a pair of gem-studded golf shoes on sale for $6,500. The museum closed in 1995. In more recent years, the Guinness company has permitted the franchising of small museums with displays based on the book, all currently (as of 2010[update]) located in towns popular with tourists: Tokyo, Copenhagen, San Antonio. There were once Guinness World Records museums and exhibitions at the London Trocadero, Bangalore, San Francisco, Myrtle Beach, Orlando, Atlantic City, and Las Vegas. The Orlando museum, which closed in 2002, was branded The Guinness Records Experience; the Hollywood, Niagara Falls, Copenhagen, and Gatlinburg museums also previously featured this branding. Retail and merchandise Guinness World Records operates an official online shop, the Guinness World Records Store, which offers items related to record-breaking achievements, including certificates of participation, apparel, and the annual Guinness World Records book. The shop provides record-holders and the general public with access to official Guinness World Records materials. Merchandise is part of the organization's broader engagement efforts beyond its publications and events. Television series Guinness World Records has commissioned various television series documenting world record breaking attempts, including: Rhianna Loren (2025) Specials: Gamer's edition In 2008, Guinness World Records released its gamer's edition, a supplement that keeps records for popular video game high scores, codes and feats in association with Twin Galaxies. The Gamer's Edition used to contain 258 pages, over 1,236 video game related world records and four interviews including one with Twin Galaxies founder Walter Day. Editions were published for the years 2008 through 2020, with the 2009 edition in hardcover. The 2025 edition is the first since 2020, returning after a five-year hiatus. Since 2020, the supplement has had 192 pages. The Guinness Book of British Hit Singles The Guinness Book of British Hit Singles was a music reference book first published in 1977. It was compiled by BBC Radio 1 DJs Paul Gambaccini and Mike Read with brothers Tim Rice and Jonathan Rice. It was the first in a number of music reference books that were to be published by Guinness Publishing with sister publication The Guinness Book of British Hit Albums coming in 1983. After being sold to Hit Entertainment, the data concerning the Official Chart Company's singles and albums charts were combined under the title British Hit Singles & Albums, with Hit Entertainment publishing the book from 2003 to 2006 (under the Guinness World Records brand). After Guinness World Records was sold to The Jim Pattison Group, it was effectively replaced by a series of books published by Ebury Publishing/Random House with the Virgin Book of British Hit Singles first being published in 2007 and with a Hit Albums book following two years later. Other media and products In 1975, Parker Brothers marketed a board game, The Guinness Game of World Records, based on the book. Players compete by setting and breaking records for activities such as the longest streak of rolling dice before rolling doubles, stacking plastic pieces, and bouncing a ball off alternating sides of a card, as well as answering trivia questions based on the listings in the Guinness Book of World Records. A video game, Guinness World Records: The Videogame, was developed by TT Fusion and released for Nintendo DS, Wii and iOS in November 2008. In 2012, Warner Bros. announced the development of a live-action film version of Guinness World Records with Daniel Chun as scriptwriter. The film, however, never entered production. Dr. Sunil Gupta is listed in the Guinness World Records for participating in the largest multi-location diabetic neuropathy screening conducted on World Diabetes Day, 14 November 2013, during which 1,676 screenings were performed across 27 locations in India. References |
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