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Contents MTV MTV (originally an initialism of Music Television) is an American cable television channel and the flagship namesake property of the MTV Entertainment Group, a sub-division of the Paramount Media Networks division of Paramount Skydance. Launched on August 1, 1981, the channel originally aired music videos and related music entertainment programming guided by television personalities known as video jockeys (VJs). MTV soon began establishing its presence overseas, eventually gaining an unprecedented cult following and becoming one of the major factors in cable programming's rise to fame, leading American corporations to dominate the television economy in the 1990s. In the years since its inception, the channel significantly toned down its focus on music in favor of original reality programming for teenagers and young adults. As of November 2023[update], MTV is available to approximately 67 million pay television households in the United States, down from its 2011 peak of 99 million households. History MTV was launched on August 1, 1981, at 12:01 a.m., under the ownership of Warner-Amex Satellite Entertainment. The first video played on MTV was “Video Killed the Radio Star” by The Buggles. On June 25, 1984, Warner Communications spun-off Nickelodeon and MTV into a new public corporation called MTV Networks (now Paramount Media Networks). Warner would later acquire American Express' 50% stake the following year. From August 27, 1985, to May 20, 1986, Warner would sell 31%, and later, 69% of MTV Networks to Viacom. Programming As MTV expanded, music videos and VJ-guided programming were no longer the centerpiece of its programming (except MTV Germany). The channel's programming has covered a wide variety of genres and formats aimed at adolescents and young adults. In addition to its original programming, MTV has also aired original and syndicated programs from Paramount-owned siblings and third-party networks. MTV is also a producer of films aimed at young adults through its production label, MTV Films, and has aired both its own theatrically released films and original made-for-television movies from MTV Studios in addition to acquired films. In 2010, a study by the Gay and Lesbian Alliance Against Defamation found that of 207.5 hours of prime time programming on MTV, 42% included content reflecting the lives of gay, bisexual, and transgender people. This was the highest in the industry and the highest percentage ever. In 2018, MTV launched a new production unit under the MTV Studios name focused on producing new versions of MTV's library shows. It was later consolidated into MTV Entertainment Studios[citation needed] In 1984, the channel produced its first MTV Video Music Awards show, or VMAs. The first award show, in 1984, was punctuated by a live performance by Madonna of "Like a Virgin". The statuettes that are handed out at the Video Music Awards are of the MTV moon-man, the channel's original image from its first broadcast in 1981. As of 2012[update], the Video Music Awards were MTV's most watched annual event. MTV began its annual Spring Break coverage in 1986, setting up temporary operations in Daytona Beach, Florida, for a week in March, broadcasting live 8 hours per day. "Spring break is a youth culture event", MTV's vice president Doug Herzog said at the time. "We wanted to be part of it for that reason. It makes good sense for us to come down and go live from the center of it, because obviously the people there are the kinds of people who watch MTV." The channel later expanded its beach-themed events to the summer, dedicating most of each summer season to broadcasting live from a beach house at different locations away from New York City, eventually leading to channel-wide branding throughout the summer in the 1990s and early 2000s such as Motel California, Summer Share, Isle of MTV, SoCal Summer, Summer in the Keys, and Shore Thing. MTV VJs would host blocks of music videos, interview artists and bands, and introduce live performances and other programs from the beach house location each summer. MTV also held week-long music events that took over the presentation of the channel. Examples from the 1990s and 2000s include All Access Week, a week in the summer dedicated to live concerts and festivals; Spankin' New Music Week, a week in the fall dedicated to brand new music videos; and week-long specials that culminated in a particular live event, such as Wanna be a VJ and the Video Music Awards. At the end of each year, MTV takes advantage of its home location in New York City to broadcast live coverage on New Year's Eve in Times Square. Several live music performances are featured alongside interviews with artists and bands that were influential throughout the year. For many years from the 1980s to the 2000s, the channel upheld a tradition of having a band perform a cover song at midnight immediately following the beginning of the new year. Throughout its history, MTV has covered global benefit concert series live. For most of July 13, 1985, MTV showed the Live Aid concerts, held in London and Philadelphia and organized by Bob Geldof and Midge Ure to raise funds for famine relief in Ethiopia. While the ABC network showed only selected highlights during prime-time, MTV broadcast 16 hours of coverage. Along with VH1, MTV broadcast the Live 8 concerts, a series of concerts set in the G8 states and South Africa, on July 2, 2005. Live 8 preceded the 31st G8 summit and the 20th anniversary of Live Aid. MTV drew heavy criticism for its coverage of Live 8. The network cut to commercials, VJ commentary, or other performances during performances. Complaints surfaced on the Internet over MTV interrupting the reunion of Pink Floyd. In response, MTV president Van Toffler stated that he wanted to broadcast highlights from every venue of Live 8 on MTV and VH1, and clarified that network hosts talked over performances only in transition to commercials, informative segments or other musical performances. Toffler acknowledged that "MTV should not have placed such a high priority on showing so many acts, at the expense of airing complete sets by key artists." He also blamed the Pink Floyd interruption on a mandatory cable affiliate break. MTV averaged 1.4 million viewers for its original July 2 broadcast of Live 8. Consequently, MTV and VH1 aired five hours of uninterrupted Live 8 coverage on July 9, with each channel airing other blocks of artists. Logo and branding MTV's logo was designed in 1981 by Manhattan Design (a collective formed by Frank Olinsky, Pat Gorman and Patty Rogoff) under the guidance of original creative director Fred Seibert. The block letter "M" was sketched by Rogoff, with the scribbled word "TV" spraypainted by Olinksky. The primary variant of MTV's logo at the time had the "M" in yellow and the "TV" in red. However, unlike most television networks' logos at the time, the logo was constantly branded with different colors, patterns, and images on a variety of station IDs. Examples include 1988's ID "Adam And Eve", where the "M" is an apple and the snake is the "TV". And for 1984's ID "Art History", the logo is shown in different art styles. The only constant aspects of MTV's logo at the time were its general shape and proportions, with everything else being dynamic. MTV launched on August 1, 1981, with an extended network ID featuring the first landing on the Moon (with still images acquired directly from NASA), which was a concept of Seibert's executed by Buzz Potamkin and Perpetual Motion Pictures. The ID then cut to the American flag planted on the Moon's surface changed to show the MTV logo on it, which rapidly changed into different colors and patterns several times per second as the network's original guitar-driven jingle was played for the first time. After MTV's launch, the "Moon landing" ID was edited to show only its ending, and was shown at the top of every hour until early 1986, when the ID was scrapped in light of the Space Shuttle Challenger disaster. (since then the space theme and the Moonman became a fixture of MTV’s branding most notably in its award show statue) The ID ran "more than 75,000 times each year (48 times each day), at the top and bottom of every hour every day" according to Seibert. From the late 1990s to the early 2000s, MTV updated its on-air appearance at the beginning of every year and each summer, creating a consistent brand across all of its music-related shows. This style of channel-wide branding came to an end as MTV drastically reduced its number of music-related shows in the early to mid-2000s. Around this time, MTV introduced a static and single color digital on-screen graphic mainly grey during on-air and some color to be shown during all of its programming. Starting with the premiere of the short-lived program FNMTV: Friday Night MTV in 2008, MTV started using an updated and cropped version of its original logo for 30 years during most of its on-air programming. It became MTV's official logo on February 8, 2010, and officially debuted on its website. The channel's full text "MUSIC TELEVISION" was eliminated, with the revised and chopped down on the logo largely the same as the original logo, but without the initialism, the bottom of the "M" being cropped and the "V" in "TV" no longer branching off. This change was most likely made to reflect MTV's more prominent focus on reality and comedy programming and less on music-related programming. However, much like the original logo, the new logo was designed to be filled in with a seemingly unlimited variety of images. It is used worldwide, but not everywhere is it used existentially. The new logo was first used on MTV Films logo with the 2010 film Jackass 3D. MTV's rebranding was overseen by Popkern. On June 25, 2015, MTV International rebranded its on-air look with a new vaporwave and seapunk-inspired graphics package. It included a series of new station IDs featuring 3D renderings of objects and people, much akin to vaporwave and seapunk "aesthetics". Many[like whom?] have derided MTV's choice of rebranding, insisting that the artistic style was centered on denouncing corporate capitalism (many aesthetic pieces heavily incorporate corporate logos of the 1970s, 80s and 90s, which coincidentally include MTV's original logo) rather than being embraced by major corporations like MTV. Many have also suggested that MTV made an attempt to be relevant in the modern entertainment world with the rebrand. In addition to this, the rebrand was made on exactly the same day that the social media site Tumblr introduced Tumblr TV, an animated GIF viewer which featured branding inspired by MTV's original 1980s on-air look. Tumblr has been cited as a prominent location of aesthetic art, and thus many have suggested MTV and Tumblr "switched identities". The rebrand also incorporated a modified version of MTV's classic "I Want My MTV!" slogan, changed to read "I Am My MTV." Vice has suggested that the slogan change represents "the current generation's movement towards self-examination, identity politics and apparent narcissism." MTV also introduced MTV Bump, a website that allows Instagram and Vine users to submit videos to be aired during commercial breaks, as well as MTV Canvas, an online program where users submit custom IDs to also be aired during commercial breaks. On February 5, 2021, MTV began to use a revised logo in tandem with the 2010 version, doing away with the 3D effect inherited from its predecessors (much akin to the current MTV Video Music Awards variant). That logo is revealed to be an alternate variant of the current logo designed by the design agency Loyalkaspar, which pays homage to MTV of the past with the red-yellow-blue color combination and the 3D effect mainly inherited from its predecessor logo. The new logo's rollout was completed in time for the 2021 MTV Video Music Awards. The channel's iconic "I Want My MTV!" advertising campaign was launched in 1982. It was first developed by George Lois and was based on a cereal commercial from the 1950s with the slogan "I Want My Maypo!" that Lois adapted unsuccessfully from the original created by animator John Hubley. Lois's first pitch to the network was roundly rejected when Lois insisted that rock stars like Mick Jagger should be crying when they said the tag line, not unlike his failed 'Maypo' revamp. His associate, and Seibert mentor Dale Pon, took over the campaign, both strategically and creatively. Pon was able to get the campaign greenlit when he laughed the tears out of the spots. From then on–with the exception of the closely logos on the first round of commercials–Pon was the primary creative force. All the commercials were produced by Buzz Potamkin and his new company Buzzco Productions, directed first by Thomas Schlamme and Alan Goodman and eventually by Candy Kugel. The campaign featured popular artists and celebrities, including Pete Townshend, Pat Benatar, Adam Ant, David Bowie, the Police, Kiss, Culture Club, Billy Idol, Hall & Oates, Cyndi Lauper, Madonna, Lionel Richie, Ric Ocasek, John Mellencamp, Peter Wolf, Joe Elliott, Stevie Nicks, Rick Springfield, and Mick Jagger, interacting with the MTV logo on-air and encouraging viewers to call their pay television providers and request that MTV be added to their local channel lineups. Eventually, the slogan became so ubiquitous that it made an appearance as a lyric sung by Sting on the Dire Straits song "Money for Nothing", whose music video aired in regular rotation on MTV when it was first released in 1985 and also served as the first video played on its European arm, and became the basis of the music used in the MTV Entertainment Studios production logo. Influence and controversies The channel has been a target of criticism by different groups about programming choices, social issues, political correctness, sensitivity, censorship, and a perceived negative social influence on young people. Portions of the content of MTV's programs and productions have come under controversy in the general news media and among social groups that have taken offense. Some within the music industry criticized what they saw as MTV's homogenization of rock 'n' roll, including the punk band the Dead Kennedys, whose song "M.T.V. – Get Off the Air" was released on their 1985 album Frankenchrist, just as MTV's influence over the music industry was being solidified. MTV was also the major influence on the growth of music videos during the 1980s. During MTV's first few years, very few black artists were featured. The select few in MTV's rotation between 1981 and 1984 were Michael Jackson, Prince, Eddy Grant, Tina Turner, Donna Summer, Joan Armatrading, Musical Youth, The Specials, The Selecter, Grace Jones, John Butcher and Herbie Hancock. Mikey Craig of Culture Club, Joe Leeway of Thompson Twins and Tracy Wormworth of The Waitresses were also black. The Specials, which included black and white vocalists and musicians, were also the first act with people of color to perform on MTV; their song "Rat Race" was the 58th video on the station's first broadcast day. MTV refused other black artists' videos, such as Rick James' "Super Freak", because they did not fit the channel's carefully selected album-oriented rock format at the time. The exclusion enraged James, who publicly advocated the addition of more black artists to the channel. David Bowie also questioned MTV's lack of black artists during an on-air interview with VJ Mark Goodman in 1983. MTV's original head of talent and acquisition, Carolyn B. Baker, who was black, questioned why the definition of music had to be so narrow, as did a few others outside the network. Years later, Baker said, "The party line at MTV was that we weren't playing black music because of the research – but the research was based on ignorance… We were young, we were cutting-edge. We didn't have to be on the cutting edge of racism." Nevertheless, it was Baker who rejected Rick James' "Super Freak" video "because there were half-naked women in it, and it was a piece of crap. As a black woman, I did not want that representing my people as the first black video on MTV." The network's director of music programming, Buzz Brindle, told an interviewer in 2006: "MTV was originally designed to be a rock music channel. It was difficult for MTV to find African American artists whose music fit the channel's format that leaned toward rock at the outset." Writers Craig Marks and Rob Tannenbaum noted that the channel "aired videos by plenty of white artists who didn't play rock." Andrew Goodwin later wrote: "[MTV] denied racism, on the grounds that it merely followed the rules of the rock business." MTV senior executive vice president Les Garland complained decades later, "The worst thing was that 'racism' bullshit ... there were hardly any videos being made by black artists. Record companies weren't funding them. They never got charged with racism." However, critics of that defence pointed out that record companies were not funding videos for black artists because they knew they would have difficulty persuading MTV to play them. The book The Vault: The Definitive Guide to the Musical World of Prince, which was co-written by the artist, states that while Bob Pittman had defined the channel’s focus as “strictly rock and roll”, the network nevertheless picked up the video to Prince’s “1999” on December 16, 1982. In celebrating the 40th anniversary of the network's launch in 2021, current MTV Entertainment Group president Chris McCarthy acknowledged that "(o)ne of the bigger mistakes in the early years was not playing enough diverse music ... but the nice thing that I've always learned at MTV is we have no problem owning our mistakes, quickly correcting them and trying to do the right thing and always follow where the audience is going." Before 1983, Michael Jackson also struggled for MTV airtime. To resolve the struggle and finally "break the color barrier", the president of CBS Records, Walter Yetnikoff, denounced MTV in a strong, profane statement, threatening to take away its right to play any of the label's music. However, Les Garland, then acquisitions head, said he decided to air Jackson's "Billie Jean" video without pressure from CBS, a statement later contradicted by CBS head of Business Affairs David Benjamin in Vanity Fair. According to The Austin Chronicle, Jackson's video for the song "Billie Jean" was "the video that broke the color barrier, even though the channel itself was responsible for erecting that barrier in the first place." But change was not immediate. "Billie Jean" was not added to MTV's "medium rotation" playlist (two to three airings per day) until it reached No. 1 on the Billboard Hot 100 chart. In the final week of March, it was in "heavy rotation", one week before the MTV debut of Jackson's "Beat It" video. Prince's "Little Red Corvette" joined both videos in heavy rotation at the end of April. At the beginning of June, "Electric Avenue" by Eddy Grant joined "Billie Jean," which was still in heavy rotation until mid-June. At the end of August, "She Works Hard for the Money" by Donna Summer was in heavy rotation on the channel. Herbie Hancock's "Rockit" and Lionel Richie's "All Night Long" were placed in heavy rotation at the end of October and the beginning of November respectively. In the final week of November, Donna Summer's "Unconditional Love" was in heavy rotation. When Jackson's elaborate video for "Thriller" was released late that year, raising the bar for what a video could be, the network's support for it was total; subsequently, more pop and R&B videos were played on MTV. Following Jackson's and Prince's breakthroughs on MTV, Rick James did several interviews where he brushed off the accomplishment as tokenism, saying in a 1983 interview, in an episode of Mike Judge Presents: Tales from the Tour Bus on James, that "any black artist that [had] their video played on MTV should pull their [videos] off MTV." HBO also had a 30-minute program of music videos called Video Jukebox, that first aired around the time of MTV's launch and lasted until late 1986. Also around this time, HBO, as well as other premium channels such as Cinemax, Showtime and The Movie Channel, occasionally played one or a few music videos between movies. SuperStation WTBS launched Night Tracks on June 3, 1983, with up to 14 hours of music video airplay each late night weekend by 1985. Its most noticeable difference was that black artists that MTV initially ignored received airplay. The program ran until the end of May 1992. Playboy TV launched their own music video program called "Playboy's Hot Rocks" that premiered on July 15, 1983, featuring uncensored versions of music videos that were shown in nightclubs by artists from Duran Duran and Mötley Crüe to Nine Inch Nails and 2Pac. At times, they would do a certain theme like the all Prince theme on the channel back in the 90s. A few markets also launched music-only channels, including Las Vegas' KRLR-TV (now KSNV), which debuted in the summer of 1984 and was branded as "Vusic 21". The first video played on that channel was "Video Killed the Radio Star", following in the footsteps of MTV.[citation needed] Shortly after TBS began Night Tracks, NBC launched a music video program called Friday Night Videos, which was considered network television's answer to MTV. Later renamed simply Friday Night, the program ran from 1983 to 2002. ABC's contribution to the music video program genre in 1984, ABC Rocks, was far less successful, lasting only a year. TBS founder Ted Turner started the Cable Music Channel in 1984, designed to play a broader mix of music videos than MTV's rock format allowed. But after one month as a money-losing venture, Turner sold it to MTV, who redeveloped the channel into VH1. The founders of Financial News Network, Glenn Taylor and Karen Tyler tried to capitalize on the concept by launching Discovery Music Network, which was set to be a cable network, and has plans to set up the Discovery Broadcasting System, which consists of the aforementioned network, along with computer and business networks, but it never got off the ground. Shortly after its launch, Disney Channel aired a program called DTV, a play on the MTV acronym. The program used music cuts, both from past and upcoming artists. Instead of music videos, the program used clips of various vintage Disney cartoons and animated films (from Snow White and the Seven Dwarfs to The Fox and the Hound) to go with the songs. The program aired in multiple formats, sometimes between shows, sometimes as its own program, and other times as one-off specials. The specials tended to air both on the Disney Channel and NBC. The program aired at several times between 1984 and 1999. In 2009, Disney Channel revived the DTV concept with a new series of short-form segments called Re-Micks. Hanna-Barbera created HBTV, similar to DTV in 1985 and in 1986. MTV has edited a number of music videos to remove nudity, references to drugs, sex, violence, weapons, racism, homophobia, and/or advertising. Many music videos aired on the channel were either censored, moved to late-night rotation, or banned entirely from the channel. In the 1980s, parent media watchdog groups such as the Parents Music Resource Center (PMRC) criticized MTV over certain music videos that were claimed to have explicit imagery of satanism. As a result, MTV developed a strict policy on refusal to air videos that may depict Satanism or anti-religious themes. This policy led MTV to ban music videos such as "Jesus Christ Pose" by Soundgarden in 1991 and "Megalomaniac" by Incubus in 2004; however, the controversial band Marilyn Manson was among the most popular rock bands on MTV during the late 1990s and early 2000s. On September 28, 2016, on an AfterBuzz TV live stream, Scout Durwood said that MTV had a "no appropriation policy" that forbid her from wearing her hair in cornrows in an episode of Mary + Jane. She said, "I wanted to cornrow my hair, and they were like, 'That's racist.'" Magyar Televízió, Hungary's public broadcaster who has a trademark on the initials MTV, registered with the Hungarian copyright office, sued the American MTV (Music Television) network for trademark infringement when the Hungarian version of the music channel was launched in 2007. In 2008 according to the final verdict of the Hungarian Metropolitan Regional Court, although the national public broadcaster and the American entertainment station are identified by the same brand name in the same market, consumers couldn't confuse those TV channels. The two channels appear with the same label in public, but the services of the public broadcaster and the commercial channel cannot be compared either content-wise or stylistically. During the 1989 MTV Video Music Awards ceremony, comedian Andrew Dice Clay did his usual "adult nursery rhymes" routine (which he had done in his stand-up acts), after which the network executives imposed a lifetime ban. Billy Idol's music video for the song "Cradle of Love" originally had scenes from Clay's film The Adventures of Ford Fairlane when it was originally aired; scenes from the film were later excised. During the 2011 MTV Video Music Awards, Clay was in attendance where he confirmed that the channel lifted the ban. In the wake of controversy that involved a child burning down his house after allegedly watching Beavis and Butt-head, MTV moved the show from its original 7 p.m. time slot to an 11 p.m. time slot. Also, Beavis's tendency to flick a lighter and yell "fire" was removed from new episodes, and controversial scenes were removed from existing episodes before their rebroadcast. Some extensive edits were noted by series creator Mike Judge after compiling his Collection DVDs, saying that "some of those episodes may not even exist actually in their original form." A pilot for a show called Dude, This Sucks was cancelled after teens attending a taping at the Snow Summit Ski Resort in January 2001 were sprayed with liquidized fecal matter by a group known as "The Shower Rangers". The teens later sued, with MTV later apologizing and ordering the segment's removal. After Viacom's purchase of CBS, MTV was selected to produce the Super Bowl XXXV halftime show in 2001, airing on CBS and featuring Britney Spears, NSYNC, and Aerosmith. Due to its success, MTV was invited back to produce another halftime show in 2004; this sparked a nationwide debate and controversy that drastically changed Super Bowl halftime shows, MTV's programming, and radio censorship. When CBS aired Super Bowl XXXVIII in 2004, MTV was again chosen to produce the halftime show, with performances by such artists as Nelly, P. Diddy, Janet Jackson, and Justin Timberlake. The show became controversial, however, after Timberlake tore off part of Jackson's outfit while performing "Rock Your Body" with her, revealing her right breast. All involved parties apologized for the incident, and Timberlake referred to the incident as a "wardrobe malfunction". Michael Powell, then-chairman of the Federal Communications Commission (FCC), ordered an investigation the day after the broadcast. In the weeks following the halftime show, MTV censored much of its programming. Several music videos, including "This Love" and "I Miss You", were edited for sexual content. In September 2004, the FCC ruled that the halftime show was indecent and fined CBS $550,000. The FCC upheld it in 2006, but federal judges reversed the fine in 2008. Timberlake and Jackson's controversial event gave way to a "wave of self-censorship on American television unrivaled since the McCarthy era". After the sudden event, names surfaced such as nipplegate, Janet moment, and boobgate, and this spread politically, furthering the discussion into the 2004 presidential election surrounding "moral values" and "media decency". In 2005, the Parents Television Council (PTC) released a study titled "MTV Smut Peddlers", which sought to expose excessive sexual, profane, and violent content on the channel, based on MTV's spring break programming from 2004. Jeanette Kedas, an MTV network executive, called the PTC report "unfair and inaccurate" and "underestimating young people's intellect and level of sophistication", while L. Brent Bozell III, then-president of the PTC, stated: "the incessant sleaze on MTV presents the most compelling case yet for consumer cable choice", referring to the practice of pay television companies to allow consumers to pay for channels à la carte. In April 2008, PTC released The Rap on Rap, a study covering hip-hop and R&B music videos rotated on programs 106 & Park and Rap City, both shown on BET, and Sucker Free on MTV. PTC urged advertisers to withdraw sponsorship of those programs, whose videos PTC stated targeted children and teenagers containing adult content. MTV received significant criticism from Italian American organizations for Jersey Shore, which premiered in 2009. The controversy was due in large part to the manner in which MTV marketed the show, as it liberally used the word "guido" to describe the cast members. The word "guido" is generally regarded as an ethnic slur when referring to Italians and Italian Americans. One promotion stated that the show was to follow, "eight of the hottest, tannest, craziest Guidos," while yet another advertisement stated, "Jersey Shore exposes one of the tri-state area's most misunderstood species ... the GUIDO. Yes, they really do exist! Our Guidos and Guidettes will move into the ultimate beach house rental and indulge in everything the Seaside Heights, New Jersey scene has to offer." Prior to the series debut, Unico National formally requested that MTV cancel the show. In a formal letter, the company called the show a "direct, deliberate and disgraceful attack on Italian Americans." Unico National President Andre DiMino said, "MTV has festooned the 'bordello-like' house set with Italian flags and red, white and green maps of New Jersey while every other cutaway shot is of Italian signs and symbols. They are blatantly as well as subliminally bashing Italian Americans with every technique possible." Around this time, other Italian organizations joined the fight, including the NIAF and the Order Sons of Italy in America. MTV responded by issuing a press release which stated in part, "The Italian American cast takes pride in their ethnicity. We understand that this show is not intended for every audience and depicts just one aspect of youth culture." Following the calls for the show's removal, several sponsors requested that their ads not be aired during the show. These sponsors included Dell, Domino's Pizza, and American Family Insurance. Despite the loss of certain advertisers, MTV did not cancel the show. Moreover, the show saw its audience increase from its premiere in 2009, and continued to place as MTV's top-rated programs during Jersey Shore's six-season run, ending in 2012. Social activism In addition to its regular programming, MTV has a long history of promoting social, political, and environmental activism in young people. The channel's vehicles for this activism have been Choose or Lose, encompassing political causes and encouraging viewers to vote in elections; Fight For Your Rights, encompassing anti-violence and anti-discrimination causes; think MTV; and MTV Act and Power of 12, the newest umbrellas for MTV's social activism. In 1992, MTV started a pro-democracy campaign called Choose or Lose, to encourage over 20 million people to register to vote, and the channel hosted a town hall forum for then-candidate Bill Clinton. In recent years, other politically diverse programs on MTV have included True Life, which documents people's lives and problems, and MTV News specials, which center on very current events in both the music industry and the world. One special show covered the 2004 US presidential election, airing programs focused on the issues and opinions of young people, including a program where viewers could ask questions of Senator John Kerry. MTV worked with P. Diddy's "Citizen Change" campaign, designed to encourage young people to vote. Additionally, MTV aired a documentary covering a trip by the musical group Sum 41 to the Democratic Republic of the Congo, documenting the conflict there. The group ended up being caught in the midst of an attack outside of the hotel and was subsequently flown out of the country. The channel also began showing presidential campaign commercials for the first time during the 2008 US presidential election. This has led to criticism, with Jonah Goldberg opining that "MTV serves as the Democrats' main youth outreach program." MTV is aligned with Rock the Vote, a campaign to motivate young adults to register and vote. In 2012, MTV launched MTV Act and Power of 12, its current social activism campaigns. MTV Act focuses on a wide array of social issues, while Power of 12 was a replacement for MTV's Choose or Lose and focused on the 2012 US presidential election. In 2016, MTV continued its pro-democracy campaign with Elect This, an issue-oriented look at the 2016 election targeting Millennials. Original content under the "Elect This" umbrella includes "Infographica," short animations summarizing MTV News polls; "Robo-Roundtable," a digital series hosted by animatronic robots; "The Racket," a multi-weekly digital series; and "The Stakes," a weekly political podcast. In 2020, MTV was the principal founder of Vote Early Day. Initially, the primary target audience was young voters. The MTV campaign launched with partners across media, consumer brands, and advocacy organizations, and its strength being that it isn't ‘owned’ by any one entity. Beyond MTV Since its launch in 1981, the brand "MTV" has expanded and includes many additional properties beyond the original MTV channel, including an array of sister channels in the US, dozens of affiliated channels all over the world, and an online presence through MTV.com and related websites. MTV operates a group of channels under MTV Networks – a name that continues to be used for the individual units of the Paramount Media Networks, a division of corporate parent Paramount Skydance. In 1985, MTV saw the introduction of its first regular sister channel, VH1, which was originally an acronym for "Video Hits One" and was designed to play adult contemporary music videos, but later switched to different genres such as rap among others and all of the videos currently removed as of 2016. VH1 is aimed at celebrity and pop-culture programming, which includes many reality shows and later shifted to ethnically-diverse viewing in 2013. Another sister channel, CMT, targets the Southern U.S. culture market. The advent of satellite television and digital cable brought MTV greater channel variety, including its sister channels MTV2 (currently, all music videos do not show up on the channel) and Spanish-language MTV Tr3́s (now rebranding as Tr3́s), which initially played music videos exclusively but later focused on other programming. MTV also formerly broadcast MTVU on campuses at various universities until 2018, when the MTV Networks on Campus division was sold, and the channel remained as a digital cable channel only as of currently. MTV formerly also had MTV Hits and MTVX channels until these were converted into NickMusic (under the editorial control of PS' kid-aimed Nickelodeon) and MTV Jams, respectively. MTV Jams was later rebranded as BET Jams in 2015 and BET removed all of the music videos along 106 & Park. In January 2006, MTV launched MTV HD, a 1080i high-definition simulcast feed of MTV. Until Viacom's main master control was upgraded in 2013, only the network's original series after 2010 (with some pre-2010 content) are broadcast in high definition, while music videos, despite being among the first television works to convert to high definition presentation in the mid-2000s, were presented in 4:3 standard definition, forcing them into a windowboxing type of presentation; since that time, all music videos are presented in HD and are framed to their director's preference. Jersey Shore, despite being shot with widescreen HD cameras, was also presented with SD windowboxing (though the 2018 Family Vacation revival is in full HD). The vast majority of providers carry MTV HD. MTV Networks also operates MTV Live, a high-definition channel that features original HD music programming and HD versions of music-related programs from MTV, VH1, and CMT. The channel was launched in January 2006 as MHD (Music: High Definition). The channel was officially rebranded as MTV Live on February 1, 2016. In 2005 and 2006, MTV launched a list of channels for Asian Americans. The first channel was MTV Desi, launched in July 2005, dedicated towards Indian Americans. Next was MTV Chi, in December 2005, which catered to Chinese Americans. The third was MTV K, launched in June 2006 and targeted toward Korean Americans. Each of these channels featured music videos and shows from MTV's international affiliates as well as original US programming, promos, and packaging. All three of these channels ceased broadcasting on April 30, 2007. On August 1, 2016, the 35th anniversary of the original MTV's launch, VH1 Classic was rebranded as MTV Classic. The channel's programming focused on classic music videos and programming (including notable episodes of MTV Unplugged and VH1 Storytellers), but skews more towards the 1980s, 1990s, 2000s and early-mid 2010s. The network aired encores of former MTV series such as Clone High (original) Beavis and Butt-Head and Laguna Beach: The Real Orange County. The network's relaunch included a broadcast of MTV's first hour on the air, which was also simulcast on MTV and online via Facebook live streaming. MTV Classic only retained three original VH1 Classic programs, which were That Metal Show, Metal Evolution, and Behind the Music Remastered, although repeats of current and former VH1 programs such as Pop-Up Video and VH1 Storytellers remained on the schedule. However, the rebranded MTV Classic had few viewers and declined quickly to become the least-watched English-language subscription network rated by Nielsen at the end of 2016. At the start of 2017, it was reorganized into an all-video network. In the late 1980s, before the internet, MTV VJ Adam Curry began experimenting online. In 1993, he registered the then-unclaimed domain name "MTV.com" with the idea of being MTV's unofficial new voice on the Internet. Although this move was sanctioned by his supervisors at MTV Networks at the time, when Curry left to start his own web-portal design and hosting company, MTV subsequently sued him for the domain name, which led to an out-of-court settlement. The service hosted at the domain name was originally branded "MTV Online" during MTV's first few years of control over it in the mid-1990s. It served as a counterpart to the America Online portal for MTV content, which existed at AOL keyword MTV until approximately the end of the 1990s. After this time, the website became known as simply "MTV.com" and served as the Internet hub for all MTV and MTV News content. MTV.com experimented with entirely video-based layouts between 2005 and 2007. The experiment began in April 2005 as MTV Overdrive, a streaming video service that supplemented the regular MTV.com website. Shortly after the 2006 MTV Video Music Awards, which were streamed on MTV.com and heavily used the MTV Overdrive features, MTV introduced a massive change for MTV.com, transforming the entire site into a Flash video-based entity. Much of users' feedback about the Flash-based site was negative, demonstrating a dissatisfaction with videos that played automatically, commercials that could not be skipped or stopped, and the slower speed of the entire website. The experiment ended in February 2007 as MTV.com reverted to a traditional HTML-based website design with embedded video clips, in the style of YouTube and some other video-based websites. From 2006 to 2007, MTV operated an online channel, MTV International, targeted to the broad international market. The purpose of the online channel was to air commercial-free music videos as television channels began focusing on shows unrelated to music videos or music-related programming. The channel responded to the rise of the Internet as the new central place to watch music videos in October 2008 by launching MTV Music (later called MTV Hive), a website that featured thousands of music videos from MTV and VH1's video libraries, dating back to the earliest videos from 1981. A newly created division of the company, MTV New Media, announced in 2008 that it would produce its own original web series, in an attempt to create a bridge between old and new media. The programming is available to viewers via personal computers, cell phones, iPods, and other digital devices. In the summer of 2012, MTV launched a music discovery website called the MTV Artists Platform (also known as Artists.MTV). MTV explained, "While technology has made it way easier for artists to produce and distribute their own music on their own terms, it hasn't made it any simpler to find a way to cut through all the Internet noise and speak directly to all of their potential fans. The summer launch of the platform is an attempt to help music junkies and musicians close the gap by providing a one-stop place where fans can listen to and buy music and purchase concert tickets and merchandise." MTV.com remains the official website of MTV, and it expands on the channel's broadcasts by bringing additional content to its viewers. In 2022, it was revised to mostly focus on directing consumers to content on Paramount+ and Pluto TV. The site featured an online version of MTV News and podcasts. It has TV Everywhere authenticated streaming. The news site is defunct but still can be accessed with prior movie features, profiles and interviews with recording artists and from MTV's television programs. A related MTV app was available on mobile platforms and connected TV devices. Termination of music programming Parent company Paramount announced on October 10, 2025, that its United Kingdom and Ireland channels MTV Music, MTV 80s, MTV 90s, Club MTV, and MTV Live would all stop broadcasting after December 31, 2025. The broadcaster's "flagship" channel MTV would remain on air, showing reality series such as Dating Naked UK, Teen Mom, and Geordie Shore. North American channels will remain unaffected but will also be evaluated later. After going off the air in the UK and Ireland, the aforementioned MTV channels would be switched off in France, Germany, Austria, Poland, Hungary, Australia, and Brazil, in what Euronews journalist David Mouriquand called "a sign of changing times". The final song played on MTV in the UK was “Video Killed The Radio Star”, the first song played in 1981, completing the loop. As of February 2026, MTV only carries music videos in five regions: United States (through a 1 hour weekly block on the main network and several side channels on cable and Pluto TV), Japan, Israel, Taiwan, and India. See also References External links |
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Contents Fanboy Confessional Fanboy Confessional is a Canadian documentary series exploring fan subcultures. Subjects of the series have included Cosplay, Furries, LARP, Steampunk, and Real-life Superheroes. Created by Toronto based production company Markham Street Films, the series currently airs on Space. Episodes External links Notes This article about a documentary television show originating in Canada is a stub. You can help Wikipedia by adding missing information. |
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[SOURCE: https://en.wikipedia.org/wiki/Cosplayer#cite_note-128] | [TOKENS: 6859] |
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/Wikipedia:Administrators%27_guide/Cleaning_backlogs] | [TOKENS: 418] |
Contents Wikipedia:Administrators' guide/Cleaning backlogs Wikipedia is a backlog, in and out – there's always plenty of work to do as an admin. This page documents the venues that often require admin attention. Your best friend for finding work to do is the admin dashboard. Note that anything highlighted in red in the "immediate requests" table have priority - either due to its severity or that it is heavily backlogged. Many admins transclude this template {{admin dashboard}} in their userspace, providing it options to show only the venues and backlogs they specialize in. See the template documentation for more information. List of venues The following noticeboards are those that do or might require administrator attention. The citations indicate user scripts or gadgets that can assist you in responding to reports at that noticeboard. Usage of these is recommended as you may find yourself doing repetitive tasks, and anything to expedite your work means more work can be done and the project is overall better maintained. These noticeboards fill up quickly, and usually involve matters that require immediate administrator intervention in the form of blocks, page protection, or deletion. The following venues (not necessarily referred to as a noticeboard) are for pages or items that might require deletion or merging. How to respond to reports Every noticeboard differs in some way. Specific instructions for any given noticeboard may be found at the /Administrator instructions subpage. If such page exists, you will see a link to it at the top-right of the noticeboard page. For instance, Wikipedia:Articles for deletion/Administrator instructions (notice the link to this page at the top-right of WP:AfD). Instructions are sometimes also found in the edit notice. Working at some noticeboards can involve repetitive tasks, for which there are some useful scripts to expedite your work. Above in the list of noticeboards, look for citations that denote scripts that may pertain to that venue. Twinkle applies to any area where you might need to delete, block or protect. Note especially its usefulness when mass-deleting or mass-protecting pages. Notes |
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[SOURCE: https://en.wikipedia.org/wiki/The_Electric_Playground] | [TOKENS: 1103] |
Contents EP Daily EP Daily (formerly The Electric Playground) is a daily news television show that covers video games, movies, TV shows, comic books, collectibles and gadgets. Created and executive produced by host Victor Lucas, and his Vancouver, British Columbia production company EP Media Ltd (formerly Greedy Productions Ltd), EP Daily was a staple on airwaves since its debut in September 1997. The show continues to produce and publish content on the Electric Playground Network's YouTube channel. Synopsis The show featured previews of upcoming video games, video game industry news, and interviews with celebrity gamers and people in the video game industry; as well as segments that look at the latest toys, games, comics, and gadgets. EP's hosts travel the world bringing viewers behind the scenes of the global game business to meet the planet's most respected video game creators. The show featured daily coverage from Vancouver, Toronto, San Francisco and Los Angeles. Cast/hosts Current cast and correspondents include: Victor Lucas, guest correspondent Johnny Millenium of Happy Console Gamer Former cast, crew and correspondents have included: Tommy Tallarico, Julie Stoffer, Jade Raymond, Geoff Keighley, Jose "Fubar" Sanchez, Ben Silverman, Steve Tilley, Donna Mei-Ling Park, Kelly Benson, Briana McIvor, Shaun Hatton, Miri Jedeikin, Scott C. Jones, Marissa Roberto, Raju Mudhar, Zoe Flower and Evangeline Lilly. The Electric Playground began its life as online news magazine founded by Victor Lucas, John Shaw and Torben Rolfsen before it was brought to television when the team was joined by Scott Barrett in 1997 – who remained with the show to direct the first two seasons. At the end of the second season, Scott accepted an offer to join Shiny Entertainment, so Victor took on triple duty as the show's producer, director and host. History EP Daily aired on G4 Canada and City. The show had previously been aired in Canada on Space, Razer, A Channel, and OMNI.1, and in the United States on the Science Channel and G4. The Electric Playground began as a website (elecplay.com) in 1995. In September 1997 the show premiered in Canada and along the US west coast in a 30-minute weekly format. In 2002, the reviews segment of the show, "Reviews on the Run", was spun off into its own show. It was known as Judgment Day in the United States and Reviews on the Run in Canada. The final airing of Judgment Day on G4 was in December 2005. In 2010 "Reviews on the Run" was expanded out to a daily format. The show's website was reviewsontherun.com. Reviews on the Run ended in 2014 after 13 seasons. On December 31, 2006, Lucas announced on the EP Daily forums that Greedy Productions had cancelled its contract with CHUM television, which had broadcast Electric Playground and Reviews on the Run on SPACE and A-Channel, and signed a two-year exclusive deal with Rogers Communications, to broadcast the shows on G4 Canada and then additionally on other Rogers owned TV stations. The Electric Playground aired only once on OMNI.1, on September 3, 2007. On December 15, 2007, the series premiered on City Toronto and City Vancouver, airing episodes that had aired on G4 Canada.[citation needed] In August 2008, EP Daily premiered in a daily format. The Electric Playground remained weekly, wrapping up the week in video games, technology, and entertainment. Beginning on December 1, 2010, EP Daily airs every weeknight at 8pm on SCI FI Channel Australia. This ceased on December 31, 2013, when SFTV Australia was closed after the owners of the channel failed to reach an agreement with Foxtel, and has now been replaced by NBC Universal's Syfy Australia In September 2010, the show returned to America on ABC stations in select cities in the United States. It featured two specials that aired on Sunday, January 16, 2011: "Everythings Cool Awards" and "Cool Things For 2011". Weekly episodes began airing in September 2011. Each episode is an hour split into two parts, either airing back to back or at separate times, depending on the station that's airing the show. Daily episodes began airing on select stations on September 3, 2012. As of January 2015, none of the USA broadcasters including Reelz and Youtoo channels were continuing to broadcast EP Daily in the US markets. Some of the American stations replaced EP Daily with televised versions of Q starting in September 2014. The show was known as The Electric Playground until July 2012, at which point the name was changed to EP Daily.[citation needed] Late in 2014, Shaun Hatton left the series and Reelz has decided not to renew the series on the network. The show went on hiatus in 2015. As of 2016, EP Daily no longer airs on G4 and City. The show continues to produce content, such as daily Rundown segments and interviews, on the Electric Playground Network's YouTube channel. Since then, Victor Lucas has been looking for new partners to support the show. International broadcasters References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Special:EditPage/Template:Administrators%27_guide] | [TOKENS: 61] |
View source for Template:Administrators' guide You do not have permission to edit this page, for the following reason: Why is the page protected? What can I do? Submit an edit request Pages transcluded onto the current version of this page (help): Return to Template:Administrators' guide. |
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[SOURCE: https://en.wikipedia.org/wiki/Official_Nintendo_Magazine] | [TOKENS: 991] |
Contents Official Nintendo Magazine Official Nintendo Magazine, or ONM, was a British video game magazine that ran from 2006 to 2014 that covered the Nintendo DS, Nintendo 3DS, Wii, and Wii U video game consoles released by Nintendo. Originally published by EMAP as Nintendo Magazine System, the magazine first covered the Nintendo Entertainment System, Super Nintendo Entertainment System and Game Boy consoles, and was later renamed to Nintendo Magazine, Nintendo Official Magazine then, briefly, Nintendo Official Magazine UK. Under these names, it was published by EMAP for twelve years, before the rights were sold to the publisher, Future plc. The first issue by Future plc was released on 16 February 2006. The magazine then ran for eight years and eight months, concluding with its 114th issue, released on 14 October 2014. History Mean Machines, a long-standing British games magazine, split into two separate magazines, focusing on the two then-major video games console companies: Sega and Nintendo. The Sega-based magazine retained the original title, Mean Machines Sega, while the Nintendo magazine was named Nintendo Magazine System (NMS). The first issue of Nintendo Magazine System was released on 1 October 1992. Its name was later changed to Nintendo Magazine, Nintendo Official Magazine (NOM) then Nintendo Official Magazine UK, before its publisher was changed from EMAP to Future plc. After this change, the magazine was renamed to its current name, Official Nintendo Magazine (ONM), and received a new set of staff. Its numbering was also reset. It reached its 50th issue on 20 November 2009 and its 100th issue in October 2013. On 15 December 2008, the first issue of Official Nintendo Magazine for Australia & New Zealand, a monthly video game magazine based on Official Nintendo Magazine, was published by Future plc. It was the second officially endorsed Nintendo magazine released in Australia and New Zealand, succeeding the Australian Nintendo Magazine System, which ceased publishing in 2000. Issue 60 and the final issue for Official Nintendo Magazine for Australia & New Zealand was published in December 2013.[citation needed] In early 2011, four guest bloggers were appointed: Colette Barr, Marti Bennett, Chris Rooke, and John Vekinis. These bloggers provided their perspective to Nintendo-related news and events. In March 2011, the UK magazine underwent a change in the style and layout of the contents in the magazine, while adding new features. The first issue released in this format featured a "3D without glasses" cover for the launch of Nintendo 3DS. A new version was introduced in November 2012, with the release of the Wii U. The following year, the magazine celebrated its 100th issue, with cover art drawn by Shigeru Miyamoto. The magazine came to a close with its 114th issue (released on 14 October 2014). Closure On 7 October 2014, Future confirmed that the magazine would come to a close with its 114th issue, which was released on 14 October 2014. Furthermore, it was confirmed that the website (including the forums) would be closed 11 November 2014. On 15 October 2014, former moderators of the ONM forums set up a replacement site for the forthcoming closure of the forums. One such community was Super ONM, now merged with similar ex-Future community GRcade, formerly of GamesRadar. Nintendo will now be focusing on its Nintendo Direct, Live Treehouse and other methods to communicate with their fans. Sections Each month, the Official Nintendo Magazine included the following sections: Scoring system The Official Nintendo Magazine used a percentage scoring system. The final system used was: The highest rated games ever were The Legend of Zelda: Ocarina of Time 3D tied with The Legend of Zelda: Skyward Sword, which both possessed a 98% rating, given in the July 2011 issue and June 2010 issue respectively. Super Mario Galaxy, Super Mario Galaxy 2 and The Legend of Zelda: Twilight Princess were all given ratings of 97%. The lowest rated games were the DSiWare games Discolight and Flashlight, which were given scores of 2% and 3% respectively. Forums The ONM UK forums were created in 2006. ONM AU/NZ does not have a forum. In 2011, they were updated along with the magazine to make a cleaner, easier-to-use website. The forums closed 11 November 2014. The Moderating team set up a forum to replace this, called Super Online Nintendo Messageboards. (It was abbreviated as either S ONM or Super-ONM. However, the abbreviation was changed to dodge infringements of any trademark registered for the former magazine).[non-primary source needed] See also References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Gemaga] | [TOKENS: 490] |
Contents Gemaga Gemaga[a] was a Japanese video game magazine founded in 1984 as Beep and published by SB Creative. During its history, it was known variously as Beep, Beep! MegaDrive,[b] Sega Saturn Magazine, Dreamcast Magazine, Dorimaga,[c] and finally Gemaga. When it ended publication in May 2012, it was the longest-running Japanese game magazine. History The magazine was started by Softbank Publishing in 1984 as a monthly publication under the name Beep to cover video games for home computers, arcade machines and gaming consoles. Its original layout was inspired by the men's magazine Popeye. The original Beep magazine was discontinued on 8 March 1989. The editor-in-chief, Yoji Kawaguchi pitched a new format to SoftBank: two separate magazines, one which covers games for Sega Mega Drive, and one which is dedicated to the upcoming Super Nintendo Entertainment System. The publisher was more interested in Nintendo, since it was more popular in Japan than Sega, but agreed to start with the Mega Drive-themed publication because the new Nintendo console was delayed from its original launch date in 1989. The new publication was named Beep! Mega Drive. Kawaguchi decided to keep the original name Beep to emphasize the continuity between the publications. The magazine went from a monthly to a twice-monthly publication. In 1995 coverage of Mega Drive was withdrawn in favour of the Sega Saturn. The magazine was renamed Sega Saturn Magazine. Kawaguchi decided to drop "Beep" from its name because according to him, it had served its purpose. The magazine became a weekly publication. In 1998 it was rebranded as Dreamcast Magazine and changed its focus from Saturn to Sega Dreamcast. Sega discontinued the Dreamcast on March 31, 2001, but the magazine survived by rebranding itself again. The title was changed to its previously informal name Dorimaga (short for "Dreamcast Magazine") and became a multiplatform publication. In 2006 the magazine changed its name again, to Gemaga, which is short for "Games Magazine". In January 2012, it was announced by the publisher that Gemaga was to close. The May 2012 issue was the last of the magazine. At the time of its closure it was the longest-running magazine devoted to videogames in Japan. Notes References |
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[SOURCE: https://en.wikipedia.org/wiki/Cosplayer#cite_note-elecplay-129] | [TOKENS: 6859] |
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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Contents Heroes of Cosplay Heroes of Cosplay is a 2013 Syfy channel reality television show co-produced by Mark Cronin, Courtland Cox and Dave Caplan of 51 Minds Entertainment. The show's first season's six episodes follows nine cast members as they compete in cosplay events at various conventions across the United States, attending Wizard World Portland, Emerald City Comicon, MegaCon, Anime Matsuri and Planet Comicon. The series was renewed for a continued season 1 (officially "Season 1.5") in 2014, with a few new additions to the cast and will primarily be set in Los Angeles and Atlanta areas. The second season, billed as "season 1.5", features events outside the United States: Arte Cosplay 2 in Buenos Aires, Argentina (episode 7) and Ottawa Pop Expo in Ottawa, Ontario, Canada (episode 8). Cast Reception Heroes of Cosplay was criticized by some for allegedly grossly misrepresenting cosplay, humiliating and frustrating the cosplayers who were not part of the show's cast but were attending competitions at the series' featured conventions, and hurting the community. According to Zac Bertschy of Anime News Network, the show is "just a really terrible, manipulative, mean-spirited reality TV series that completely misrepresents the entire hobby and craft of cosplaying, makes cosplayers look like a bunch of backstabbing harpies and generally does a disservice to the already widely-misunderstood world of people who just like making costumes and showing them off at silly nerd conventions." Syfy and its owner NBCUniversal Cable were also accused of having used photographs of cosplayers without the permission of the photographers, one of whom threatened to sue. The second half of the first season (1.5) had an overhaul of the presentation formatting for the show with more emphasis on the crafting, group work, skit competitions and less manufactured drama.[citation needed] Despite the controversies surrounding it, the first season achieved solid Nielsen ratings, being watched by some 1 million viewers, and a mostly positive Metacritic score of 66. Jeff Jensen of Entertainment Weekly gave it a B+ and Allison Keene of The Hollywood Reporter called it "a worthy journey into a world few may be familiar with." The New York Post writer Linda Stasi gave the show 3 out of 4 stars but questioned whether cosplayers are "confused;" Stasi's article upset some readers. See also References External links |
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Contents FIBA Basketball World Cup records FIBA Basketball World Cup records are the records attained throughout the history of the FIBA Basketball World Cup. General performances From 1959 to 1982, the host qualified directly to the final round, thus bypassing the preliminary round (group stages). As a result, the host's final rank would no worse than the number of teams in the final round (between six and eight); however, from 1986 the host was made to compete in the preliminary round. However, the success rate of hosts winning the tournament is rather low (14%, 3 of 18), as compared to the FIFA World Cup's success rate of 22% (6 of 21); furthermore, no host has won the championship since Yugoslavia won in 1970, and only one host since then has won any type of medal (Turkey with a silver medal in 2010). Most Valuable Players Top scorer by tournament FIBA Basketball World Cup All-Tournament Team All-time top cumulative points scorers All time highest scoring averages Games with most overtimes Age records *describes age on first day of the tournament Game score records Top scorers in a single game Players with the most tournaments and games played Top medalists Players with the most total medals won Highest attendance All-time team records FIBA Africa, FIBA Americas, FIBA Asia, FIBA Europe, FIBA Oceania *Defunct country Notes and 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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Contents Channel 4 Channel 4 is a British free-to-air public broadcast television channel owned and operated by Channel Four Television Corporation. It is publicly owned but, unlike the BBC, it receives no public funding and is funded entirely by its commercial activities, including advertising. It began its transmission in 1982 and was established to provide a fourth television service in the United Kingdom. At the time, the only other channels were the licence-funded BBC1 and BBC2, and a single commercial broadcasting network, ITV. Originally a subsidiary of the Independent Broadcasting Authority (IBA), the station is now owned and operated by Channel Four Television Corporation, a public corporation of the Department for Culture, Media and Sport, which was established in 1990 and came into operation in 1993. Until 2010, Channel 4 did not broadcast in Wales, but many of its programmes were re-broadcast there by the Welsh fourth channel S4C. In 2010, Channel 4 extended service into Wales and became a nationwide television channel. The network's headquarters are in London and Leeds, with creative hubs in Manchester, Glasgow and Bristol. History Before Channel 4 and S4C, Britain had three terrestrial television services: BBC1, BBC2, and ITV, with BBC2 the last to launch in 1964. The Broadcasting Act 1980 began the process of adding a fourth channel; Channel Four Television Company was formally created in 1981, along with its Welsh counterpart. The notion of a second commercial broadcaster in the United Kingdom had been around since the inception of ITV in 1954 and its subsequent launch in 1955; the idea of an "ITV2" was long expected and pushed for. Indeed, television sets sold throughout the 1970s and early 1980s often had a spare tuning button labelled "ITV 2" or "IBA 2". Throughout ITV's history and until Channel 4 finally became a reality, a perennial dialogue existed between the GPO, the government, the ITV companies and other interested parties, concerning the form such an expansion of commercial broadcasting would take. Most likely, politics had the biggest impact leading to a delay of almost three decades before the second commercial channel became a reality. One benefit of the late arrival of the channel was that its frequency allocations at each transmitter had already been arranged in the early 1960s when the launch of an "ITV2" was anticipated. At the time the fourth service was being considered, a movement in Wales lobbied for the creation of dedicated service that would air Welsh language programmes, then only catered for at off-peak times on BBC Wales and HTV. The campaign was taken so seriously by Gwynfor Evans, former president of Plaid Cymru, that he threatened the government with a hunger strike were it not to honour the plans. The result was that Channel 4 as seen by the rest of the United Kingdom would be replaced in Wales by S4C (Sianel Pedwar Cymru, meaning "Channel Four Wales" in Welsh). Operated by a specially created authority, S4C would air programmes in Welsh made by HTV, the BBC and independent companies. Initially, limited frequency space meant that Channel 4 could not be broadcast alongside S4C, though some Channel 4 programmes would be aired at less popular times on the Welsh variant; this practice continued until the closure of S4C's analogue transmissions in 2010, at which time S4C became a fully Welsh channel. With this conversion of the Wenvoe transmitter group in Wales to digital terrestrial broadcasting on 31 March 2010, Channel 4 became a nationwide television channel for the first time. Since then, carriage on digital cable, satellite and digital terrestrial has introduced Channel 4 to Welsh homes where it is now universally available. After some months of test broadcasts, the new broadcaster began scheduled transmissions on 2 November 1982 from Scala House, the former site of the Scala Theatre. Its initial broadcasts reached 87% of the United Kingdom. The first voice heard on Channel 4's opening day of 2 November 1982 was that of continuity announcer Paul Coia who said: "Good afternoon. It's a pleasure to be able to say to you, welcome to Channel 4." Following the announcement, the channel played a montage of clips from its programmes set to the station's signature tune, "Fourscore", written by David Dundas, which would form the basis of the station's jingles for its first decade. The first programme to air on the channel was the teatime game show Countdown, produced by Yorkshire Television, at 16:45. The first person to be seen on Channel 4 was Richard Whiteley, with Ted Moult being the second. Whiteley hosted the gameshow for 23 years until his death in 2005. The first woman on the channel, contrary to popular belief, was not Whiteley's Countdown co-host Carol Vorderman, but a lexicographer only ever identified as Mary. Whiteley opened the show with the words: "As the countdown to a brand new channel ends, a brand new countdown begins." On its first day, Channel 4 also broadcast the soap opera Brookside, which often ran storylines thought to be controversial; this ran until 2003. After three days, ITV chiefs called for founding chief executive Jeremy Isaacs to resign due to poor ratings. Critics called it "Channel Bore" and "Channel Snore". At its launch, Channel 4 committed itself to providing an alternative to the existing channels, an agenda in part set out by its remit which required the provision of programming to minority groups. In step with its remit, the channel became well received both by minority groups and the arts and cultural worlds during this period under Isaacs, during which the channel gained a reputation for programmes on the contemporary arts. Two programmes captured awards from the Broadcasting Press Guild in March 1983: best comedy for The Comic Strip Presents…Five Go Mad in Dorset, and best on-screen performance in a non-acting role for Tom Keating in his series On Painters. Channel 4 co-commissioned Robert Ashley's television opera Perfect Lives, which it premiered over several episodes in 1984. The channel often did not receive mass audiences for much of this period, as might be expected for a station focusing on minority interests. During this time, Channel 4 also began the funding of independent films, such as the Merchant Ivory docudrama The Courtesans of Bombay. In 1987, Richard Attenborough replaced Edmund Dell as chairman. In 1988, Michael Grade became CEO. In 1992, Channel 4 faced its first libel case which was brought by Jani Allan, a South African journalist, who objected to her representation in Nick Broomfield's documentary The Leader, His Driver and the Driver's Wife. After control of the station passed from the Channel Four Television Company to the Channel Four Television Corporation in 1993, a shift in broadcasting style took place. Instead of aiming for minority tastes, it began to focus on the edges of the mainstream, and the centre of the mass market itself. It began to show many American programmes in peak viewing time, far more than it had previously done. In September 1993, the channel broadcast the direct-to-TV documentary film Beyond Citizen Kane, in which it displayed the dominant position of the Rede Globo (now TV Globo) television network, and discussed its influence, power, and political connections in Brazil. Throughout the 1990s and 2000s, Channel 4 gave many popular and influential American comedy and drama series their first exposure on British television, such as Friends, Cheers, Will & Grace, NYPD Blue, ER, Desperate Housewives, Homicide: Life on the Street, Without a Trace, Home Improvement, Frasier, Lost, Nip/Tuck, Third Watch, The West Wing, Ally McBeal, Freaks and Geeks, Roseanne, Dawson's Creek, Oz, Sex and the City, The Sopranos, Scrubs, King of the Hill, Babylon 5, Stargate SG-1, Star Trek: Enterprise, Andromeda, Family Guy, South Park and Futurama. In the early 2000s, Channel 4 began broadcasting reality formats such as Big Brother and obtained the rights to broadcast mass appeal sporting events like cricket and horse racing. This new direction increased ratings and revenues. The popularity of Big Brother led to the launches of other, shorter-lived new reality shows to chase the populist audience, such as The Salon, Shattered and Space Cadets. In addition, the corporation launched several new television channels through its new 4Ventures offshoot, including Film4, At the Races, E4 and More4. Partially in reaction to its new "populist" direction, the Communications Act 2003 directed the channel to demonstrate innovation, experimentation, and creativity, appeal to the tastes and interests of a culturally diverse society, and include programmes of an educational nature which exhibit a distinctive character. On 31 December 2004, Channel 4 launched a new visual identity in which the logo is disguised as different objects and the "4" can be seen from an angle. Under the leadership of Freeview founder Andy Duncan, 2005 saw a change of direction for Channel 4's digital channels. The company made E4 free-to-air on digital terrestrial television, and launched a new free-to-air digital channel called More4. By October, Channel 4 had joined the Freeview consortium. By July 2006, Film4 had likewise become free-to-air and restarted broadcasting on digital terrestrial. Venturing into radio broadcasting, 2005 saw Channel 4 purchase 51% of shares in the now defunct Oneword radio station, with UBC Media holding on to the remaining shares. New programmes such as the weekly, half-hour The Morning Report news programme were among some of the new content Channel 4 provided for the station, with the name 4Radio being used. As of early 2009, however, Channel 4's future involvement in radio remained uncertain. Before the digital switchover, Channel 4 raised concerns over how it might finance its public service obligations afterward. In April 2006, it was announced that Channel 4's digital switch-over costs would be paid for by licence fee revenues. In July 2007, Channel 4 paid £28 million for a 50% stake in the TV business of British media company EMAP, which had seven music video channels. On 15 August 2008, 4Music was launched across the UK. Channel 4 announced interest in launching a high-definition version of Film4 on Freeview, to coincide with the launch of Channel 4 HD, but the fourth HD slot was given to Channel 5 instead. On 2 November 2007, the station celebrated its 25th birthday. It showed the first episode of Countdown, an anniversary Countdown special, and a special edition of The Big Fat Quiz. It used the original multicoloured 1982–1996 blocks logo on presentation, and idents using the Fourscore jingle throughout the day. In November 2009, Channel 4 launched a week of 3D television, broadcasting selected programmes each night using stereoscopic ColorCode 3D technology. The accompanying 3D glasses were distributed through Sainsbury's supermarkets. On 29 September 2015, Channel 4 revamped its presentation for a fifth time; the new branding downplayed the "4" logo from most on-air usage, in favour of using the shapes from the logo in various forms. Four new idents were filmed by Jonathan Glazer, which featured the shapes in various real-world scenes depicting the "discovery" and "origins" of the shapes. The full logo was still occasionally used, but primarily for off-air marketing. Channel 4 also commissioned two new corporate typefaces, "Chadwick", and "Horseferry" (a variation of Chadwick with the aforementioned shapes incorporated into its letter forms), for use across promotional material and on-air. In June 2017, it was announced that Alex Mahon would be the next chief executive, and would take over from David Abraham, who left in November 2017. On 31 October 2017, Channel 4 introduced a new series of idents continuing the theme, this time depicting the logo shapes as having formed into an anthropomorphic "giant" character. On 25 September 2021, Channel 4 and several of its sub-channels went off air after an incident at Red Bee Media's playout centre in west London. Channel 4, More4, Film4, E4, 4Music, The Box, Box Hits, Kiss, Magic and Kerrang! stopped transmitting, but 4seven was not impacted. The incident still affected a number of the channels by 30 September. The London Fire Brigade confirmed that a gas fire prevention system at the site had been activated, but firefighters found no sign of fire. Activation of the fire suppression system caused catastrophic damage to some systems, such as Channel 4's subtitles, signing, and audio description system. An emergency backup subtitling system also failed, leaving Channel 4 unable to provide access services to viewers. This situation was criticised by the National Deaf Children's Society, which complained to the broadcasting watchdog. A new subtitling, signing and audio description system had to be built from scratch. The service eventually began to return at the end of October. In June 2022 after a six-month long investigation, Ofcom found that Channel 4 had breached its broadcast licence conditions on two grounds: Missing its subtitles quota on Freesat for 2021 and failure to effectively communicate with affected audiences. On 23 December 2021, Jon Snow presented Channel 4 News for the last time, after 32 years as a main presenter on the programme, making Snow one of the UK's longest-serving presenters on a national news programme. In April 2025, it was announced that Alex Mahon would step down as chief executive (CEO) of Channel 4 in the summer of that year. She was succeeded on an interim basis by Jonathan Allan, the broadcaster's chief operating officer, while a search for a permanent replacement was launched. Channel 4's parent company, Channel Four Television Corporation, was considered for privatisation by the governments of Margaret Thatcher, John Major and Tony Blair. In 2014, the Cameron-Clegg coalition government drew up proposals to privatise the corporation but the sale was blocked by the Liberal Democrat Business Secretary Vince Cable. In 2016, the future of the channel was again being looked into by the government, with analysts suggesting several options for its future. In June 2021, the government of Boris Johnson was considering selling the channel. In April 2022, the Department for Culture, Media and Sport acknowledged that ministerial discussions were taking place regarding the sale of Channel Four Television Corporation. The channel's chief executive, Alex Mahon, expressed disappointment at this, saying that its vision for the future was "rooted in continued public ownership". In January 2023, Michelle Donelan confirmed that the plans to sell Channel 4 were scrapped and that it would remain in public ownership for the foreseeable future. Public service remit Channel 4 was established with, and continues to hold, a remit of public service obligations which it must fulfil. The remit has changed periodically, as dictated by various broadcasting and communications acts, and is regulated by the various authorities Channel 4 has been answerable to; originally the IBA, then the ITC and now Ofcom. The preamble of the remit as per the Communications Act 2003 states that: The public service remit for Channel 4 is the provision of a broad range of high quality and diverse programming which, in particular: The remit also involves an obligation to provide programming for schools, and a substantial amount of programming produced outside of Greater London. Carriage Channel 4 was carried from its beginning on analogue terrestrial, the standard means of television broadcast in the United Kingdom. It continued to be broadcast through these means until the changeover to digital terrestrial television in the United Kingdom was complete. Since 1998, it has been universally available on digital terrestrial, and the Sky platform (initially encrypted, though encryption was dropped on 14 April 2008 and is now free of charge and available on the Freesat platform) as well as having been available from various times in various areas, on analogue and digital cable networks. Due to its special status as a public service broadcaster with a specific remit, it is afforded free carriage on the terrestrial platforms, in contrast with other broadcasters such as ITV. Channel 4 is available outside the United Kingdom; it is widely available in the Republic of Ireland, the Netherlands, Belgium and Switzerland. The channel is registered to broadcast within the European Union/EEA through the Luxembourg Broadcasting Regulator (ALIA). Since 2019, it has been offered by British Forces Broadcasting Service (BFBS) to members of the British Armed Forces and their families around the world, BFBS Extra having previously carried a selection of Channel 4 programmes. The Channel 4 website allows people in the United Kingdom to watch Channel 4 live. Previously, some programmes (mostly international imports) were not shown. It was previously carried by Zattoo until the operator removed the channel from its platform. Channel 4 also makes some of its programming available "on demand" via cable and the internet through the Channel 4 VoD service. Funding During its first decade, Channel 4 was funded by subscriptions collected by the IBA from the ITV regional companies, in return for which each company had the right to sell advertisements on the fourth channel in its own region and keep the proceeds. This meant that ITV and Channel 4 were not in competition with each other, and often promoted each other's programmes. A change in funding came about under the Broadcasting Act 1990 when the new corporation was afforded the ability to fund itself. Originally this arrangement left a "safety net" guaranteed minimum income should the revenue fall too low, funded by large insurance payments made to the ITV companies. Such a subsidy was never required, however, and these premiums were phased out by the government in 1998. After the link with ITV was cut, the cross-promotion which had existed between ITV and Channel 4 also ended. In 2007, owing to severe funding difficulties, the channel sought government help and was granted a payment of £14 million over a six-year period. The money was to have come from the television licence fee, and would have been the first time that money from the licence fee had been given to any broadcaster other than the BBC. However, the plan was scrapped by the Secretary of State for Culture, Media and Sport, Andy Burnham, ahead of "broader decisions about the future framework of public service broadcasting". The broadcasting regulator Ofcom released its review in January 2009 in which it suggested that Channel 4 would preferably be funded by "partnerships, joint ventures or mergers". As of 2022[update], it breaks even in much the same way as most privately run commercial stations through the sale of on-air advertising, programme sponsorship, and the sale of any programme content and merchandising rights it owns, such as overseas broadcasting rights and domestic video sales. For example, as of 2012[update] its total revenues were £925 million with 91% derived from sale of advertising. It also has the ability to subsidise the main network through any profits made on the corporation's other endeavours, which have in the past included subscription fees from stations such as E4 and Film4 (now no longer subscription services) and its "video-on-demand" sales. In practice, however, these other activities are loss-making, and are subsidised by the main network. According to Channel 4's published accounts, for 2005 the extent of this cross-subsidy was some £30 million. Programming Channel 4 is a "publisher-broadcaster", meaning that it commissions or "buys" all of its programming from companies independent of itself. It was the first UK broadcaster to do so on a significant scale; such commissioning is a stipulation which is included in its licence to broadcast. In consequence, numerous independent production companies emerged, though external commissioning on the BBC and in ITV (where a quota of 25% minimum of total output has been imposed since the Broadcasting Act 1990 came into force) has become regular practice, as well as on the numerous stations that launched later. Although it was the first British broadcaster to commission all of its programmes from third parties, Channel 4 was the last terrestrial broadcaster to outsource its transmission and playout operations (to Red Bee Media), after 25 years in-house. The requirement to obtain all content externally is stipulated in its licence. Additionally, Channel 4 also began a trend of owning the copyright and distribution rights of the programmes it aired, in a manner that is similar to the major Hollywood studios' ownership of television programmes that they did not directly produce.[citation needed] Thus, although Channel 4 does not produce programmes, many are seen as belonging to it. It was established with a specific intention of providing programming to groups of minority interests, not catered for by its competitors, which at the time were only the BBC and ITV. Channel 4 also pioneered the concept of 'stranded programming', where seasons of programmes following a common theme would be aired and promoted together. Some would be very specific, and run for a fixed period of time; the 4 Mation season, for example, showed innovative animation. Other, less specific strands, were (and still are) run regularly, such as T4, a strand of programming aimed at teenagers, on weekend mornings (and weekdays during school/college holidays); Friday Night Comedy, a slot where the channel would pioneer its style of comedy commissions, 4Music (now a separate channel) and 4Later, an eclectic collection of offbeat programmes transmitted in the early hours of the morning. For a period in the mid-1980s, some sexually explicit arthouse films would be screened with a red triangle graphic in the upper right of the screen. In recent years concerns have arisen regarding a number of programmes made for Channel 4, that are believed missing from all known archives. The following is a list of the 10 most watched shows on Channel 4 since launch, based on Live +28 data supplied by BARB, and archival data published by Channel 4. During the station's early days, the screenings of innovative short one-off comedy films produced by a rotating line-up of alternative comedians went under the title of The Comic Strip Presents. The Optimist was the world's first dialogue-free television comedy, and one of the channel's earliest commissioned programs. The Tube and Saturday Live/Friday Night Live also launched the careers of a number of comedians and writers. Channel 4 broadcast a number of popular American imports, including Cheers, The Cosby Show, Roseanne, Home Improvement, Friends, Sex and the City, Everybody Loves Raymond, South Park, Family Guy, Futurama, Frasier, Scrubs, and Will & Grace. Other significant US acquisitions include The Simpsons, for which the station was reported to have paid £700,000 per episode for the terrestrial television rights back in 2004, and continues to air on the channel on weekends. In April 2010, Channel 4 became the first UK broadcaster to adapt the American comedy institution of roasting to British television, with A Comedy Roast. In 2010, Channel 4 organised Channel 4's Comedy Gala, a comedy benefit show in aid of Great Ormond Street Children's Hospital. With over 25 comedians appearing, it billed it as "the biggest live stand up show in United Kingdom history". Filmed live on 30 March in front of 14,000 at The O2 Arena in London, it was broadcast on 5 April. This has continued to 2016. In 2021, Channel 4 decided to revive The British Comedy Awards as part of its Stand Up To Cancer programming. The ceremony, billed as The National Comedy Awards was due to be held in the spring of 2021 but was delayed twice due to the Coronavirus pandemic and eventually held a year later. Channel 4 has a strong reputation for history programmes and documentaries. Its news service Channel 4 News is supplied by ITN, whilst its long-standing investigative documentary series, Dispatches, gains attention from other media outlets. Its live broadcast of the first public autopsy in the UK for 170 years, carried out by Gunther von Hagens in 2002 and the 2003 one-off stunt Derren Brown Plays Russian Roulette Live proved controversial. A season of television programmes about masturbation, called Wank Week, was to be broadcast in the United Kingdom by Channel 4 in March 2007. The series came under public attack from senior television figures, and was pulled amid claims of declining editorial standards and concern for the channel's public service broadcasting credentials. FourDocs was an online documentary site provided by Channel 4. It allowed viewers to upload their own documentaries to the site for others to view. It focused on documentaries of between 3 and 5 minutes. The website also included an archive of classic documentaries, interviews with documentary filmmakers and short educational guides to documentary-making. It won a Peabody Award in 2006. The site also included a strand for documentaries of under 59 seconds, called "Microdocs". Channel 4 is obliged to carry schools programming as part of its remit and licence. Since 1957, ITV had produced schools programming, which became an obligation. In 1987, five years after the station was launched, the IBA afforded ITV free carriage of these programmes during Channel 4's then-unused weekday morning hours. This arrangement allowed the ITV companies to fulfil their obligation to provide schools programming, whilst allowing ITV itself to broadcast regular programmes complete with advertisements. During the times in which schools programmes were aired Central Television provided most of the continuity with play-out originating from Birmingham. After the restructuring of the station in 1993, ITV's obligations to provide such programming on Channel 4's airtime passed to Channel 4 itself, and the new service became Channel 4 Schools, with the new corporation administering the service and commissioning its programmes, some still from ITV, others from independent producers. In March 2008, the 4Learning interactive new media commission Slabovia.tv was launched. The Slabplayer online media player showing TV shows for teenagers was launched on 26 May 2008. The schools programming has always had elements which differ from its normal presentational package. In 1993, the Channel 4 Schools idents featured famous people in one category, with light shining on them in front of an industrial-looking setting supplemented by instrumental calming music. This changed in 1996 with the circles look to numerous children touching the screen, forming circles of information then picked up by other children. The last child would produce the Channel 4 logo in the form of three vertical circles, with another in the middle and to the left containing the Channel 4 logo. From the outset, Channel 4 did not conform to the expectations of conventional religious broadcasting in the UK. John Ranelagh, first commissioning editor for religion, made his priority 'broadening the spectrum of religious programming' and more 'intellectual' concerns. He also ignored the religious programme advisory structure that had been put in place by the BBC, and subsequently adopted by ITV. Ranelagh's first major commission caused a furore, a three-part documentary series called Jesus: The Evidence. The programmes, transmitted during the Easter period of 1984, seemed to advocate the idea that the Gospels were unreliable, Jesus may have indulged in witchcraft, and that he may not have even existed. The series triggered a public outcry, and marked a significant moment in the deterioration in the relationship between the UK's broadcasting and religious institutions. Numerous genres of film-making – such as comedy, drama, documentary, adventure/action, romance and horror/thriller – are represented in the channel's schedule. From the launch of Channel 4 until 1998, film presentations on C4 would often be broadcast under the "Film on Four" banner. In March 2005, Channel 4 screened the uncut Lars von Trier film The Idiots, which includes unsimulated sexual intercourse, making it the first UK terrestrial channel to do so. The channel had previously screened other films with similar material but censored and with warnings. Since 1 November 1998, Channel 4 has had a digital subsidiary channel dedicated to the screening of films. This channel launched as a paid subscription channel under the name "FilmFour", and was relaunched in July 2006 as a free-to-air channel under the current name of "Film4". The Film4 channel carries a wide range of film productions, including acquired and Film4-produced projects. Channel 4's general entertainment channels E4 and More4 also screen feature films at certain points in the schedule as part of their content mix. On 8 March 2007, Channel 4 screened a documentary, The Great Global Warming Swindle stating that global warming is "a lie" and "the biggest scam of modern times". The programme's accuracy were disputed on multiple points, and commentators criticised it for being one-sided, observing that the mainstream position on global warming is supported by the scientific academies of the major industrialised nations. There were 246 complaints to Ofcom as of 25 April 2007, including allegations that the programme falsified data. The programme was criticised by scientists and scientific organisations, and various scientists who participated in the documentary claimed their views had been distorted. Against Nature: An earlier controversial Channel 4 programme made by Martin Durkin which was also critical of the environmental movement and was charged by the UK's Independent Television Commission for misrepresenting and distorting the views of interviewees by selective editing. The Greenhouse Conspiracy: An earlier Channel 4 documentary broadcast on 12 August 1990, as part of the Equinox series, in which similar claims were made. Three of the people interviewed (Lindzen, Michaels and Spencer) were also interviewed in The Great Global Warming Swindle. In the Alternative Christmas address of 2008, a Channel 4 tradition since 1993 with a different presenter each year, Iranian President Mahmoud Ahmadinejad made a thinly veiled attack on the United States by claiming that Christ would have been against "bullying, ill-tempered and expansionist powers". The broadcast was rebuked by human rights activists, politicians and religious figures, including Peter Tatchell, Louise Ellman, Ron Prosor and Rabbi Aaron Goldstein. A spokeswoman for the Foreign and Commonwealth Office said: "President Ahmadinejad has, during his time in office, made a series of appalling anti-Semitic statements. The British media are rightly free to make their own editorial choices, but this invitation will cause offence and bemusement not just at home but among friendly countries abroad". However, Channel 4 was defended by Stonewall director Ben Summerskill who stated: "In spite of his ridiculous and often offensive views, it is an important way of reminding him that there are some countries where free speech is not repressed...If it serves that purpose, then Channel 4 will have done a significant public service". Dorothy Byrne, Channel 4's head of news and current affairs, said in response to the station's critics: "As the leader of one of the most powerful states in the Middle East, President Ahmadinejad's views are enormously influential... As we approach a critical time in international relations, we are offering our viewers an insight into an alternative world view...Channel 4 has devoted more airtime to examining Iran than any other broadcaster and this message continues a long tradition of offering a different perspective on the world around us". Random Acts is a daily arts strand on Channel 4 running from 3rd October 2011-present. Over the course of a year, it will showcase 260 specially commissioned three-minute films chosen for their bold and original expressions of creativity. 4Talent is an editorial branch of Channel 4's commissioning wing, which co-ordinates Channel 4's various talent development schemes for film, television, radio, new media and other platforms and provides a showcasing platform for new talent.[citation needed] There are bases in London, Birmingham, Glasgow and Belfast, serving editorial hubs known respectively as 4Talent National, 4Talent Central England, 4Talent Scotland and 4Talent Northern Ireland. These four sites include features, profiles and interviews in text, audio and video formats, divided into five zones: TV, Film, Radio, New Media and Extras, which covers other arts such as theatre, music and design. 4Talent also collates networking, showcasing and professional development opportunities, and runs workshops, masterclasses, seminars and showcasing events across the UK.[citation needed] 4Talent Magazine is the creative industries magazine from 4Talent, which launched in 2005 as TEN4 magazine under the editorship of Dan Jones. 4Talent Magazine is currently edited by Nick Carson. Other staff include deputy editor Catherine Bray and production editor Helen Byrne. The magazine covers rising and established figures of interest in the creative industries, a remit including film, radio, TV, comedy, music, new media and design. Subjects are usually UK-based, with contributing editors based in Northern Ireland, Scotland, London and Birmingham, but the publication has been known to source international content from Australia, America, continental Europe and the Middle East. The magazine is frequently organised around a theme for the issue, for instance giving half of November 2007's pages over to profiling winners of the annual 4Talent Awards. An unusual feature of the magazine's credits is the equal prominence given to the names of writers, photographers, designers and illustrators, contradicting standard industry practice of more prominent writer bylines. It is also recognisable for its 'wraparound' covers, which use the front and back as a continuous canvas – often produced by guest artists. Although 4Talent Magazine is technically a newsstand title, a significant proportion of its readers are subscribers. It started life as a quarterly 100-page title, but has since doubled in size and is now published bi-annually. Since the 2010s, Channel 4 has become the public service broadcaster most likely to amend its schedule at short notice, if programmes are not gaining sufficient viewers in their intended slots. Programmes which have been heavily promoted by the channel before launch and then have lost their slot a week later include Sixteen: Class of 2021. This was a fly-on-the-wall school documentary which lost its prime 9pm slot after one episode on 31 August 2021, even after a four-star review in The Guardian. Channel 4 moved the next episode to a late night (post-primetime) slot on a different day and continued to broadcast the remainder of the four-part series in this timeslot. Also in 2021, the channel launched Epic Wales: Valleys, Mountains and Coast, a version of its More4 documentaries The Pennines: Backbone of Britain, The Yorkshire Dales and The Lakes and Devon and Cornwall. set in Wales. Epic Wales: Valleys, Mountains and Coast. was initially broadcast in a prime Friday night slot at 8pm, in the hour before its comedy shows, but was dropped by the channel before the series was completed and replaced by repeats. In February 2022, the channel scheduled a new version of the show under the title Wonderous Wales with a Saturday night slot at 8pm but after one episode, it decided to take this series out of its schedule, moving up a repeat of Matt Baker: Our Farm in the Dales to 8pm and putting an episode of Escape to the Chateau in Baker's slot at 7pm. Other programmes moved out of primetime in 2022, include Mega Mansion Hunters, Channel 4's answer to Selling Sunset, which saw its third and final episode moved past midnight with repeats put in the schedule before it, and Richard Hammond's Crazy Contraptions, a primetime Friday night competitive engineering show which saw its grand final moved to 11pm on a Sunday night. Instead of Hammond's competition, Channel 4 decided to schedule the fifth series of Devon and Cornwall in its place at 8pm on Friday nights, with this documentary being put up against Channel 5's World's Most Scenic Railway Journeys in the same timeslot. A new series of Unreported World was due to start on 18 February 2022 with a report by Seyi Rhodes in South Sudan, but was dropped due to an extended storm report on Channel 4 News. When the programme was rescheduled for following Fridays, it was dropped again as Channel 4 News was extended due to the 2022 Russian invasion of Ukraine. Winter Paralympics: Today in Beijing was due to take the Unreported World slot from 11 March 2022 though this sports programme also stood a chance of being moved around the schedule to continue the extended news programmes reporting on the conflict. The invasion of Ukraine has also prompted Channel 4 to acquire and schedule the comedy series Servant of the People as a last minute replacement. The programme stars the current President of Ukraine Volodymyr Zelenskyy as an ordinary man who gets elected to run the country, and was shown on 6 March 2022 along with the documentary Zelenskyy: The Man Who Took on Putin. In addition to these shows, O.T. Fagbenle's sitcom Maxxx was pulled from youth TV channel E4, after one episode from the series had been broadcast on 2 April 2020, with Channel 4 deciding to keep the series off-air until Black History Month, with the series going out on the main channel from October 2020. In May 2022, the reality dating show Let's Make a Love Scene was scrapped after one episode with the second programme in the series, hosted by Ellie Taylor, pulled from the 20 May schedule and replaced with an episode of 8 Out of 10 Cats Does Countdown. The first edition was negatively received, with Anita Singh, the arts and entertainments editor for The Telegraph writing that the show was "the most ill-conceived programme idea since Prince Edward dreamt up It's a Royal Knockout". Presentation Since its launch in 1982, Channel 4 has used the same logo which consists of a stylised numeral "4" made up of nine differently-shaped blocks. The original version was designed by Martin Lambie-Nairn and his partner Colin Robinson and was the first UK channel ident made using advanced computer generation (the first electronically generated ident was on BBC2 in 1979, but this was two-dimensional). It was designed in conjunction with Bo Gehring Aviation of Los Angeles and originally depicted the "4" in red, yellow, green, blue and purple. The music accompanying the ident was called "Fourscore" and was composed by David Dundas; it was later released as a single alongside a B-side, "Fourscore Two", although neither reached the UK charts. In November 1992, "Fourscore" was replaced by new music. In 1996, Channel 4 commissioned Tomato Films to revamp the "4", which resulted in the "Circles" idents showing four white circles forming up transparently over various scenes, with the "4" logo depicted in white in one of the circles. In 1999, Spin redesigned the logo to feature in a single square that sat on the right-hand side of the screen, whilst various stripes would move along from left to right, often lighting the squared "4" up. Like the previous "Circles" idents from 1996 (which was made by Tomato Films), the stripes would be interspersed with various scenes potentially related to the upcoming programme. The logo was made three-dimensional again in 2004 when it was depicted in filmed scenes that show the blocks forming the "4" logo for less than a second before the action moves away again. In 2015, a new presentation package by the network's in-house agency 4Creative was introduced. Directed by filmmaker Jonathan Glazer, the "4" logo itself was downplayed on-air in favour of idents and bumpers featuring the individual blocks as objects, including idents depicting them as "Kryptonite"-like items of fascination (such as being excavated, and viewed under a microscope for scientific study) that reflect Channel 4's remit of being "irreverent, innovative, alternative and challenging". Musician Micachu composed music for the idents. This theme continued in 2017, with new idents by Dougal Wilson that focused on an anthropomorphic "giant" constructed from the blocks, and its interactions in everyday life. A new acoustic rendition of "Fourscore" was also composed for the idents. In September 2018, all of Channel 4's digital channels underwent a rebranding by ManvsMachine and 4Creative, including new logos that incorporate variants of the Lambie-Nairn "4". The rebranding was intended to give Channel 4's family of services a more uniform brand identity, while still allowing room for individualized elements that reflect their positioning and programming. The original 1982 ident was given a one-off revival on 28 December 2020, as a tribute to Lambie-Nairn after his death three days earlier. It was also used on 22 January 2021 as part of the 80s-themed "takeover" to promote the premiere of It's a Sin, which was set during the 1980s AIDS crisis. To mark the network's 40th anniversary, Channel 4 began to phase in another rebranding in November 2022, and announced that new idents were being produced that would be "an unexpected and daring portrait of Britain retold". In an effort to emphasise its digital platforms, it was announced that the "All4" branding would be dropped from Channel 4's video on-demand platform, in favour of marketing it under the "Channel 4" name with no disambiguation. The new idents, "Modern Britain", premiered in June 2023, featuring looping cycles of themed scenes built around the Channel 4 logo by various artists. Regions/international Channel 4 has, since its inception, broadcast identical programmes and continuity throughout the United Kingdom (excluding Wales where it did not operate on analogue transmitters). At launch this made it unique, as both the BBC and ITV had long-established traditions of providing regional variations in their programming in different areas of the country. Since the launch of subsequent British television channels, Channel 4 has become typical in its lack of regional programming variations. A few exceptions exist to this rule for programming and continuity: Part of Channel 4's remit covers the commissioning of programmes from outside London. Channel 4 has a dedicated director of nations and regions, Stuart Cosgrove, who is based in a regional office in Glasgow. As his job title suggests, it is his responsibility to foster relations with independent producers based in areas of the United Kingdom (including Wales) outside London. Channel 4 is available in the Republic of Ireland, with ads tailored to the Irish market. The channel is registered with the broadcasting regulators in Luxembourg for terms of conduct and business within the EU/EEA while observing guidelines outlined by Ireland's BAI code. Irish advertising sales are managed by Media Link in Dublin. Where Channel 4 does not hold broadcasting rights within the Republic of Ireland such programming is unavailable. For example, the series Glee was not available on Channel 4 on Sky in Ireland due to it broadcasting on TV3 within Ireland. Currently, programming available on Channel 4 is available within the Republic of Ireland without restrictions. Elsewhere in Europe, the UK version of the channel is available. With ITV plc pushing for much looser requirements on the amount of regional news and other programming it is obliged to broadcast in its ITV regions, the idea of Channel 4 taking on a regional news commitment has been considered, with the corporation in talks with Ofcom and ITV over the matter. Channel 4 believes that a scaling-back of such operations on ITV's part would be detrimental to Channel 4's national news operation, which shares much of its resources with ITV through their shared news contractor ITN. At the same time, Channel 4 also believes that such an additional public service commitment would bode well in on-going negotiations with Ofcom in securing additional funding for its other public service commitments. Channel 4 HD In mid-2006, Channel 4 ran a six-month closed trial of HDTV, as part of the wider Freeview HD experiment via the Crystal Palace transmitter to London and parts of the home counties, including the use of Lost and Desperate Housewives as part of the experiment, as US broadcasters such as ABC already have an HDTV back catalogue. On 10 December 2007, Channel 4 launched a high-definition television simulcast of Channel 4 on Sky's digital satellite platform, after Sky agreed to contribute toward the channel's satellite distribution costs. It was the first full-time high-definition channel from a terrestrial UK broadcaster. On 31 July 2009, Virgin Media added Channel 4 HD on channel 146 (later on channel 142, now on channel 141) as part of the M pack. On 25 March 2010, Channel 4 HD appeared on Freeview channel 52 with a placeholding caption, ahead of a commercial launch on 30 March 2010, coinciding with the commercial launch of Freeview HD. On 19 April 2011, Channel 4 HD was added to Freesat on channel 126. As a consequence, the channel moved from being free-to-view to free-to-air on satellite during March 2011. With the closure of S4C Clirlun in Wales on 1 December 2012, on Freeview, Channel 4 HD launched in Wales on 2 December 2012. The channel carries the same schedule as Channel 4, broadcasting programmes in HD when available, acting as a simulcast. Therefore, SD programming is broadcast upscaled to HD. The first true HD programme to be shown was the 1996 Adam Sandler film Happy Gilmore. From launch until 2016 the presence of the 4HD logo on screen denoted true HD content. On 1 July 2014, Channel 4 +1 HD, an HD simulcast of Channel 4 +1, launched on Freeview channel 110. It closed on 22 June 2020 to help make room on COM7 following the closure of COM8 on Freeview. 4Seven HD were removed from Freeview also. On 20 February 2018, Channel 4 announced that Channel 4 HD and All 4 would no longer be supplied on Freesat from 22 February 2018. Channel 4 HD returned to the platform on 8 December 2021, along with the music channel portfolio of The Box Plus Network. On 27 September 2022, the other 6 advertising regions of Channel 4 (South, Midlands, North, Scotland, Northern Ireland and Rep of Ireland) were made available in HD on Sky and Virgin Media. Prior to this, Channel 4 HD was only available in the London advertising region. Video on demand Channel 4's video on demand service, known simply as "Channel 4" since April 2023, launched in November 2006 as "4oD", and was renamed "All 4" in March 2015. The service offers a variety of programmes recently shown on Channel 4, E4, More4 or from their archives, though some programmes and movies are not available due to rights issues. Teletext services Channel 4 originally licensed an ancillary teletext service to provide schedules, programme information and features. The original service was called 4-Tel, and was produced by Intelfax, a company set up especially for the purpose. It was carried in the 400s on Oracle. In 1993, with Oracle losing its franchise to Teletext Ltd, 4-Tel found a new home in the 300s, and had its name shown in the header row. Intelfax continued to produce the service and in 2002 it was renamed FourText. In 2003, Channel 4 awarded Teletext Ltd a ten-year contract to run the channel's ancillary teletext service, named Teletext on 4. The service closed in 2008, and Teletext is no longer available on Channel 4, ITV and Channel 5. Awards and nominations See also Notes References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Wikipedia:Administrators%27_guide/Protecting] | [TOKENS: 922] |
Contents Wikipedia:Administrators' guide/Protecting Administrators protect pages and images to prevent vandalism and assist in resolving content disputes, for example. The key principle to remember here is that Wikipedia is the encyclopedia that "anyone can edit". Protecting pages defeats that goal and so page protection should be avoided when possible and kept as short as possible. In general, the length of time used to protect a page is based on how long you think it will take for the contributor(s) to cool down and resume proper contributions. A 24 hour page protection is typical. If problems resume, the protection might be increased to 36 hours for example. The page protection history might help you figure out how long to protect the page by what has worked in the past for that page. Protecting etiquette is very lax. Generally, you do not need to consult with the original page protecting admin and there usually is no reason to notify them after you modify a page protection. A log of protections and unprotections is available at Special:Log/protect. Below are more detailed instructions for protecting and unprotecting pages. For this guide we will use the protection form provided by the MediaWiki software. However in practice you may more often use semi-automated tools to protect pages – namely Twinkle – which can make the process considerably easier. Protecting a page The above is how to manually protect pages, but it is highly recommended you take advantage of Twinkle's protect module, which is accessible via the "PP" link. This will make the task of protecting and tagging pages considerably easier. In addition, it offers batch protection, where you can protect numerous pages at once. The batch protect looks for all links on a page, and you can selectively choose which of those pages to protect. An example might be protecting a page and all of its subpages, such as those in your userspace, in which case you would use Special:PrefixIndex to generate the list of links. Unprotecting a page Salting a deleted page Occasionally, administrators also need to protect non-existent pages to prevent them from being created/recreated. This is known as salting, after the process of salting the earth. For example, in the case of an article that went through a deletion discussion, the consensus was to delete and it is continually remade after the AfD, the page will need to be protected from recreation. Another example where salting is required is when vandals continue to create a disruptive page. Administrators should not use creation protection as a pre-emptive measure, but only in response to actual events. Salting is typically done for an indefinite duration, but any duration may be used. The way to protect a non-existent page is very similar to protecting a regular page. We will use the test page Protect & salt test page. To unprotect the page, follow the same steps you would to unprotect an existing page. Types of protection A lesser level of protection, called "semi-protection", can be applied to pages. In this mode, anonymous users and very recently-joined named users (who do not yet have confirmed status) are prevented from editing the page but longer-term signed-in users may still edit the page as usual. This mode of protection is commonly applied to pages that continually attract drive-by vandalism by anonymous editors. Extended confirmed protection is a moderate level of protection that aims to prevent registered users who are confirmed but not extended confirmed from editing, as well as unregistered users. It is usually used for specific content disputes or edit warring involving confirmed editors. Administrators may temporarily fully-protect pages which disables editing for everyone except administrators. This level of protection is commonly applied (sparingly) to pages that result in content disputes and repeated edit warring. The protection should be of a limited duration but long enough in order to resolve perceived conflicts. When considering protection on pages such as policy pages and noticeboards, look through the pages' protection log first and the user(s) leading up to the previous page protections. You may find a pattern that leads you to consider blocking to be less harmful to the project than another page protection of one of these special pages. Occasionally, the legal officers of the Wikimedia Foundation will protect a page against editing; this is referred to as an "office action". When this is done, a template will be placed on the page so that administrators will be aware of this action. Do not reverse this protection or remove the template! Only the officers may reverse such protection. See Wikipedia:Office actions for more details. Tools Notes |
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[SOURCE: https://en.wikipedia.org/wiki/List_of_One_Day_International_cricket_records] | [TOKENS: 590] |
Contents List of One Day International cricket records One Day International (ODI) cricket is played between international cricket teams who are full members of the International Cricket Council (ICC) as well as the top four associate members. Unlike Test matches, ODIs consist of one innings per team, having a limit in the number of overs, currently 50 overs per innings – although in the past this has been 55 or 60 overs. ODI matches are a subset of List A cricket. The earliest match recognised as an ODI was played between England and Australia in January 1971; since when there have been more than 4,700 ODIs played by 29 teams. The frequency of matches has steadily increased, partly because of the increase in the number of ODI-playing countries, and partly as the cricket boards of those nations seek to maximise their revenue with the increased popularity of cricket, a process that dates from the time of the Packer Revolution. In February 2022, in their home series against the West Indies, India played their 1,000th ODI match, becoming the first team to play one thousand matches in this format. The trend of countries to increase the number of ODI matches they play means that the aggregate lists are dominated by modern players, though this trend is reversing as teams play more Twenty20 Internationals. Indian cricketer Sachin Tendulkar has scored the most runs in ODIs with a total of 18,426. Sri Lankan spinner Muttiah Muralitharan is the highest ODI wicket-taker with a total of 534 wickets. The record for most dismissals by a wicket-keeper is held by Kumar Sangakkara of Sri Lanka while the record for most catches by a fielder is held by Sri Lankan Mahela Jayawardene. Listing criteria In general the top five are listed in each category (except when there is a tie for the last place among the five, in which case all the tied record holders are noted). Listing notation Team notation Seasons Team records Result records As of November 2024, teams batting second have won by a margin of ten wickets on 68 occasions. The narrowest margin of victory by teams batting first is one run, which has been achieved in 35 ODIs. Australia have won by this margin on six occasions, which is the most for any team. Teams batting second have won on the final ball of their innings 40 times, with South Africa winning in such a manner seven times. The narrowest margin of victory by wickets is by a single wicket, which has settled 70 ODIs. West Indies have recorded such victory on twelve occasions. Team scoring records Individual records (batting) Individual records (bowling) Individual records (fielding) Individual records (wicket-keeping) Individual match records Partnership records Individual records (officials) See also References |
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[SOURCE: https://en.wikipedia.org/wiki/ISU_Judging_System#World_records] | [TOKENS: 2593] |
Contents ISU Judging System The ISU Judging System is the scoring system that has been used since 2004 to judge the figure skating disciplines of men's and ladies' singles, pair skating, ice dance, and synchronized skating. It was designed and implemented by the International Skating Union (ISU), the governing body of the sport. This system of scoring is used in all international competitions sanctioned by the ISU, including the Olympic Games. The ISU Judging System replaced the previous 6.0 system. It was created, in part, in response to the 2002 Winter Olympics figure skating scandal. The IJS produces more detailed statistics and feedback to skaters and their coaches, better consistency among judges, and measures precise differences between skaters in competition. Competitors accumulate points based on the base value (BV) of each technical element, and on its element's grade of execution (GOE). They are judged in two areas: the total segment score in both the short program and the free skating program, and program component scores, which are based on their overall skating skills and performance level. The IJS is constructed into four parts: competition officials, which comprise the technical panel and the judges; the technical score (TES); the presentation score; and the final score. History Following the 2002 Winter Olympics and the 2002 Winter Olympics figure skating scandal, the 6.0 system of judging figure skating was retired by the International Skating Union (ISU), the governing body that oversees figure skating, and the ISU Judging System (IJS) was put in place. The 6.0 system was developed in the early days of the sport, when skaters traced figures on the ice, which, as writer Ellyn Kestnbaum states, "gave rise to the system of awarding marks based on a standard of 6.0 as perfection". It was a placement-judging system in which scores were issued based on how each skater compared to others in the same competition, not on any absolute scale. Figure skating historian James R. Hines calls the 6.0 system "age-old" and "unique to figure skating and deeply entrenched". He says that it was a tradition understood and appreciated by skaters, judges, officials, and fans and that fans found it easy to relate to the 6.0 system, which "represented skating perfection and served as every skater's goal". The IJS was implemented in 2004, following two seasons of testing. The first time the IJS was used at an international competition was at the 2003 Skate America in October 2003; it had also been used at the 2003 Nebelhorn Trophy a month earlier. The first time the IJS was used at the Olympics was in 2006, in Turin. Description In late 2003, the ISU released an explanation of four advantages of the IJS over the 6.0 system. Under the IJS, judges enter a point score for each technical element, and at the end of the program, scores for each program component. The ISU states that the statistics generated will make scoring easier for skaters and fans to understand and produce "a detailed record and transparent measure of performance quality". The IJS provides more feedback, which helps skaters and their coaches identify strengths, weaknesses, and areas for improvement. It provides better consistency among judges because they are guided by the same criteria, and allows them to judge each skater's performance separately. Finally, the IJS measures the precise differences between each skater's performances. In 2022, Tatiana Yordanova of the National Sports Academy analyzed judges' scores and the dependencies between the final results and the separate parts of their evaluations after the IJS' introduction in 2004. She also studied the judging protocols for the short and free skating programs used during the Winter Olympics between 2006 and 2022 and found that judges' evaluations of the short program and the free skating program during the Olympics became more precise because each element was evaluated separately. The information the judges provided during their scoring gave skaters' coaches "a clear idea of the mistakes made and what exactly needs to be worked on to get better results". According to Yordanova, judging in figure skating became more objective after the implementation of the IJS, especially after the GOEs were increased in 2018. Competitors accumulate points based on the degree of difficulty (base value, or BV) of each technical element, which depends on the type of element and its complexity, and how well skaters execute each element (grade of execution, or GOE). They also earn points through their program component scores, which are based on their overall skating skills and performance level. Each element is evaluated separately.[a] The total segment score for each competitor in each segment of the competition (short program/rhythm dance, free skating program/free dance) is calculated by adding the total technical score and presentation scores, after any deductions (i.e., -1.0 point for each fall) are subtracted. The total segment scores of both programs are added together, and the resulting score is the competition's final score; the competitor(s) with the highest total score win the competition. The ISU must publish, after each segment of the competition, a list with "all relevant scoring data for skaters", which includes the BVs of all the elements and the GOEs and points for the program components from each judge. The final results must include, for each skater and team, the final placements and, separately, the placing of each competition segment. Judges give deductions for the following: The IJS is constructed into four parts: Competition officials, which comprise the technical panel and the judges; the technical score (TES); the presentation score; and the final score. The technical panel is made up of the technical controller and two technical specialists, each from a different ISU member country. Decisions are made by a majority vote among the members of the technical panel. The technical specialists "identify and call the performed elements and the specific Levels of Difficulty of certain performed elements (e.g. spins, footwork)". They also identify illegal or additional elements, falls, downgraded and underrotated jumps, and jumps executed from the wrong edge. The technical controller authorizes and/or corrects all calls, proposes corrections if necessary, and supervises the data operator. If there is disagreement among the technical panel, the majority opinion prevails. Technical specialist 1 identifies each element, and technical specialist 2 and the technical controller support the primary specialist to ensure that all elements are correctly identified. A data operator assists the technical panel with recording purposes. The relay operator supports the technical panel by operating the instantaneous slow-motion video replay system, which helps the technical panel verify the elements performed. The specialists and the controller are recorded on audio tape, which, along with the video replay, is reviewed after each performance, if necessary, and the scores are changed accordingly. When the scores are posted and announced to the public, they are final. For major competitions, there are usually nine members of the judging panel per segment, though there can be fewer, but not fewer than three judges. They "entirely focus on evaluating the quality of each element performed (Technical score) and the quality of the performance (Presentation Score)". The scores are based on the specific quality criteria of each technical element and the five program component scores for each skater, and provide a "comprehensive assessment of each skater's skill and performance", but are not a comparison of each skater's skills and performance to other skaters in the competition. Judges enter scores through a touchscreen unit; at ISU competitions, judges review, in real time, certain elements of the skaters' performances through the instantaneous video replay system. A computer records results, keeps track of comparative scores, and determines placements by calculating each skater's scores. When an element is identified, its name appears immediately on the judge's screen. For the Total Elements Score (TES, also called the Technical Score), each judge grades its quality by assigning it a Grade of Execution (GOE) on a scale of +5 to -5.[b] Each figure skating element has a base value; the judges assign a GOE to each element that increases its value when executed well or decreases its value when done poorly.[c] As the ISU puts it, "Each plus or minus step in the GOE results in increasing or decreasing the value by 10% in single and pair skating and by 16% in ice dancing". The ISU publishes, in a yearly communication, a Scale of Value (SOV) chart of each element's base value (BV), which depends on the element's difficulty and its level of difficulty for spins, steps, lifts, and other elements. Some elements, such as spins and footwork sequences, are further broken down by their level of difficulty. The base values and levels of difficulty make sure that competitors earn the appropriate and consistent credit for every element they perform. The judges use the trimmed mean when calculating their scores, in which the highest and lowest scores of each element are removed, and the remaining scores are averaged to determine the final GOE for each element. Then the GOE is added or subtracted from the base value for each element, and it is rounded to two decimal places. The total of all the elements' scores yields the TES. Jump combinations and jump sequences in single skating and pair skating are evaluated as one unit. The base values of the jumps included are added together, then the GOE is applied "with the numerical value of the most difficult jump". For example, during her free skate at the 2025 Grand Prix Final, Kaori Sakamoto of Japan executed a triple Lutz-double toe loop combination jump, with a BV of 7.20 points. Her GOE was 1.60 points. The total points she earned with this combination jump were 8.80 points.[d] If a skater executes any element or elements that exceed the prescribed number of elements in a program, the extra elements are not counted in the final score. Only the first element attempted will count. In single skating, the BVs for jump elements executed during the second part of a skater's short program and free skating program are "multiplied by a special factor 1.1 in order to give credit for even distribution of difficulties in the program". The 1.1 special factor, however, is applied only for the last one-jump element executed in the second half of the short program, and for the last three jump elements executed during the second half of the free skate. This limit has been called "the Zagitova rule", named for Alina Zagitova from Russia, who won the gold medal at the 2018 Winter Olympics by "backloading" her free skating program, or placing all her jumps in the second half of the program. In ice dance, combination lifts are evaluated as one unit; the BVs of the first two short lifts executed are added together, and then the GOE is applied. The GOE of the combination lift is "equal to the sum of the numerical values of the corresponding GOE" of these first two short lifts. Step sequences are evaluated as one unit by adding the BVs of the step sequences of both skaters and then applying the GOE. The ISU states that the "GOE is equal to the sum of the numerical values of the corresponding GOEs of the Step Sequences". Turn sequences are also evaluated as one unit by summing the BVs executed by both skaters and then applying the GOE. The ISU states that the "GOE is equal to the sum of the numerical values of the corresponding GOEs" of the executed turns. For the Program Component Score (also called the Presentation Score), judges award points on a scale of 0.25 to 10.00, with increments of 0.25, for the presentation score, which grades the overall presentation of skaters' performances. There are three program components: composition, presentation, and skating skills. Pair skaters and ice dancers must demonstrate an equal demonstration of the criteria. Each program component score is obtained by calculating the trimmed mean of the judges' results for that component, in the same way as the TES. The trimmed mean of each program component is also rounded to two decimal places. The points for each Program Component Score are multiplied by a factor "such that the Program Component Score is as equivalent as possible to the Total Elements Score" as follows: (factor) (factor) The ISU defines the program components in the following way: Notes References Works cited |
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[SOURCE: https://en.wikipedia.org/wiki/Cosplay_Melee] | [TOKENS: 418] |
Contents Cosplay Melee Cosplay Melee is a Syfy channel reality television show executive produced by Jay Peterson and Todd Lubin, which was announced in February 2017 and premiered its first season of six episodes on March 21, 2017. The series is hosted by Yvette Nicole Brown, and follows cosplayers as they put their skills to the test. Cosplay Melee is Syfy's second cosplay-competition series, after the two-season series Heroes of Cosplay in 2013. Premise The series is hosted by Yvette Nicole Brown, and follows four cosplayers each week as they put their skills to the test as they create innovative cosplays, having to not only create the costume, but also act the part of the character for a realistic performance. Guiding and critiquing the contestants are international cosplayer LeeAnna Vamp, and Christian Beckman, the costume creator for The Hunger Games and Tron: Legacy. At the end of every episode each week, the winner of that particular competition is awarded with $10,000. Contestants In each episode, there are two rounds. The first requires the contestants to make a small test piece, and one is eliminated and one receives a bonus for the second round, where they create their full characters, and a contestant is selected as the winner of the episode. Episodes Production The series was announced in February 2017 by Heather Olander, the senior Vice President of Syfy. Christian Beckman, a judge on the series, has done costume work for Tron: Legacy, The Hunger Games, The Last Airbender, Star Trek, Where the Wild Things Are, War of the Worlds and I Am Legend, as well as having been part of the team that created the mechanical arms for Doctor Octopus in Spider-Man 2. Broadcast Cosplay Melee premiered its first season of six episodes in the U.S. on March 21, 2017 at 10/9c on Syfy. The series premiered on June 13, 2017 in Canada on Space. References External links |
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[SOURCE: https://en.wikipedia.org/wiki/List_of_World_Rally_Championship_records] | [TOKENS: 63] |
Contents List of World Rally Championship records The list of records in the World Rally Championship includes records and statistics set in the World Rally Championship (WRC) from the 1973 season to present. Drivers Manufacturers Co-drivers Rallies Nationalities Updated after the 2025 season. See also Notes References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Super_Play] | [TOKENS: 820] |
Contents Super Play Super Play was a British Super Nintendo Entertainment System (SNES) magazine which ran from 1 October 1992 to September 1996. Overview Super Play covered in great detail the role-playing video game genre. Many of these games were never released officially in the UK or European games market, and therefore the magazine concentrated much effort in covering aspects of the American, and moreover the Japanese games markets. Given the close ties between the world of Japanese console RPGs and animation, the magazine also heavily featured information about manga and anime by noted UK-based writer Helen McCarthy. It can be said that Super Play was one of the magazines that helped to push forward what was at the time a nascent market for anime in the UK. In this vein, the magazine itself was also notable as its cover illustrations (and many illustrations between the covers) were done in a manga-influenced style by artist Wil Overton. Overton also caricatured many of the staff in chibi form, wearing various types of anime-related costumes - sci-fi armour, flying gear, RPG-style armour etc. The cover even had the name "Super Play" written in katakana. Logo The logo for the magazine was designed by Jez Bridgeman in his first week on the magazine before the Art Editor arrived in the September before launch and at the last minute the 'PLAY' part of the logo was switched for a sans serif font and then stretched to fit the space. Publication schedule and staff The magazine was published monthly, and would regularly feature a monthly Fantasy Quest column about Japanese console RPGs in their native market. In the second half of the publication's life, there was a monthly Final Fantasy Forum dedicated to playing tips and secrets for Square games, even despite the fact that none of the Final Fantasy game series had been released in Europe at that point. Some of the most recognisable names on the Super Play writing staff were Matt Bielby, Tony Mott (former editor of Future Publishing stablemate Edge), Jason Brookes, Jonathan Davies and Zy Nicholson. The magazine was based in Bath, England and published by Future Publishing. Despite its fairly short run (47 issues, just short of 4 years, and a one-off "Gold" special in 1993), and many years since its demise, it still enjoys a fan following on the internet. Closure Its end came with the declining popularity of the SNES itself, both among games publishers and the game-buying public, as the Nintendo 64 was on the cusp of release, making way for the next generation of video game consoles. Super Play was succeeded in March 1997 by N64 Magazine, which was initially edited by Jonathan Davies with Wil Overton as Art Editor, and frequent contributions by former Super Play writers, although the magazine was much less focused on import gaming and RPGs than its forebear. N64 Magazine in turn was renamed NGC Magazine to coincide with the launch of the GameCube, and after closure of NGC in 2006 the publication was relaunched as NGamer. Revival In September 2017, inspired by the announcement of a Super NES Classic Edition, original staff, including Jason Brookes, Jonathan Davies, Tony Mott and Zy Nicholson, along with seasoned Nintendo experts Nathan Brown, Keza MacDonald, Damien McFerran, Jeremy Parish and Chris Schilling, produced a one-off issue 48 of Super Play, which came bundled with Retro Gamer issue 172. Featuring all-new content it consists of the regular sections Super Express, Helen McCarthy's Anime World and a What Cart? guide. Also inside are new reviews of the games included on the SNES Classic, a Star Fox 2 preview and an interview with Dylan Cuthbert, one of the key developers behind the game. Cover art was created by Wil Overton, illustrator of all 48 Super Play covers, with the internal visual style resurrected by Future's senior art editor Warren Brown, who ensured the design will be immediately familiar to fans of the '90s magazine. References External links |
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[SOURCE: https://en.wikipedia.org/wiki/List_of_world_records_in_swimming] | [TOKENS: 515] |
Contents List of world records in swimming The world records in swimming are ratified by World Aquatics (formerly known as FINA), the international governing body of swimming. Records can be set in long course (50 metres) or short course (25 metres) swimming pools. World Aquatics recognizes world records in the following events for both men and women, except for the mixed relays, where teams consist of two men and two women, in any order. The ratification process is described in FINA Rule SW12, and involves submission of paperwork certifying the accuracy of the timing system and the length of the pool, satisfaction of FINA rules regarding swimwear and a negative doping test by the swimmer(s) involved. Records can be set at intermediate distances in an individual race and for the first leg of a relay race. Records which have not yet been fully ratified are marked with a '#' symbol in these lists. Some of the records below were established by swimmers wearing bodysuits or suits made of polyurethane or other non-textile materials allowed in the race pool from February 2008 until December 2009. On the eve of the 2009 FINA World Championships in Rome, the international governing body for five Olympic aquatic sports voted to ban the use of bodysuits and all suits made of non-textile materials starting 1 January 2010. The suits seemed to improve the performance in those with larger physiques, boosting performance in some athletes more than others,[who?] depending on morphology and physiology. Since then, best times set by swimmers wearing textile materials have once again overtaken more than half of the world records recognized by World Aquatics. On 25 July 2013, FINA Technical Swimming Congress voted to allow world records in the long course mixed 400 free relay and mixed 400 medley relay, as well as in six events in short course metres: the mixed 200 medley and 200 free relays, as well as the men's and women's 200 free relays and the men's and women's 200 medley relays. In October 2013, FINA decided to establish "standards" before something can be recognized as the first World Record in these events. But later on 13 March 2014 FINA has officially ratified the eight world records set by Indiana University swimmers at the IU Relay Rally held on 26 September 2013 in Bloomington. Long course (50m pool) Short course (25m pool) Record holders' rankings References External links |
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[SOURCE: https://en.wikipedia.org/w/index.php?title=Cosplay&action=edit§ion=25] | [TOKENS: 1430] |
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/List_of_Formula_One_driver_records] | [TOKENS: 667] |
Contents List of Formula One driver records The World Championship of Drivers has been held since 1950. Driver records listed here include all rounds which formed part of the World Championship since 1950: this includes the Indianapolis 500 from 1950–1960 (although it was not run to Formula One rules), and the 1952 and 1953 World Championship Grands Prix (which were run to Formula Two rules). Formula One races that were not qualification rounds for the World Championship are not included, and sprints are only included when specified. Races entered and started Drivers are considered to be entered into a race if they attempt to compete in at least one official practice session with the intent of participating in the race. These drivers are noted on the entry list for that race. A driver is considered to have started a race if they line up on the grid or at the pit lane exit for the start of the race. If a race is stopped and restarted, participation in any portion of the race is counted only if that portion was in any way counted towards the final classification (e.g. races stopped before the end of the leader's second lap were declared null and void prior to 2005). Wins (Only the first win for each driver is listed) (Only the last win for each driver is listed) Pole positions (Only the first pole position for each driver is listed) (Only the last pole position for each driver is listed) Fastest laps (Only the first fastest lap for each driver is listed) Podium finishes (Only the first podium finish for each driver is listed) (Only the last podium finish for each driver is listed) Points Throughout the history of the World Championship, the points-scoring positions and the number of points awarded to each position have varied, along with the number of events per season in which points could be scored. (Only the first points finish for each driver is listed) (Only the last points finish for each driver is listed) Races finished Race leaders (Only the first race led for each driver is listed) (Only the last race led for each driver is listed) Multiple achievements at the same race This is sometimes referred to as a "double". This is sometimes referred to as a "hat-trick" or "hat trick". This is sometimes referred to as a "Grand Slam". Drivers' Championships (Excluding drivers who competed from the very first championship season of 1950; including winning season) (At the moment they clinched their first/only title) (At the moment they clinched the title) (At the moment they clinched their latest/only title) Sprints Sprint races were introduced in 2021 as addition to select races; since 2022 the top eight finishers score points. Other driver records Riccardo Patrese (1982 Monaco Grand Prix) John Watson (1982 Detroit Grand Prix) Nelson Piquet (1982 Canadian Grand Prix) Didier Pironi (1982 Dutch Grand Prix) Niki Lauda (1982 British Grand Prix) René Arnoux (1982 French Grand Prix) Patrick Tambay (1982 German Grand Prix) Elio de Angelis (1982 Austrian Grand Prix) Keke Rosberg (1982 Swiss Grand Prix) See also Notes References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Downtown_no_Gaki_no_Tsukai_ya_Arahende!!] | [TOKENS: 232] |
Contents Downtown no Gaki no Tsukai ya Arahende!! Downtown no Gaki no Tsukai ya Arahende!! (ダウンタウンのガキの使いやあらへんで!!, Dauntaun no Gaki no Tsukai ya Arahende!!; lit. "Downtown's We Aren't Errand Boys!"), often abbreviated Gaki no Tsukai (ガキの使い) or just Gaki Tsuka (ガキ使), is a Japanese variety show hosted by popular Japanese owarai duo Downtown, with comedian Hōsei Tsukitei (formerly known as Hōsei Yamasaki) and owarai duo Cocorico co-hosting. The program has been broadcast on Nippon TV since its pilot episode on October 3, 1989, and continues to this day, celebrating its 1000th episode on April 18, 2010. The program currently broadcasts on Nippon TV and its regional affiliates from 23:25 until 23:55 JST. Cast Broadcasting TV stations References External links |
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[SOURCE: https://en.wikipedia.org/wiki/List_of_Olympic_records_in_athletics] | [TOKENS: 618] |
Contents List of Olympic records in athletics The modern Summer Olympic Games have been held every four years since the first Games in 1896 (except 1916 due to the First World War, 1940 and 1944 due to the Second World War, and 2020 due to the COVID-19 pandemic) and Olympic records are recognised by the International Olympic Committee (IOC) in each event. The athletics events, which take place at each Games, are divided into four groups: track events (including sprints, middle- and long-distance running, hurdling and relays), field events (including javelin, discus, hammer, shot put, pole vault, high, long and triple jumps), road events (such as walks and the marathon) and combined events (the heptathlon and the decathlon). Women compete in 23 athletics events during the Games, and men compete in 24; while 21 of the events are the same for both men and women, men exclusively compete in the 50 km walk, the women's combined event is the heptathlon while the men compete in the decathlon, and the short distance hurdles for women is contested over 100 m, ten metres shorter than the men's event. Some Olympic records have been broken but later rescinded by the IOC. In 1988, Canadian sprinter Ben Johnson broke the Olympic and World record in the 100 metres sprint, but was subsequently disqualified after it was discovered that he had used anabolic steroids to enhance his performance. His record was expunged and the gold medal was instead awarded to original silver medalist American Carl Lewis. Hungarian athlete Róbert Fazekas broke the Olympic record in the men's discus in 2004 but was later stripped of both his gold medal and the record after it was deemed that he had "committed an anti-doping rule violation". The longest standing modern Olympic athletics record is Bob Beamon's achievement in the men's long jump at the 1968 Summer Olympics. The jump, at 8.90 m (29 ft 2 in), also broke the existing world record by 55 cm (22 in), and stood as the world record for 23 years until Beamon's compatriot, Mike Powell, jumped farther in the 1991 World Championships in Athletics in Tokyo. Note, only those events currently competed for and recognised by the IOC as Summer Olympic events are listed. Key No longer contested at the Summer Olympics Men's records ♦ denotes a performance that is also a current world record. Statistics are correct as of August 5, 2024. Women's records ♦ denotes a performance that is also a current world record. Statistics are correct as of August 9, 2024. Mixed records ♦ denotes a performance that is also a current world record. Statistics are correct as of August 7, 2024. Combined event bests The International Olympic Committee maintains a list of the best Olympic results in each decathlon and heptathlon discipline. See also References External links |
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[SOURCE: https://en.wikipedia.org/wiki/List_of_world_records_in_Olympic_weightlifting] | [TOKENS: 391] |
Contents List of world records in Olympic weightlifting This is a list of world records in Olympic weightlifting. These records are maintained in each weight class for the snatch lift, clean and jerk lift, and the total for both lifts. The International Weightlifting Federation (IWF) restructured its weight classes in 1993, 1998, 2018 and 2025 nullifying earlier records. Current records Key to tables: Awaiting ratification Not ratified or later rescinded by IWF When the previous records and weight classes were discarded, the IWF defined "world standards" as the minimum lifts needed to qualify as world records in the new weight classes. Wherever World Standard appears in the list below, no qualified weightlifter has yet lifted these weights in a sanctioned competition. Historical records ^1 The IWF website still lists Nijat Rahimov (Kazakhstan) record of 214 kg in the clean and jerk, which was later disqualified for doping. ^2 The IWF website still lists Nurcan Taylan's (Türkiye) record of 121 kg in the clean and jerk, which was later disqualified for doping. ^3 The IWF website stil lists Hripsime Khurshudyan's (Armenia) record of 160 kg in the clean and jerk, which was later disqualified for doping. ^4 The IWF website still lists Hripsime Khurshudyan's record of 283 kg in total, which was later disqualified for doping. ^5 The IWF website still lists Tatiana Kachirina's records of 155 kg in the snatch, 193 kg in the clean and jerk and 348 kg in total, who was later disqualified for doping. ^6 It was not an official world record, but the best result, equal to the world record until then, and the Asian record in that period. See also References External links |
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