title: The Green Hornet (2011 film)

text: In July 2009, Sony presented a panel at San Diego Comic-Con International, where Seth Rogen and director Michel Gondry unveiled the first look for the Black Beauty. The first trailer was released online on June 24, 2010.


title: The Green Hornet (2011 film)

text: Factory Entertainment produced six-inch action figures and a die-cast Black Beauty, among other collectibles. Hollywood Collectibles has made a full-size prop gas gun replica. Mezco Toyz has made a set of 12-inch action figures, with the prototypes donated to the Museum of the Moving Image.


title: The Green Hornet (2011 film)

text: The studio and CKE Restaurants, Inc., the parent company of Carl's Jr. and Hardee's, formed a promotional marketing partnership that included commercials featuring Seth Rogen and Jay Chou in character as the Green Hornet and Kato; a beverage promotion with Dr. Pepper; "The Green Hornet" food items, kids' meal toys, and employee uniforms; and a contest with the grand prize of a Black Beauty car from the film.


title: The Green Hornet (2011 film)

text: A tie-in video game for iPhone and iPad was released, entitled "The Green Hornet: Wheels of Justice". The game is a 3D top-down driving game. It also featured a hidden mini-game fighting game called "The Green Hornet: Crime Fighter", which was also released for browsers and Android phones.


title: The Green Hornet (2011 film)

text: "Green Hornet: High Speed Chase", a roller coaster themed to the 2011 Green Hornet film, opened to the public at the Motiongate Dubai theme park within Dubai Parks and Resorts in Dubai, United Arab Emirates on December 16, 2016. Located within the Columbia Pictures Zone of the theme park, the roller coaster is a custom "Bobsled" model made by the German ride manufacturer, Gerstlauer. The individual coaster cars are themed to resemble the Green Hornet's Black Beauty, and a Black Beauty car from the film production can be found as part of the ride's queue theming.


title: The Green Hornet (2011 film)

text: The Discovery Channel television show "MythBusters" aired a "Green Hornet Special" that featured Seth Rogen joining the hosts in testing two "myths" from the movie. The cable network Syfy aired a marathon of the TV series "The Green Hornet" on January 11, 2011, as a tie-in to the film's release.


title: The Green Hornet (2011 film)

text: "The Green Hornet" was released on DVD, Blu-ray and Blu-ray 3D on May 3, 2011 by Sony Pictures Home Entertainment.


title: The Green Hornet (2011 film)

text: On Rotten Tomatoes, the film has an approval rating of based on reviews, with an average rating of . The site's critical consensus reads: "It's sporadically entertaining, but "The Green Hornet" never approaches the surreal heights suggested by a Michel Gondry/Seth Rogen collaboration." On Metacritic the film has a score of 39 out of 100, based on 39 critics, indicating "generally unfavorable reviews". Audiences surveyed by CinemaScore gave the film a grade "B+" on scale of A to F.


title: The Green Hornet (2011 film)

text: Kenneth Turan of the "Los Angeles Times" called it "[a]n anemic, 97-pound weakling of the action comedy persuasion ... a boring bromedy that features a hero who has no idea what he's even doing with mumblecore heroics instead of the real thing". Lou Lumenick of the "New York Post" found it "an overblown, interminable and unfunny update (in badly added 3-D)", and called star Rogen "miscast". British critic Peter Bradshaw of the British newspaper "The Guardian", said: "Almost everything about the film is disappointing. Christoph Waltz is under-par as the villain with nothing like the steely charisma of his Nazi in "Inglourious Basterds"". Richard Roeper gave the film a D+, calling it "a lazy, sloppy, unfunny comedy that makes almost no use of the 3-D technology", and judging that "it just falls flat". Roger Ebert gave it one star and called it "an almost unendurable demonstration of a movie with nothing to be about. Although it follows the rough storyline of previous versions of the title, it neglects the construction of a plot engine to pull us through". He also noted the poor use of 3-D and suggested it was added solely in order to charge extra.


title: The Green Hornet (2011 film)

text: Elizabeth Weitzman of the New York "Daily News" gave it 3 stars out of 5, and commented that the "irreverently funny" film had "a vibe so casual you half expect star Seth Rogen to amble off screen and put his feet up on the seat next to you" and praising director Gondry's "sense of humor and acute visual skill" even while calling the movie "cheerfully unfocused".


title: The Green Hornet (2011 film)

text: Seth Rogen proclaimed the film as a "nightmare" in a 2013 interview with Marc Maron, saying that Sony executives paid little attention to the most expensive portions of the film, and its inflated budget.


title: The Green Hornet (2011 film)

text: "The Green Hornet" took in $33,526,876 its opening weekend, and just over $40 million for the four-day Martin Luther King, Jr. Day holiday weekend, topping the box office. In its second weekend, it dropped 47% to $17.7 million, finishing second to "No Strings Attached". In its third weekend, it earned $11.2 million and finished in fourth place. The film ended its theatrical run on April 21, 2011, with a North American domestic gross of $98,780,042 and an international gross of $129,037,206 for a total $227,817,248 worldwide.


title: The Green Hornet (2011 film)

text: Producer Neal Moritz said in March 2012 that no sequel would be forthcoming since the movie "did almost $250 million and was actually very well liked, but we made the movie for too much money. One, we made it in L.A. for certain reasons, and two, we decided to go to 3D—that added another $10 million. If I had done it in a tax-rebate state and not done 3D, it would have been considered a huge financial success for the studio. So we're not making a sequel right now".


title: The Green Hornet (2011 film)

text: In 2016, Paramount Pictures and Chernin Entertainment acquired the film rights to the Green Hornet, with developments for a rebooted adaptation. Gavin O'Connor signed on to produce and direct, and Sean O'Keefe as the screenwriter. The project did not come to fruition and the rights lapsed.


title: The Green Hornet (2011 film)

text: In 2020, Universal Pictures and Amasia Entertainment announced they were partnering on "The Green Hornet and Kato" and are in development on a film based on the classic characters. Amasia won the feature film franchise rights to the Green Hornet in January with Amasia's co-founders Michael Helfant and Bradley Gallo producing. Helfant is a veteran Hollywood executive who was president and chief operating officer of Marvel Studios for several years starting in 2005. In 2022, director Leigh Whannell became attached to the project as well as screenwriter David Koepp.


title: Patrick Bamford

text: Patrick James Bamford (born 5 September 1993) is an English professional footballer who plays as a striker for club Leeds United and the England national team.


title: Patrick Bamford

text: Bamford began his career at Nottingham Forest, making his debut in December 2011, at the age of 18. A month later he joined Chelsea for a fee of £1.5 million. He was loaned out to Milton Keynes Dons, Derby County, and Middlesbrough, winning the Championship Player of the Year for the 2014–15 season. Bamford then had further loans at Premier League clubs Crystal Palace, Norwich City and Burnley, but saw limited playing time.


title: Patrick Bamford

text: After five years at the club without making a first-team appearance, Bamford left Chelsea and returned to Middlesbrough for a fee in the region of £5.5 million in January 2017. He subsequently joined Leeds United in July 2018 for a fee possibly rising to £10 million, and helped the club win the Championship title during the 2019–20 season and gain promotion to the Premier League.


title: Patrick Bamford

text: Bamford was capped by the Republic of Ireland at under-18 level before changing allegiances to England. He has represented England from under-18 to senior level, making his senior debut in September 2021.


title: Patrick Bamford

text: Bamford was born in Grantham, Lincolnshire, and raised in the small, nearby village of Norwell, Nottinghamshire. He joined Nottingham Forest's academy as an eight-year-old after playing junior football for Muskham Cougars. He attended the independent fee-paying Nottingham High School, where due to the lack of a school football team, he played rugby union as a full-back, until the end of Year 10. Bamford ended up with five A*s, three As and two Bs in his GCSEs. He studied French, History, Biology and General Studies at A-Level and attained 3 Bs and a C. Bamford was offered a place at Harvard University and on the Harvard Men's Soccer team, but he rejected the offer to continue his career in England.


title: Patrick Bamford

text: Described by the "Yorkshire Evening Post" in 2018 as "not your typical footballer", he plays the piano, violin, guitar and saxophone, and is conversational in French, Spanish and German. He has said that his more privileged upbringing has led him to be treated differently in a sport where most players are from the working class.


title: Patrick Bamford

text: Bamford was an unused substitute during Forest's League Cup third round tie against Newcastle United at the City Ground on 21 September 2011, a 4–3 defeat after extra time. He made his Forest debut against Cardiff City in a 1–0 home defeat on 31 December, coming on as a substitute for Matt Derbyshire with 12 minutes remaining.


title: Patrick Bamford

text: He appeared in Forest's next game on 2 January 2012, coming on again as an added-time substitute for Andy Reid as Forest beat Ipswich Town 3–1 at Portman Road.


title: Patrick Bamford

text: On 31 January 2012, Bamford joined Chelsea on a five-year contract for a fee of £1.5 million. On 8 February 2012, he started to train with Chelsea's first-team squad. He made his debut for the reserves in a friendly against Gillingham at Cobham, with Chelsea emerging victorious 5–4. Bamford netted his first goal in Chelsea colours, rounding off a tidy team move and also scored his second, the winner from the penalty spot. On 21 July 2015, Bamford signed a new three-year contract with Chelsea before being loaned out to Crystal Palace for the upcoming season.


title: Patrick Bamford

text: On 22 November 2012, he signed on loan at Milton Keynes Dons (MK Dons) until 7 January. He made his debut three days later against Colchester United, and ended the match with three assists. Manager Karl Robinson said that he hoped Bamford would stay until the end of season.


title: Patrick Bamford

text: On 31 January 2013, Bamford's loan was extended until 20 May, having impressed enough before sustaining a hamstring injury. On 19 March, he netted the first goal of his professional career at Crewe Alexandra's Gresty Road.


title: Patrick Bamford

text: On 1 July, Bamford rejoined MK Dons on loan until 5 January 2014. Bamford scored 14 league goals in 23 appearances for MK Dons during this six-month period, and thus was the subject of speculation that he would be sent on loan to a club at a higher level. On 31 December, Karl Robinson confirmed that Bamford would not be returning to MK Dons after his loan deal expired. His new club was later announced as Derby County. He made his last appearance for Milton Keynes on 4 January 2014, where he scored his 17th goal of the season in the closing stages of a 3–3 draw against the holders Wigan Athletic in the third round of the FA Cup.


title: Patrick Bamford

text: On 3 January 2014, Derby County confirmed the signing of Bamford on a loan until the end of the season. Bamford made his debut for Derby as a substitute on 10 January, in a 4–1 away defeat to Leicester City. His first goal came in his next game, at home to Brighton & Hove Albion, when he opened the scoring in the 76th minute after coming on as a 59th-minute substitute for Simon Dawkins. He dedicated the goal to his godfather, former Nottingham Forest chairman Nigel Doughty. On 24 January, Bamford won the Football League Young Player of the Month award for December following his performances on loan at MK Dons. One day later, he scored his 19th goal of the season in a 1–1 draw against Blackburn Rovers. Bamford continued his great form, scoring in the next two matches, against Yeovil Town on 28 January and against Birmingham City on 1 February. On 18 February, Bamford's strike earned Derby a 1–0 win at Hillsborough against Sheffield Wednesday. However, he failed to score in the next six games for Derby, but on 25 March, he scored in a 2–1 loss against Ipswich. In the next game on 29 March against Charlton Athletic, he scored the second of three goals, capitalising on an error by the captain Johnnie Jackson in the 38th minute. Bamford continued his goalscoring form as he netted his 25th of the season away from home against Blackpool on 8 April.


title: Patrick Bamford

text: On 29 August 2014, Bamford joined Middlesbrough on loan until 1 January. Bamford made his debut as a substitute on 30 August 2014, in a 1–0 home defeat to Reading. On 20 September he scored his debut goal for "Boro" in his first start for the club: a 4–0 home win over Brentford.


title: Patrick Bamford

text: Bamford replaced Grant Leadbitter for the final eight minutes of extra time in the third round of the League Cup against Liverpool on 23 September. In added time, he was fouled by Kolo Touré for a penalty which he converted himself to make the score 2–2, thus resulting in a penalty shootout. Although his penalty in the shoot-out was saved by Simon Mignolet, he scored one in sudden death, but Middlesbrough lost 14–13 on penalties.


title: Patrick Bamford

text: After scoring in the League Cup against Liverpool on 23 September, Bamford went through a dry period of four games without scoring. On 1 November, he scored the opening goal in a 3–0 win over Rotherham United. He scored again three days later against Norwich City in a 4–0 win for Boro. On 22 November, Bamford came off the bench in the 55th minute against Wigan Athletic, and within three minutes of coming onto the pitch, scored the goal which levelled the game, the match ending in a 1–1 draw. Bamford continued his fine scoring form, scoring Boro’s only goal on 29 November to share the points with Blackburn Rovers and on 6 December in a 5-1 win at The Den against Millwall: four goals in five games.


title: Patrick Bamford

text: Bamford again continued to impress during the game against league leaders Derby County on 13 December, in which he scored the opening goal within the first six minutes, and later won a penalty which was converted by Leadbitter in a 2–0 win. The result moved his team into 2nd place in the Championship, level on points with Bournemouth. On 31 December, his loan was extended for the remainder of the season.


title: Patrick Bamford

text: On 24 January 2015, in the fourth round of the FA Cup, Bamford exploited an error by Fernando to open the scoring as Middlesbrough defeated reigning Premier League champions Manchester City 2–0 away.


title: Patrick Bamford

text: On 3 April, Bamford sent Middlesbrough to the top of the Championship table by scoring his 17th goal of the season in a 1–0 win against Wigan Athletic. On 11 April, he scored his 18th goal of the season against Rotherham United, but did miss a penalty during stoppage-time after fighting it over with fellow striker Kike who won the penalty originally. Later on, Bamford revealed that he was the designated penalty-taker and apologised to his teammate for missing the penalty. Also that month, he was nominated at the Football League Awards for Championship Player of the Year and Young Player of the Year. He won the first award, with the second going to Dele Alli of Milton Keynes Dons.


title: Patrick Bamford

text: Bamford ended the 2014–15 season with 19 goals in total, 17 coming in the league, making him the team's top scorer for the season.


title: Patrick Bamford

text: On 21 July 2015, Bamford signed on loan for Crystal Palace for the upcoming season. After a successful pre-season with Crystal Palace, which included a hat-trick against Bromley, Bamford was an unused substitute for Palace's opening match against Norwich City on 8 August. He made his competitive debut for Palace eight days later in a 2–1 home defeat to Arsenal, replacing James McArthur for the final ten minutes.


title: Patrick Bamford

text: On 28 December, Bamford terminated his loan spell and returned to Chelsea after featuring as a substitute in the 0–0 draw against Swansea City. Bamford cited lack of first-team opportunities as the reason for his departure. It was subsequently reported that Bamford's decision had been made by himself alone, and that the two clubs involved were to hold talks over his future.


title: Patrick Bamford

text: On 30 January 2016, after terminating his loan spell with Crystal Palace, Bamford joined Norwich City on loan until the end of the season. Bamford was given the number 11 jersey upon arrival. On 6 February 2016, Bamford made his debut for the Canaries in a 2–0 away defeat to Aston Villa, replacing Wes Hoolahan in the 56th minute. On 12 March 2016, he made his first Premier League start in a 0–0 draw with Manchester City, where he had the best opportunity of the game to score with a shot from 25 yards out which hit the bar.


title: Patrick Bamford

text: On 30 August 2016, Bamford joined Burnley on a season-long loan. Ten days later, he made his debut by replacing Andre Gray in the 80th minute of a 1–1 draw against Hull City. After making six Premier League appearances, his loan was cut short after he was recalled by Chelsea on 14 January 2017, with Bamford citing a clash of personalities with the Burnley manager Sean Dyche during his spell at the club.


title: Patrick Bamford

text: On 18 January 2017, Bamford joined Middlesbrough, then in the Premier League, on a four-and-a-half-year deal in the region of £5.5 million, reuniting him with Aitor Karanka. Three days later, he made his debut off the bench in a 3–1 loss against West Ham United. On 8 May 2017, Bamford faced his former team, Chelsea in a 3–0 defeat at Stamford Bridge, resulting in the relegation of Middlesbrough. On 13 May, Bamford made his first start of the season and scored his first ever Premier League goal in a 2–1 loss against Southampton.


title: Patrick Bamford

text: After an injury to the lone striker Rudy Gestede in February 2018, during the 2017–18 season, Bamford was moved from out wide to a lone striker role under manager Tony Pulis, where he flourished and, on 2 March 2018, scored his first ever hat-trick against Leeds United. In April, he was nominated for the Player of the Month award for March 2018, but lost out to Fulham striker Aleksandar Mitrović.


title: Patrick Bamford

text: Bamford scored 13 goals in 44 appearances in all competitions during the 2017–18 season, to help Middlesbrough reach the Championship play-off semi-finals, where they were eliminated by Aston Villa.


title: Patrick Bamford

text: On 31 July 2018, Bamford joined Leeds United for an undisclosed fee on a four-year contract. He was given the number 9 shirt for the season. The fee was believed to be £7 million (rising up to £10 million depending on bonuses), making Bamford Leeds' most expensive signing since Robbie Fowler had joined Leeds in 2001. He made his debut on 11 August in a 4–1 win at Derby County. On 14 August, Bamford made his first start for Leeds in an EFL Cup fixture against Bolton Wanderers, the game also saw him score his first goal for the club in a 2–1 win.


title: Patrick Bamford

text: On 7 September 2018, Bamford started for the Leeds United under-23 team against Bristol City. He scored the first goal of the game in a 5–0 win, but hobbled off the pitch after half an hour with a suspected knee injury. The following week, Leeds announced that the striker had suffered a posterior cruciate ligament injury and was facing four months on the sidelines.


title: Patrick Bamford

text: On 15 December, Bamford returned from his cruciate ligament injury as a second-half substitute against Bolton, opening the scoring for his first league goal for the club in a 1–0 win. However, he picked up another knee ligament injury in training before the following game against Aston Villa and was ruled out for several weeks.


title: Patrick Bamford

text: Bamford made a return from injury to first-team action on 2 February 2019, scoring in a 3–1 defeat against Norwich City. He made his first start for Leeds in the league, in Leeds' 1–1 draw against his old side Middlesbrough on 9 February 2019.


title: Patrick Bamford

text: He took his tally to six goals for the season (one in an EFL Cup home tie in August against Bolton), after scoring a brace in a 4–0 win against West Bromwich Albion on 1 March. Despite following up with the game's only goal at Bristol City a week later, Bamford's form slumped during March, and included a missed penalty at Elland Road against Millwall on 30 March, but he scored both goals in a powerful display in Leeds's 2–0 win at Preston on 9 April and, in his 200th professional appearance, Leeds' only goal in their shock 1–2 defeat by 10-man Wigan 10 days later.


title: Patrick Bamford

text: On 30 April 2019, the Football Association handed Bamford a two-match ban after charging him with "successful deception of a match official" during the home game against Aston Villa in which Bamford feigned injury in a fracas involving Anwar El Ghazi. El Ghazi's red card was later rescinded by the FA and Bamford received a two-match ban for deception. Replays showed that Bamford had dived to the ground clutching his face despite no contact being made.


title: Patrick Bamford

text: During the 2018–19 season, Bamford played 25 games in all competitions, scoring 10 goals in an injury-hit season after Leeds finished the regular season in third place, having dropped out of the automatic promotion places with three games left following a defeat to 10-man Wigan on 19 April. Leeds qualified for the playoffs and, with Bamford out suspended, Kemar Roofe started the first leg of the Championship play-offs at Pride Park on 11 May 2019, netting the sole goal of the game against sixth-placed Derby County for Roofe's 15th goal of the season.


title: Patrick Bamford

text: But Roofe was replaced in the starting line-up of the Elland Road return leg by a returning (from suspension) Bamford, after Roofe picked up an injury in the second half of the 1–0 win at Pride Park. However, Leeds were beaten 4–3 on aggregate over the two legs: with Roofe out injured, Leeds lost the home leg 4–2 in an encounter that saw both teams reduced to 10 men and Derby progress to the final against Aston Villa (which Villa won, joining already-promoted Norwich City and Sheffield United in the Premier League for the 2019–20 season). Bamford finished the season with 13 goals across 44 games for Leeds.


title: Patrick Bamford

text: In August 2019, Bamford was one of the main stars of the Amazon Prime documentary "Take Us Home", telling the story of the 2018–19 season. He featured in several episodes, and the series was narrated by Academy Award-winning actor and Leeds fan Russell Crowe.


title: Patrick Bamford

text: Citing the fact that he was now "focused on being a lot more aggressive" after the summer, Bamford scored his first goal of the 2019–20 season on 4 August in Leeds' opening day 3–1 victory against Bristol City. With both goals to his name in the away tie at Wigan on 17 August and a goal at Stoke the following week, Bamford brought his tally to four league goals from five Championship games.


title: Patrick Bamford

text: His performances saw him one of six players nominated in September for the Championship PFA Player of the Month for August 2019; however, Bamford lost out to his teammate Ben White who won the award on 4 September.


title: Patrick Bamford

text: With criticism of Bamford building following the striker's three-game goal drought and Derby's 91st-minute equaliser at Elland Road on 21 September 2019, head coach Marcelo Bielsa noted through his translator at the post-game press conference, that "if we want to analyse, we cannot avoid to have this talk," concerning the attacking issues of the current team. "Maybe we can be more efficient with [Bamford and Nketiah] in the team," he noted about the 1–1 result where, having dominated possession yet squandering at least 10 goalscoring opportunities to Derby's one shot on goal – by half-time, Leeds had had 71% possession – Bielsa continued that:


title: Patrick Bamford

text: Referring to the 79th-minute substitution of Eddie Nketiah for Bamford, Bielsa noted: "When I put Nketiah on the pitch I was thinking [of] taking out Klich and that Eddie and Bamford play together – Bamford behind Eddie. Bamford [took] this decision: he has to be combine[d] and he's starting to know some players, in the case of Nketiah for example, he needs to know how he combines with ... both of them." Teammate Kalvin Phillips in a separate interview after the same game, believed that "Pat's played very well today, to be honest. I think he was unlucky to be brought off but I think, you know, once Pat starts scoring, once he gets a goal or two, he'll just fly, because he's getting in them positions where one's going to go in eventually." Bamford, however, did not manage to find the net in September or October and in nearly every game during those two months was substituted, mostly by Nketiah, at various points in the second half, but his 30th-minute penalty against Blackburn on 9 November at Elland Road (in which he also provided the final ball for Jack Harrison's game-winning goal just five minutes later) broke a 10-game goal scoring drought for the centre-forward and he recorded his tenth goal of the season in Leeds's pre-Christmas 2–1 loss at Fulham.


title: Patrick Bamford

text: Coming on as a half-time replacement for Nketiah on 1 January 2020, in the Arsenal loanee's final game for Leeds at then-second-placed West Brom, Bamford had an immediate impact, heading home Leeds's sole goal of the game (although a deflection saw it counted as an own goal). The 1–1 result kept Leeds on top of the table on goal difference.


title: Patrick Bamford

text: However, with the departure of Nketiah, Bamford's profligacy in front of goal during the 0–2 home loss to Sheffield Wednesday on 11 January, and in the 1–0 loss at Loftus Road seven days later (where he missed a penalty), brought the club's striking options into sharp focus, although by March he had found the net again: in Leeds' 2–0 win over Huddersfield Town.


title: Patrick Bamford

text: The English professional football season was paused in March 2020 due to the impact of the COVID-19 pandemic and resumed three months later. Leeds' first home game following that break was on 27 June, when Bamford scored the 10th-minute opening goal in their 3–0 victory over then-fourth-placed Fulham. This scoreline restored Leeds to the top of the Championship division table. The following week, Bamford opened the scoring again as Leeds beat Blackburn 3–1. The interrupted 2019–20 season was eventually completed in late July, and Bamford finished the season with 16 goals, making him Leeds United's top scorer by a large margin. The club won the Championship title, thereby returning to the Premier League after a 16-year absence.


title: Patrick Bamford

text: Bamford started the first three Premier League fixtures of Leeds United's season, scoring in each game: against Liverpool (netting the second goal in a 4–3 away defeat), against Fulham, in a 4–3 home win and, with a late header at Bramall Lane, in a 1–0 win over Sheffield United. On 2 October 2020, Bamford was nominated for Premier League Player of the Month for the three goals and one assist he had in September but lost out to Everton’s Dominic Calvert-Lewin.


title: Patrick Bamford

text: In Leeds' second game back after the international break, Bamford scored his first Premier League hat trick, in a 3–0 away win on 23 October over Aston Villa. He was the winner of the Professional Footballers' Association Fans' Bristol Street Motors Premier League Player of the Month for September and October and scored his 100th professional goal on 8 February 2021, netting Leeds' second in their 2–0 defeat of Crystal Palace.


title: Patrick Bamford

text: Bamford ended the season with 17 league goals (joint-fourth with Son Heung-min, behind Bruno Fernandes, Mohamed Salah and the season's top scorer, Harry Kane), his highest career goal return since scoring 17 goals with Middlesbrough during the 2014–15 season in the Championship, and the first player to score as many goals for a newly promoted side since Charlie Austin scored 18 goals for Queens Park Rangers in the 2014–15 season. Bamford played in all 38 league fixtures, starting almost every game, with Bielsa occasionally bringing on Tyler Roberts as a tactical substitute for him in the first few weeks of the season, and Rodrigo proving to be a prolifically goal-scoring substitute for Bamford in the season's final fixtures.


title: Patrick Bamford

text: On 19 August 2021, Bamford signed a new five-year contract with Leeds. He scored his first goal of the season on 29 August with an 86th-minute equaliser in a 1–1 draw at Burnley. However, a 17 September ankle injury in a 1–1 draw at Newcastle United, a game in which Luke Ayling also suffered a knee injury, saw Bamford sidelined into November while a variety of forwards, including Rodrigo, Raphinha and Joe Gelhardt were tried in various combinations. In his 5 December return game, where he came on as a 68th-minute substitute for Junior Firpo, Bamford netted the 95th-minute equaliser in a 2–2 home draw with Brentford. Coincidentally, the Brentford tie also marked Ayling's return, and the defender provided the assist for Bamford. However, the striker injured his hip in the post-goal celebration, which ruled him out for the remainder of December’s games and in January 2022 he suffered sole of the foot issues and did not play any games that month or February either.


title: Patrick Bamford

text: On 5 March, Bamford made his return to the bench as an unused substitute in Jesse Marsch’s first game in charge (a 1-0 defeat at the King Power Stadium), the striker’s first time named in the squad since December, and on 10 March he came on as a 58th minute substitute for Jack Harrison. Three days later, Bamford started his first game in almost six months — in Leeds’s dramatic 2-1 win at Elland Road against Norwich City — before being substituted by Robin Koch in the 60th minute. However, his start in the game on 18 March at Molineux saw him in visible pain from the whistle and led to him being substituted by Sam Greenwood in the 23rd minute. In a wide-ranging interview with BBC Radio Leeds on 9 April 2022, following his re-injury against Wolves, he spoke of the injuries he had suffered during his blighted season, specifically the Wolves game:


title: Patrick Bamford

text: Bamford made no further appearances for Leeds in the 2021-22 season, although he was in contention in the lineup for the crucial, final game of the season when he was stricken with a bad case of Covid.


title: Patrick Bamford

text: Bamford’s litany of injuries continued into the new season: in his 13 August game at Southampton, he was substituted by Dan James in the first half with an adductor injury and in the eight subsequent appearances he has made, he has only started two of them, remaining on the pitch for just over an hour in both cases.


title: Patrick Bamford

text: Bamford played for the Republic of Ireland once at under-18 level, as he qualifies to play for Ireland under the grandparent rule. On 28 February 2012, Bamford made his first appearance for the England under-19s in a friendly against the Czech Republic. He was brought on at half time and 20 minutes into the second half Chelsea teammate Todd Kane put a cross into the box which Bamford firmly headed into the goal, scoring his first England under-19 goal. On 17 November 2013, he was called up to the England under-21 team for the first time for a game against San Marino under-21s after a fantastic start to the season, having scored 12 goals in 20 appearances. Two days later, Bamford made his under-21s debut, coming on as a 65th-minute substitute in a 9–0 win over San Marino.


title: Patrick Bamford

text: Bamford was included in Gareth Southgate's 27-man preliminary squad for the 2015 UEFA European Under-21 Championship, but was excluded from the final squad due to injury.


title: Patrick Bamford

text: In March and July 2018, Republic of Ireland manager Martin O'Neill revealed he and assistant manager Roy Keane had been scouting Bamford, as they were looking into the possibility of calling him up to the Republic of Ireland squad, should the striker change allegiance back to the Ireland national team. On 23 December 2018, new Republic of Ireland manager Mick McCarthy confirmed he would be speaking to Bamford about calling him up to the national team, and on 7 March 2019 McCarthy claimed that Bamford would be switching his allegiance back to Ireland. McCarthy said in June 2019 that he was still waiting for Bamford to make a decision about playing for Ireland, saying that he was "refusing to chase" him with former Leeds and Republic of Ireland striker Robbie Keane saying: "He should be chasing us. He should want to come here. If he doesn't want to, no problem. We shouldn't be chasing people, by the way."


title: Patrick Bamford

text: In October 2020, Bamford said in an interview that it "would be a dream [come true]" to play for England and make the England squad for UEFA Euro 2020 (later postponed until 2021 due to the COVID-19 pandemic). He also said that he would aim to make the squad but was not named as one of Gareth Southgate's squad of 26 players, nor his provisional 33-player-squad, announced on 25 May 2021.


title: Patrick Bamford

text: In August 2021, Bamford was called up for the England national team for the first time ahead of September's 2022 FIFA World Cup qualifiers against Hungary, Andorra and Poland. His debut came against Andorra on 5 September 2021, where he started and played 62 minutes of the 4–0 victory at Wembley Stadium (he was not named for the game against Hungary, but was an unused substitute in the Poland game in Warsaw on 8 September).


title: Patrick Bamford

text: Bamford is a versatile forward, who can play as a lone striker (which is how he was almost exclusively utilised by Marcelo Bielsa) or in a pair, and can also play in an attacking midfield position or on either wing. He is known for his technique and ability on the ball and his delivery of assists, as well as his proficiency in the air. Although deployed as a solitary striker, Bamford also provides one of the highest rates of assists for a player in his position in the Premier League.


title: Patrick Bamford

text: Bamford became a father in 2022: “I had a little girl at the start of February. Really it was kind of perfect timing, cos I was injured, so I could get used to the non-sleep thing.”


title: Public speaking

text: Public speaking, also called oratory or oration, has traditionally meant the act of speaking face to face to a live audience. Today it includes any form of speaking (formally and informally) to an audience, including pre-recorded speech delivered over great distance by means of technology.


title: Public speaking

text: Confucius, one of many scholars associated with public speaking, once taught that if a speech was considered to be a good speech, it would impact the individuals' lives whether they listened to it directly or not. His idea was that the words and actions of someone of power can influence the world.


title: Public speaking

text: Public speaking is used for many different purposes, but usually as some mixture of teaching, persuasion, or entertaining. Each of these calls upon slightly different approaches and techniques.


title: Public speaking

text: Public speaking was developed as a primary sphere of knowledge in Greece and Rome, where prominent thinkers codified it as a central part of rhetoric. Today, the art of public speaking has been transformed by newly available technology such as videoconferencing, multimedia presentations, and other nontraditional forms.


title: Public speaking

text: The function of public speaking depends entirely on what effect a speaker intends when addressing a particular audience. The same speaker, with the same strategic intention, might deliver a substantially different speech to two different audiences. The point is to change something, in the hearts, minds, or actions of the audience.


title: Public speaking

text: Despite its name, public speaking is frequently delivered to a closed, limited audience with a broadly common outlook. Audiences may be ardent fans of the speaker; they may be hostile (attending an event unwillingly, or out of spite); or they may be random strangers (indifferent to a speaker on a soapbox in the street). All the same, effective speakers remember that even a small audience is not one single mass with a single point of view but a variety of individuals.


title: Public speaking

text: As a broad generalization, public speaking seeks either to reassure a troubled audience, or to awaken a complacent audience to something important. Having decided which of these approaches is needed, a speaker will then combine information and storytelling in the way most likely to achieve it.


title: Public speaking

text: The word persuasion comes from a Latin term “ "persuādēre".”  The main goal behind a persuasive speech is to change the beliefs of a speaker's audience. Examples of persuasive speaking can be found in any political debate where leaders are trying to persuade their audience, whether it be the general public, or members of the government.


title: Public speaking

text: Persuasive speaking can be defined as a style of speaking in which there are four parts to the process: the persuader, the audience, the method in which the speaker uses to speak, and the message that the speaker is trying to enforce. When trying to persuade an audience, a speaker targets the audience's feelings and beliefs, to help change the opinions of the audience.


title: Public speaking

text: There are different techniques a speaker can use to gain the support of an audience. Some of the major techniques would include demanding the audience to take action, using inclusive language ('we' & 'us') to make the audience and speaker seem as if they are one group, and choosing specific words that have a strong connotative meaning increasing the impact of the message. Asking rhetorical questions, generalizing information (including anecdotes), exaggerating meaning, using metaphors, and applying irony to situations are other methods in which a speaker can enhance the chances of persuading an audience.


title: Public speaking

text: Knowledge may be transferred through public speaking. A popular example of educational public speaking is TED Talks, where the speaker will inform listeners about various topics, such as science, physics, biology, technology, religion, economics, human society, astronomy, animal studies, psychology, and many others. TED speakers also share their personal experiences with traumatic life events, such as abuse, bullying, grief, assault, suicidal ideation and/or attempts, near death experiences, and mental illness, or use their platform to raise awareness and acceptance for disabilities, facial differences, LGBT rights, children's rights, women's rights, and stigmatized life circumstances.


title: Public speaking

text: The intervention style of speaking is a relatively new method proposed by a rhetorical theorist named William R. Brown. This style revolves around the fact that humans create a symbolic meaning for life and the things around them. Due to this, the symbolic meaning of everything changes based on the way one communicates. When approaching communication with an intervention style, communication is understood to be responsible for the constant changes in the society, behaviors, and how one considers the meaning behind objects, ideologies, and every day life.


title: Public speaking

text: From an interventional perspective, when individuals communicate, they are intervening with what is already reality and might “shift symbolic reality.” This approach to communication also encompasses the possibility or idea that one may be responsible for unexpected outcomes due to what and how one communicates. This perspective also widens the scope of focus from a single speaker who is intervening to a multitude of speakers all communicating and intervening, simultaneously affecting the world around us.


title: Public speaking

text: Although there is evidence of public speech training in ancient Egypt, the first known piece on oratory, written over 2,000 years ago, came from ancient Greece. This work elaborated on principles drawn from the practices and experiences of ancient Greek orators.


title: Public speaking

text: Aristotle was one who first recorded the teachers of oratory to use definitive rules and models. One of his key insights was that speakers always combine, to varying degrees, three things: reasoning, credentials, and emotion, which he called Logos, Ethos, and Pathos. Aristotle's work became an essential part of a liberal arts education during the Middle Ages and the Renaissance. The classical antiquity works written by the ancient Greeks capture the ways they taught and developed the art of public speaking thousands of years ago.


title: Public speaking

text: In classical Greece and Rome, rhetoric was the main component of composition and speech delivery, both of which were critical skills for citizens to use in public and private life. In ancient Greece, citizens spoke on their own behalf rather than having professionals, like modern lawyers, speak for them. Any citizen who wished to succeed in court, in politics, or in social life had to learn techniques of public speaking. Rhetorical tools were first taught by a group of rhetoric teachers called Sophists who were notable for teaching paying students how to speak effectively using the methods they developed.


title: Public speaking

text: Separately from the Sophists, Socrates, Plato, and Aristotle developed their own theories of public speaking and taught these principles to students who wanted to learn skills in rhetoric. Plato and Aristotle taught these principles in schools that they founded, The Academy and The Lyceum, respectively. Although Greece eventually lost political sovereignty, the Greek culture of training in public speaking was adopted almost identically by the Romans.


title: Public speaking

text: Demosthenes was a well-known orator from Athens. After his father died when he was 7, he had three legal guardians which were Aphobus, Demophon, and Theryppides. His inspiration for public speaking came after he learned that his guardians had robbed his father's money left for his education. He was first exposed to public speaking when his suit required him to speak in front of the court. Demosthenes started practicing public speaking more after that and is known for sticking pebbles into his mouth in order to help his pronunciation, talk while running so that he wouldn't lose his breath while speaking, and practice talking in front of a mirror to improve his delivery. When Philip II, the ruler of Macedon, tried to conquer the Greeks, Demosthenes made a speech called "Kata Philippou A." In this speech, he spoke to the rest of the Greeks about why he opposed Philip II and why the ruler was a threat to them. This speech was one of the first speeches that were known as the Philippics. He had other speeches known as the Olynthiacs and these speeches along with the Philippics were used to get the people in Athens to rally against Philip II. Demosthenes was known for being in favor of independence.


title: Public speaking

text: In the political rise of the Roman Republic, Roman orators copied and modified the ancient Greek techniques of public speaking. Instruction in rhetoric developed into a full curriculum, including instruction in grammar (study of the poets), preliminary exercises (progymnasmata), and preparation of public speeches (declamation) in both forensic and deliberative genres.


title: Public speaking

text: The Latin style of rhetoric was heavily influenced by Cicero and involved a strong emphasis on a broad education in all areas of humanistic study in the liberal arts, including philosophy. Other areas of study included the use of wit and humor, the appeal to the listener's emotions, and the use of digressions. Oratory in the Roman empire, though less central to political life than in the days of the Republic, remained significant in law and became a big form of entertainment. Famous orators became celebrities in ancient Rome—very wealthy and prominent members of society.


title: Public speaking

text: The Latin style was the primary form of oration until the beginning of the 20th century. After World War II, however, the Latin style of oration began to gradually grow out of style as the trend of ornate speaking was seen as impractical. This cultural change likely had to do with the rise of the scientific method and the emphasis on a "plain" style of speaking and writing. Even formal oratory is much less ornate today than it was in the Classical Era.


title: Public speaking

text: Ancient China had a delayed start to the implementation of Rhetoric (persuasion) as China did not have rhetoricians teaching rhetoric to its people. It was understood that Chinese rhetoric was already within Chinese philosophy. However, ancient China did have philosophical schools that focused on two concepts: “‘Wen’ (rhetoric) and ‘Zhi’ (thoughtful content).” Ancient Chinese rhetoric shows strong connections with modern-day teachings of public speaking because of ethics being of high value in Chinese rhetoric.


title: Public speaking

text: Ancient Chinese rhetoric had three meanings: modifying language use to reflect people’s feelings; modifying language use to be more punctual, effective, and impactful; and rhetoric being used as an “aesthetic tool.” Traditionally, Chinese rhetoric focused primarily on written language via-à-vis spoken, but written language and spoken language share similar constructional characteristics.


title: Public speaking

text: The unique and key difference between Chinese rhetoric and the rhetoric of western cultures can be found in the type of audience being persuaded. In western rhetoric, a public audience is typically the target for persuasion, whereas state rulers were the focus for persuasion in Chinese rhetoric. Another difference between Chinese and Western rhetoric practices is how a speaker establishes credibility or Ethos. The ethical appeal in Chinese rhetoric is not solely focused on the speaker itself, as seen with the western implementation of credibility, but more in the way that the speaker connects to the audience with collectivism. A speaker can accomplish this by sharing personal experiences and establishing a connection between a speaker's concern and public interest.


title: Public speaking

text: When analyzing public speakers, the Chinese approach to rhetoric indicates that an audience should identify three standards: tracing, examination, and practice. Establishing the tracing of a speaker can be described as how well the speaker is speaking according to traditional practices of speech. Examination refers to the consideration of civilian's daily lives. Practice is found in the topic or argument itself and that it is relevant and benefits the “state, society, and people.”


title: Public speaking

text: Aristotle and one of his most famous writings, "Rhetoric" (written in 350 B.C.E), have been used as a foundation for learning how to master the arts of public speaking. In his works, rhetoric is the act of publicly persuading the audience. Rhetoric is similar to dialect, he defines both as being acts of persuasion. However, dialect is the act of persuading someone in private, whereas rhetoric is about persuading people in a public setting. More specifically, Aristotle defines someone who practices rhetoric or a "rhetorician" as an individual who is able to interpret and understand what persuasion is and how it is applied.


title: Public speaking

text: Aristotle breaks up the making of the practice of rhetoric into three categories, the categories being the elements of a speech: the speaker, the topic or point of the speech, and the audience. Aristotle also includes three types of oratory or respects: politics, forensic, and ceremonial. The political oratory is used when the intent is to convince someone or a body of people to do something or not. In the forensic approach, someone is the center of attention for them to be accused or defended. Lastly, with the ceremonial approach, someone is being recognized for their actions in either a positive or negative way.


title: Public speaking

text: Aristotle breaks down the political category into five focus or themes: "ways and means, war and peace, national defense, imports and exports, and legislation." These focuses are broken down into detail so that a speaker can focus on what is needed to take into consideration so that the speaker can effectively influence an audience to agree and support the speaker's ideas. The focus of "ways and means" deals with economic aspects in how the country is spending money. "Peace and War" focus on what the country has to offer in terms of military power, how war has been conducted, how war has affected the country in the past, and how other countries have conducted war. "National defense" deals with taking into consideration the position and strength of a country in the event of an invasion. Forces, fortifying structures, points with a strategic advantage should all be considered. "Food supply" is concerned with the ability to support a country in regards to food, importing and exporting food, and carefully making decisions to arrange agreements with other countries. Lastly, Aristotle breaks down the "legislation" theme, and this theme seems to be the most important to Aristotle. The legislation of a country is the most crucial aspect of all the above because everything is affected by the policies and laws set by the people in power.


title: Public speaking

text: In Aristotle's "Rhetoric" writing, he mentions three strategies someone can use to try to persuade an audience: Establishing the character of a speaker (Ethos), influencing the emotional element of the audience (Pathos), and focusing on the argument specifically (Logos). Aristotle believes establishing the character of a speaker is effective in persuasion because the audience will believe what the speaker is saying to be true if the speaker is credible and trustworthy. With the audience's emotional state, Aristotle believes that individuals do not make the same decisions when in different moods. Because of this, one needs to try to influence the audience by being in control of one's emotions, making persuasion effective. The argument itself can affect the attempt to persuade by making the argument of the case so clear and valid that the audience will understand and believe that the speaker's point is real.


title: Public speaking

text: In the last part of "Rhetoric", Aristotle mentions that the most critical piece of persuasion is to know in detail what makes up government and to attack what makes it unique: "customs, institutions, and interest". Aristotle also states that everyone is persuaded by considering people's interests and how the society in which they live influences their interests.


title: Public speaking

text: Despite the shift in style, the best-known examples of strong public speaking are still studied years after their delivery. Among these examples are:


title: Public speaking

text: As in other parts of general culture, the notion of a canon of the most important historical speeches is giving way to a broader understanding. Many previously forgotten historical speeches are being recovered and studied.


title: Public speaking

text: There are many international female speakers. Much of women's earlier public speaking is directly correlated to activism work.


title: Public speaking

text: Between the 18th and 19th century in the United States, women were publicly banned from speaking in the courtroom, the senate floor, and the pulpit. It was also deemed improper for a woman to be heard in a public setting. Exceptions existed for women from the Quaker religion, allowing them speak publicly in meetings of the church.


title: Public speaking

text: Frances Wright was one of the first female public speakers of the United States, advocating equal education for both women and men through large audiences and the press. Maria Stewart, a woman of African American descent, was also one of the first female speakers of the United States, lecturing in Boston in front of both men and women just 4 years after Wright, in 1832 and 1833, on educational opportunities and abolition for young girls.


title: Public speaking

text: The first female agents, and sisters, of the American Anti-Slavery Society, Angelina Grimké and Sarah Grimké created a platform for public lectures to women, and conducted tours between 1837 and 1839. The sisters advocated that slavery relates to women's rights, and that women need equality. Subsequently they came to a disagreement with churches which did not want the two speaking publicly, due to them being women.


title: Public speaking

text: The British political activist, Emmeline Pankhurst, founded the Women's Social and Political Union (WSPU) on October 10, 1903. The organization was aimed towards fighting for a woman's right for parliamentary vote, which only men were granted for at the time. Emmeline was known for being a powerful orator, who led many women to rebel through militant forms until the outbreak of World War I in 1914.


title: Public speaking

text: Malala Yousafzai is a modern-day public speaker, who was born in the Swat Valley in Pakistan, and is an educational activist for women and girls. After the Taliban restricted the educational rights of women in the Swat Valley, Yousafzai presented her first speech "How Dare the Taliban Take Away My Basic Right to Education?," in which she protested the shutdowns of the schools. She presented this speech to a press in Peshawar. Through this, she was able to bring more awareness to the situation in Pakistan. She is known for her “inspiring and passionate speech” about educational rights given at the United Nations. She is the youngest person ever to receive the Nobel Peace Prize, at the age of 17, which was awarded to her in 2014. Her public speaking has brought worldwide attention to the difficulties of young girls in Pakistan. She continues to advocate for educational rights for women and girls worldwide through the Malala Fund, with the purpose of helping girls around the world receive 12 years of education.


title: Public speaking

text: Kishida Toshiko (1861-1901) was a female speaker during the Japanese Meiji Period. In October 1883, she publicly delivered a speech entitled 'Hakoiri Musume' (Daughters Kept in Boxes) in front of approximately 600 people. Performed in Yotsu no Miya Theater in Kyoto, she criticised the action of parents that shelter their daughters from the outside world. Despite her prompt arrest, Kishida demonstrates the ability for Japanese women to evoke women's issues, experience, and liberation in public spaces, through the use of public speaking.


title: Public speaking

text: The fear of speaking in public, known as glossophobia or public speaking anxiety, is often mentioned as one of the most common phobias.


title: Public speaking

text: The reason is uncertain, but it has been speculated that this fear is primal, like how animals fear being seen by predators.


title: Public speaking

text: However, the apprehension experienced when speaking in public can have a number of causes, such as social anxiety disorder, or a prior experience of public humiliation.


title: Public speaking

text: Effective public speaking can be developed by joining a club such as Rostrum, Toastmasters International, Association of Speakers Clubs (ASC), or Speaking Circles, in which members are assigned exercises to improve their speaking skills. Members learn by observation and practice, and hone their skills by listening to constructive suggestions, followed by new public speaking exercises.


title: Public speaking

text: Toastmasters International is a public speaking organization with over 15,000 clubs worldwide, and more than 300,000 members. This organization helps individuals with their public speaking skills, as well as other skills necessary for them to grow and become effective public speakers. Members of the club meet and work together on their skills; each member practices giving speeches, while the other members evaluate and provide feedback. There are also other small tasks that the members do, like practice impromptu speaking by talking about different topics without having anything planned. Each member has a specific role, and all of these roles help with the process of gaining their skills as public speakers, and as leaders. The number of roles lets each member be able to speak at least one time at the meetings. Members are also able to participate in a variety of speech contests, in which the winners can compete in the World Championship of Public Speaking.


title: Public speaking

text: Rostrum is another public speaking organization, founded in Australia, with more than 100 clubs all over the country. This organization aims at helping people become better communicators, no matter the occasion. At the meetings, speakers are able to gain skills by presenting speeches, while members provide feedback to those presenting. Qualified speaking trainers attend these meetings as well, and provide professional feedback at the end of the meetings. There are also competitions that are held for members to participate in. An online club is also available for members, no matter where they live.


title: Public speaking

text: The new millennium has seen a notable increase in the number of training solutions, offered in the form of video and online courses. Videos can provide simulated examples of behaviors to emulate. Professional public speakers often engage in ongoing training and education to refine their craft. This may include seeking guidance to improve their speaking skills, such as learning better storytelling techniques, learning how to effectively use humor as a communication tool, and continuously researching in their topic area of focus.


title: Public speaking

text: Public speaking for business and commercial events is often done by professionals, whose expertise is well established. These speakers can be contracted independently, through representation by a speakers bureau, or by other means. Public speaking plays a large role in the professional world. In fact, it is believed that 70 percent of all jobs involve some form of public speaking.


title: Public speaking

text: New technology has also opened different forms of public speaking that are nontraditional such as TED Talks, which are conferences that are broadcast globally. This form of public speaking has created a wider audience base because public speaking can now reach both physical and virtual audiences. These audiences can be watching from all around the world. YouTube is another platform that allows public speaking to reach a larger audience. On YouTube, people can post videos of themselves. Audiences are able to watch these videos for all types of purposes.


title: Public speaking

text: Multimedia presentations can contain different video clips, sound effects, animation, laser pointers, remote control clickers, and endless bullet points. All adding to the presentation and evolving our traditional views of public speaking.


title: Public speaking

text: Public speakers may use audience response systems. For large assemblies, the speaker will usually speak with the aid of a public address system or microphone and loudspeaker.


title: Public speaking

text: These new forms of public speaking, which can be considered nontraditional, have opened up debates about whether these forms of public speaking are actually public speaking. Many people consider YouTube broadcasting to not be a true form of public speaking because there is not a real and physical audience. Others argue that public speaking is about getting a group of people together in order to educate them further regardless of how or where the audience is located .


title: Public speaking

text: Telecommunication and videoconferencing are also forms of public speaking. David M. Fetterman of Stanford University wrote in his 1997 article "Videoconferencing over the Internet": "Videoconferencing technology allows geographically disparate parties to hear and see each other usually through satellite or telephone communication systems." This technology is helpful for large conference meetings and face-to-face communication between parties without demanding the inconvenience of travel.


The All-American Girls Professional Baseball League (AAGPBL) was a professional women's baseball league founded by Philip K. Wrigley which existed from 1943 to 1954. The AAGPBL is the forerunner of women's professional league sports in the United States. Over 600 women played in the league, which consisted of eventually 10 teams located in the American Midwest. In 1948, league attendance peaked at over 900,000 spectators. The most successful team, the Rockford Peaches, won a league-best four championships. The 1992 film "A League of Their Own" is a mostly fictionalized account of the early days of the league and its stars.


title: All-American Girls Professional Baseball League

text: With the entry of the United States into World War II, several major league baseball executives started a new professional league with women players in order to maintain baseball in the public eye while the majority of able men were away. The founders included Philip K. Wrigley, Branch Rickey, and Paul V. Harper. They feared that Major League Baseball might even temporarily cease due to the war because of the loss of talent, as well as restrictions on team travel due to gasoline rationing.


text: The women's initial tryouts were held at Wrigley Field in Chicago. Scouted from amateur softball games across the country, over 200 women were invited to try out, and about 60 were selected for the league roster. Like the male major-league, the 'girls' league was also informally segregated, thus no African Americans were recruited or hired. Women were selected for their skilled play, but the player also needed to fit what was seen by marketers as a wholesome feminine ideal. The first league game was played on May 30, 1943.


text: Scouts for the Chicago-based All-American Girls Professional Baseball League initially sought and recruited talent from the Chicago softball Metropolitan League, along with several others. However, after seeing many of their players leave for the AAGPL, it was decided to then turn the amateur Metropolitan League to a professional league. The result was the creation of the six-team National Girls Baseball League, which began in 1944, composed entirely of Chicago-area teams. The National Girls baseball League was founded by Emery Parichy, Charles Bidwill, owner of the Chicago Cardinals football team and politician Ed Kolski. Pirachy operated the Metropolitan League. Football star Red Grange was hired to preside over the league. The NGBL was much less publicized than the AAGPL, but it paralleled the AAGPL, as it also lasted until 1954 and drew up to 500,000 fans per season. For a time, the two leagues were involved in a strong rivalry for players, before meeting and calling a poaching truce in 1946. Many players and several managers appeared in both leagues.


text: In the winter of 1952–1953, players from both the AAGPL and National Girls Baseball League played together in the four–team International Girls Baseball League based in Miami, Florida.


text: The All-American Girls Professional Baseball League went through three periods of ownership. It was owned by chewing gum mogul Wrigley from 1943 to 1945, wealthy publicist Arthur Meyerhoff from 1945 to 1951, and the teams were individually owned from 1951 to 1954. The teams generally played in Midwestern cities. The South Bend Blue Sox and the Rockford Peaches were the only two teams that stayed in their home cities for the full period of the AAGPBL's existence.


text: In the first season, the league played a game that was a hybrid of baseball and softball. The ball was 12 inches in circumference, the size of a regulation softball (regulation baseballs are 9 to 9 inches). The pitcher's mound was only forty feet from home plate, closer even than in regulation softball and much closer than the baseball distance of 60 feet, 6 inches. Pitchers threw underhand windmill, like in softball, and the distance between bases was 65 feet, five feet longer than in softball, but 25 feet shorter than in baseball. Major similarities between the AAGPBL and baseball included nine player teams and the use of a pitcher's mound (softball pitchers throw from flat ground). By 1948, the ball had shrunk to 10 inches, overhand pitching was allowed, and the mound was moved back to 50 feet. Over the history of the league, the rules continued to gradually approach those of baseball. By the final season in 1954, the ball was regulation baseball size, the mound was moved back to 60 feet, and the basepaths were extended to 85 feet (still five feet shorter than in regulation baseball). Teams were generally managed by men who knew competitive athletics and were former major league players, in part to demonstrate to fans that the league was serious.


text: Salaries were above average for women and ranged from $45–$85 (or $–$ in dollars) a week during the first years of play to about $125 (or $ in dollars) per week in later years. The women's league generally went along with the men's late spring to early autumn season.


text: The uniforms worn by the female ballplayers consisted of a belted, short-sleeved tunic dress with a slight flare of the skirt. Rules stated that skirts were to be worn no more than six inches above the knee, but the regulation was most often ignored in order to facilitate running and fielding. A circular team logo was sewn on the front of each dress, and baseball caps featured elastic bands in the back so that they were one-size-fits-all.


text: During spring training, the girls were required to attend Helena Rubinstein's evening charm school classes. The proper etiquette for every situation was taught, and every aspect of personal hygiene, mannerisms, and dress code was presented to all the players. In an effort to make each player as physically attractive as possible, each received a beauty kit and instructions on how to use it. As a part of the league's 'Rules of Conduct', the 'girls' were not permitted to have short hair, they could not smoke or drink in public places, they were not allowed to wear pants, and they were required to wear lipstick at all times. Fines for not following the league's rules of conduct were five dollars for the first offense, ten for the second, and suspension for the third. In 1944, Josephine "JoJo" D'Angelo was fired for cutting her hair short. The women's contracts were much stricter about behavior than in the men's league, and each team was also assigned its own chaperone by the league.


text: The AAGPBL received extensive publicity from its inception throughout the 1940s. The league was featured in both national periodicals such as "Time", "Life", "Seventeen", "Newsweek", and American Magazine"," as well as in local city newspapers. Philip Wrigley, the league's founder, believed in the value of advertising, which may have contributed to the league's extensive exposure and marketing focus. Wrigley learned to appreciate advertising from his father, William Wrigley, who had success with his chewing gum company in large part due to marketing methods. The league remained under Wrigley's advertising influence until 1951, when individual team directors took over the publicity.


text: The league's principal advertising agent was Arthur E. Meyerhoff who handled the league's publicity from 1943 through 1950. Meyerhoff's promotional efforts focused on the value of national exposure in popular periodicals. These magazine articles attracted new fans and new players to the AAGPBL. The major publicity themes that characterized the league were “Recreation for War Workers,” “Femininity,” “Community Welfare,” and “Family Entertainment.”


text: The league shifted to decentralized league administration from 1951 to 1954. Thus, the responsibility was on individual team management to publicize and promote the teams. However, local managers were not always effective due to their lack of expertise in advertising. In the 1951 season, the league president Fred Leo asked all team presidents to provide publicity on games and training events. Only one team complied with Fred Leo's request, which led to an early 1952 preseason board meeting to discuss inadequate promotion.


text: Due to the decentralized league administration, many of the promotion efforts from team management were aimed exclusively at local populaces. There were many promotional events with players, children's benefits, civic groups, and holiday celebrations. Along with daily newspaper reports, the primary advertising strategy was radio broadcasts.


text: The AAGPBL peaked in attendance during the 1948 season, when 10 teams attracted 910,000 paid fans. The Rockford Peaches won the most league championships with four (1945, 1948, 1949, 1950). The Milwaukee/Grand Rapids Chicks were second with three (1944 in Milwaukee, 1947 and 1953 in Grand Rapids). The Racine Belles (1943 and 1946) and the South Bend Blue Sox (1951 and 1952) each won two, and the Kalamazoo Lassies won in the league's final season (1954).


text: The 1992 film "A League of Their Own", although fictionalized, covers the founding and play of this league. Geena Davis, Lori Petty, Rosie O'Donnell, Madonna, and Tom Hanks were the stars of the film, which was directed by Penny Marshall. The league is the forerunner of later-day professional league sports played by women.


text: In 2022, a spin-off of the 1992 film with the same name was released ("A League of Their Own (2022 TV series)"). It had the same premise, but different characters and story arcs. It attempted to tell


text: Lois Siegel documented the All-American Girls Professional Baseball League in her film "Baseball Girls", which was produced by the National Film Board of Canada. Olive Little threw the first no-hitter in team and league history.


text: Although the AAGPBL was the first recorded professional women's baseball league, women had played baseball since the nineteenth century. The first known women's baseball team played at Vassar College in 1866, while barnstorming Bloomer Girls teams. (sometimes including men)


text: Baseball Hall of Fame members Max Carey and Jimmie Foxx managed teams in the AAGPBL. The character of Jimmy Dugan, played by Tom Hanks in "A League of Their Own", was loosely based on Foxx's tenure in the league. However, several of his former AAGPBL players said that, unlike Hanks’ character in the movie, Foxx was always gentlemanly around them.


text: The league went through a series of name changes during its history. It was founded as the All-American Girls Softball League, but midway through its first season of 1943, the name was changed to the All-American Girls Baseball League (AAGBBL). After the 1943 season, the official League name was again changed, to the All-American Girls Professional Ball League (AAGPBL), reflecting that players were paid from the start and further separating it from existing amateur leagues. This name was used until the end of the 1945 season, when the league reverted to All-American Girls Baseball League (AAGBBL), which it would use through 1950. When teams were sold to independent owners at the end of the 1950 season, the official League name was changed to the American Girls Baseball League (AGBL), although it continued to be popularly identified as the All-American League or the All-American Girls Baseball League (AAGBBL). When the Players' Association organized in 1986, and gained recognition by the National Baseball Hall of Fame in 1988, it was finally named All-American Girls Professional Baseball League (AAGPBL).


text: The uniform was a one-piece short-skirted flared tunic with a team patch in the center of the chest. The base uniform was designed by Wrigley Company art director Otis Shepard, assisted by Wrigley's wife Helen and Chicago softball player Ann Harnett, the first player signed by the league. Shepard was also the longtime art director for the Chicago Cubs and spearheaded a series of innovative uniforms beginning in 1937. Shepard designed all visual elements of the league, including game scorecards and promotional materials. For his work on the AAGPBL and the Cubs, Shepard was called the "chief visualizer of mid-century baseball."


text: Shepard modeled the uniform after the figure skating, field hockey, and tennis outfits of the period. The uniforms included satin shorts, knee-high baseball socks, and a baseball cap. The team patches were modeled after each respective city's seal.


text: In the beginning, each team was issued one uniform style, to be worn in all games. Shepard unveiled the inaugural uniforms in a palette of pastel colors: green for Kenosha; yellow for Racine; blue for South Bend; and peach for Rockford. The accessories (cap, belt, stirrups) were bold darker shades of the team color. As new teams were added, they were given a new distinctive team color (gray for Milwaukee, pink for Minneapolis). Road uniforms were introduced to the league starting with the 1948 season.


text: The theme song made famous in the 1992 film "A League of Their Own" was the official song of the All-American Girls Baseball League, co-written by Pepper Paire and Nalda Bird (although in the movie, the word "Irishmen" was changed to "Irish ones"). In their annual reunions since 1998, it is usual to hear the original AAGPBL players singing the song.


text: When the All-American Girls Professional Baseball League was unable to continue in 1955, its history and its significance were forgotten by baseball historians. Many people in the 1950s thought that women were not supposed to play baseball, so most female athletes competed on other fields of endeavor. Finally, in 1980, former pitcher June Peppas launched a newsletter project to get in touch with friends, teammates, and opponents that resulted in the league's first reunion in Chicago, Illinois in 1982. The Players Association was formed after a 1986 Reunion held in Fort Wayne as part of Run, Jane, Run, a local Women's Bureau event. Historian and Baseball card publisher Sharon Roepke (author of Diamond Gals) who was circulating a petition to get the Baseball Hall of Fame to recognize the All American Girls Baseball League asked the players at the Reunion to organize to help the effort. A meeting was held at the South Bend home of Fran Janssen, and the Player's Association was born. June Peppas was nominated President.


title: Aaron McGruder

text: Aaron Vincent McGruder (born May 29, 1974) is an American writer, cartoonist, and producer best known for creating "The Boondocks", a Universal Press Syndicate comic strip and its animated TV series adaptation.


title: Aaron McGruder

text: Aaron McGruder was born in Chicago, Illinois. When Aaron was six years old, his family moved to Columbia, Maryland, after his father accepted a job with the National Transportation Safety Board. McGruder has an older brother.


title: Aaron McGruder

text: McGruder attended the Jesuit school, Loyola Blakefield, from grades seven to nine. Following two years he left the school and transferred to public high school, Oakland Mills High School and the University of Maryland, from which he graduated with a degree in African American Studies.


title: Aaron McGruder

text: "The Boondocks" began in 1996 as a webcomic on Hitlist.com, one of the first online music websites. At the time, he was also a DJ on "The Soul Controllers Mix Show" on WMUC. "The Boondocks" also briefly appeared as a comic strip in the University of Maryland's newspaper "The Diamondback" during Jayson Blair's tenure as editor-in-chief. McGruder signed a deal with the Universal Press Syndicate and in April 1999, the strip began appearing in 160 newspapers.


title: Aaron McGruder

text: The comic strip's main characters are two young African-American brothers, Huey (named after Huey P. Newton) and his younger brother and wannabe gangsta, Riley, from inner-city Chicago who are relocated to live with their grandfather in a sedate suburb. In six months, the comic strip was being distributed to more than 200 publications. Five collections of "The Boondocks" have been published: "All The Rage", "Public Enemy #2", "A Right To Be Hostile", "Fresh for '01: You Suckaz", and "Boondocks: Because I Know You Don't Read The Newspaper". An animated television series adaptation of the strip proved successful on Cartoon Network's Adult Swim.


title: Aaron McGruder

text: McGruder expressed interest in 2013 about filming a movie featuring "The Boondocks" TV series supporting character Uncle Ruckus. Gary Anthony Williams would reprise his role. McGruder set a goal of $200,000 for startup donations at uncleruckusmovie.com between January 30 through March 1, 2013, but the campaign ended with 2,667 backers and $129,963.


title: Aaron McGruder

text: In March 2014, "The Boondocks" was revived for a new season, but without McGruder's involvement as its showrunner. The first episode of the fourth season was first broadcast on April 21, 2014. In 2019, it was announced a fifth season of "The Boondocks" would be produced with McGruder's involvement. However, the project was cancelled in February 2022, but Sony is looking at alternative options for the series.


title: Aaron McGruder

text: Among his other projects have been the "Super Deluxe" variety comedy series "The Super Rumble Mix Show". McGruder also developed "Black Jesus", another comedy series broadcast on Adult Swim, part of Cartoon Network.


title: Aaron McGruder

text: McGruder said in a 2002 keynote address at the July 12–14, 2002 H2K2 conference that he believed that President George W. Bush was involved with the September 11 attacks:


title: Aaron McGruder

text: With Reginald Hudlin, McGruder co-authored a graphic novel, "Birth of a Nation: A Comic Novel" (2004), about African Americans in East St. Louis during an election. The book's illustrations were drawn by cartoonist Kyle Baker.


title: Aaron McGruder

text: In celebration of Black History Month in 2005, McGruder was invited to provide a lecture at the Miami University of Ohio.


title: Aaron McGruder

text: In 2010, McGruder worked as screenwriter in the final treatment of the feature film "Red Tails", released in early 2012. Its story is based on the Tuskegee Airmen, a group of African American combat pilots during World War II.


title: Aaron McGruder

text: In August 2017, it was announced that McGruder, along with producer Will Packer, will develop a series for Amazon Video called "Black America" which will be based on an alternative history where emancipated black Americans receive three Southern states as reparations for slavery. The series' announcement was reportedly seen as a response to HBO's in-development alternative history series "Confederate", whose plot entails a history where the Confederacy won the Civil War.


title: Josei manga

text: , also known as and its abbreviation , is an editorial category of Japanese comics that emerged in the 1980s. In a strict sense, "josei" refers to manga marketed to an audience of adult women, contrasting "shōjo" manga, which is marketed to an audience of girls and young adult women. In practice, the distinction between "shōjo" and "josei" is often tenuous; while the two were initially divergent categories, many manga works exhibit narrative and stylistic traits associated with both "shōjo" and "josei" manga. This distinction is further complicated by a third manga editorial category, , which emerged in the late 1980s as an intermediate category between "shōjo" and "josei".


title: Josei manga

text: "Josei" manga is traditionally printed in dedicated manga magazines which often specialize in a specific subgenre, typically drama, romance, or pornography. While "josei" dramas are in most cases realist stories about the lives of ordinary women, romance "josei" manga are typically soap opera-influenced melodramas, while pornographic "josei" manga shares many common traits with pornographic manga for a heterosexual male audience. The emergence of manga for an adult female audience as a category in the 1980s was preceded by the rise of "gekiga" in the 1950s and 1960s, which sought to use manga to tell serious and grounded stories aimed at adult audiences, and by the development of more narratively complex "shōjo" manga by artists associated with the Year 24 Group in the 1970s. The category became stigmatized in the late 1980s as it came to be associated with pornographic manga, but gained greater artistic legitimacy in the 1990s as it shifted to social issue-focused stories. "Josei" manga has been regularly adapted into anime since the 2000s.


title: Josei manga

text: While manga aimed at a female audience has an extensive history that is expressed through the development of "shōjo" manga, for much of its history "shōjo" manga was targeted exclusively at an audience of children and young girls. This status quo began to shift in the late 1950s with the emergence of the concept of "gekiga", which sought to use manga to tell serious and grounded stories aimed at adult audiences. By the late 1960s "gekiga" was a mainstream artistic movement, and in 1968 the women's magazine "Josei Seven" published the first "gekiga" manga aimed at a female audience: by Miyako Maki. Maki was a "shōjo" manga artist who made her debut in the late 1950s, and pivoted to "gekiga" as her original audience aged into adulthood. Two magazines dedicated to women's "gekiga" were founded shortly thereafter: by Mushi Production in 1969, and by Futabasha in 1972, though neither were commercially successful and both folded after several issues.


title: Josei manga

text: Despite the commercial failure of women's "gekiga", the 1970s nonetheless saw the significant development of "shōjo" manga through the efforts of artists in the Year 24 Group. The Year 24 Group contributed significantly to the development of "shōjo" manga by creating manga stories that were more psychologically complex, and which dealt directly with topics of politics and sexuality. , who as editor of "Shōjo Comic" published multiple works by the Year 24 Group, became the founding editor of the magazine "Petit Flower" in 1980, which targeted an older teen readership and published adult-focused works by Year 24 Group members Moto Hagio and Keiko Takemiya. Consequently, the readership of "shōjo" manga widened from its historical audience of children to incorporate teenagers and young adult women. Publishers sought to exploit this new market of mature "shōjo" readers by creating dedicated magazines, which came to be described using the genre name "ladies' comics". Notable magazines include "Be Love" by Kodansha and "You" by Shueisha in 1980, and "" by Shogakukan in 1981; all three magazines shared the common traits of originating as special issues of "shōjo" manga magazines that were spun off into regular publications, and an editorial focus on romance stories that emphasized sex.


title: Josei manga

text: Open depictions of sexual acts came to be a defining trait of ladies' comics, in contrast to the editorial restrictions still placed on sexual depictions in "shōjo" manga. The manga artist Milk Morizono, renowned for her "porn-chic" stories, emerged as one of the most popular ladies' comics authors of the 1980s. Ladies' comics magazines proliferated rapidly in the latter half of the decade, from eight magazines in 1984, to 19 in 1985, to 48 in 1991. By the 1990s, large commercially-published ladies' comics magazines declined as a result of the Lost Decade and corresponding economic crisis, leading to the proliferation of smaller magazines focused on erotic and pornographic content. Consequently, ladies' comics developed a reputation as being "female pornography".


title: Josei manga

text: Contemporaneously, new manga magazines aimed at adult women in their early twenties emerged: "Young You" in 1987, "Young Rose" in 1990, and "Feel Young" in 1991. Manga published in these magazines came to be referred to as "young ladies" manga, originating from the word "young" appearing in the title of all three magazines, and was positioned in the manga market as an intermediate category between "shōjo" and ladies comics. Young ladies manga grew in popularity as "shōjo" artists who wished to create manga for an older audience while avoiding the stigma associated with ladies' comics migrated to the category. Teens' love also emerged as a subgenre of manga marketed towards women, which utilized the sex-focused narrative structure of ladies' comics, but with teenaged instead of adult protagonists. Ladies' comic magazines responded to this new competition by focusing on manga addressing social issues. The strategy was successful, and by the late 1990s had gained greater legitimacy as a literary genre and attracted a more general audience, with multiple ladies' comics titles adapted as films and television series. The term "josei" manga also emerged during this period, used primarily by academics to distinguish manga aimed at adult women from "shōjo" manga.


title: Josei manga

text: "Josei" as a category is generally less popular than "shōjo", "seinen", and "shōnen" manga. In 2010, "You" was the top-selling "josei" manga magazine, with a reported circulation of 162,917; by comparison, the top-selling "shōjo" magazine that year ("Ciao") had a reported circulation of 745,455, while the top-selling "seinen" and "shōnen" magazines ("Weekly Young Jump" and "Weekly Shōnen Jump") had reported circulations of 768,980 and 2.8 million, respectively. Anime has been a significant influencing factor in attracting a mainstream audience to "josei" manga since the 2000s, with the "josei" series "Paradise Kiss" (1999), "Bunny Drop" (2005), "Chihayafuru" (2007), "Princess Jellyfish" (2008), and "Eden of the East" (2009) all either originating as popular anime, or enjoying breakout success after being adapted into anime.


title: Josei manga

text: There are three primary subgenres in "josei" manga: drama, romance, and pornography. In 2002, drama and romance titles collectively represented roughly 80 percent of sales in the "josei" collected volume market, while pornography composed the remaining 20 percent. Drama and romance titles are typically released by large Japanese publishing companies, while pornography is typically published by smaller publishing houses.


title: Josei manga

text: Many "josei" dramas are realist stories about the lives of ordinary women. These stories are typically focused on a working woman in a given profession, most commonly a housewife, office lady, or pink-collar worker. Narratives typically focus on common personal issues such as dating, childcare, eldercare, beauty standards, workplace issues, marital strife, or adultery. Many also address social issues, such as aging and dementia, prostitution, or violence against women. "Josei" manga does also feature male protagonists, typically "bishōnen" (literally "beautiful boys", roughly analogous to the Western "pretty boy") who often appear in stories with homoerotic subtext.


title: Josei manga

text: Stories are sometimes based on the experiences of readers themselves, who are actively invited to submit stories based on their own life experiences, and receive payment if their submissions are chosen to be adapted into manga. "Josei" manga magazines often publish special issues dedicated to a specific topic, such as issues devoted to divorce, illnesses, and cosmetic surgery. These topic-based issues occasionally include non-manga columns that provide information about the subjects covered in the issue. Sociologist Kinko Itō considers that "josei" dramas serve as a form of catharsis for the reader by depicting a character who is enduring greater hardship than they are, while manga scholar Fusami Ogi considers "josei" dramas as presenting role models and potential ways of life for female readers.


title: Josei manga

text: "Josei" romances typically eschew the realism of "josei" dramas, instead more closely resembling the heightened melodrama of a soap opera or a Harlequin romance novel. Stories often adhere to common romance novel story formulas, such as a woman who encounters a Prince Charming-like man with whom she embarks on a variety of adventures and ultimately marries. Sexual encounters between the protagonist and their partner are commonplace, while romantic fantasy themes often manifest in the setting (frequently either foreign or historical) or through heroic protagonists (princes and princesses, ghosts, people who possess supernatural abilities, etc.). Variant sexual identities, such as gay and transgender characters, also appear in these narratives. "Josei" romances target both a younger and older readership, with many stories aimed at teenaged girls, as evidenced by the extensive use of furigana as a reading aid.


title: Josei manga

text: Pornographic "josei" manga shares many common traits with pornographic manga for a heterosexual male audience, though stories are typically written from a female rather than male point of view. Traits common to heterosexual pornography, such as female domination and objectification, similarly recur in pornographic "josei" manga; a common story formula in "josei" pornography is one in which a shy and intelligent woman is transformed into a nymphomaniac or a sex slave. Lesbian relationships also appear in pornographic "josei" manga, suggesting a lesbian readership of "josei" manga. Manga scholar Deborah Shamoon considers that the appeal of pornographic "josei" for a female audience lies in the ability of drawn pornography to depict subjects that are not easily depicted in filmed pornography, such as the female orgasm.


title: Josei manga

text: When "josei" manga initially emerged in the 1980s, it differentiated itself from "shōjo" manga by exploring adult topics such as work, sex, and life after marriage, and was directed at a readership of women who were "no longer a "shōjo"". Manga scholar Yukari Fujimoto notes this focus on realism as a primary distinguishing mark of "josei" stories, compared to the more fantastical narratives common in "shōjo" manga. This manifests in the careers commonly held by protagonists in each respective category: actresses, models, and musicians in "shōjo" manga, compared to ordinary working women in "josei" manga. Fujimoto further considers depictions of marriage as a primary dividing line between the categories, with "shōjo" depicting life before marriage, and "josei" depicting life afterwards.


title: Josei manga

text: Since the emergence of young ladies manga, distinctions between the categories have been increasingly blurred. In narratives, protagonists of all ages can readily be found in both "shōjo" and "josei" manga, with "shōjo" stories featuring adult protagonists and "josei" stories focusing on teens and younger characters. Stories that depict sex have been published in "shōjo" manga magazines such as "Sho-Comi", while sex is virtually non-existent in some "josei" magazines such as "Monthly Flowers".


title: Josei manga

text: At the editorial level, there is no consistent standard for segmenting manga aimed at a female audience, with terminology and categories varying across decades, publishing houses, and magazines. Since the 2000s, some large publishers such as Shueisha and Kodansha have grouped all manga magazines aimed at a female audience under a single category. Formatting of "tankōbon" bound volumes, where larger and more expensive books are traditionally reserved for titles aimed at an adult audience, similarly follow no formal rules, with adult manga sold in small and inexpensive formats and youth manga sold in large formats.


title: Josei manga

text: It is common for authors to create "shōjo" and "josei" manga simultaneously, with , George Asakura, and Mayu Shinjo among the numerous artists who produce works across categories. This dynamic contrasts "shōnen" and "seinen" manga, where artists generally produce works in one category exclusively, and artists that do switch categories rarely switch back.


title: Josei manga

text: There have been several examples of "josei" works that share common traits with "shōnen" and "seinen" manga, or that blur distinctions between the categories. "Saiyuki" by Kazuya Minekura was serialized in the "shōnen" magazine "Monthly GFantasy", though its sequel "Saiyuki Reload" was published in the "josei" magazine "Monthly Comic Zero Sum". Fujio Akatsuka's 1962 manga series "Osomatsu-kun" was originally serialized in "Weekly Shōnen Sunday", though when the series was rebooted in 2015 as the anime series "Mr. Osomatsu", its manga spin-off was published in the "josei" magazines "You" and "Cookie". Anthony Gramuglia of "Comic Book Resources" identifies the anime series "", part of the "Lupin the Third" media franchise, as a notable "josei" adaptation of a "seinen" manga.


title: Erich Fromm

text: Erich Seligmann Fromm (; ; March 23, 1900 – March 18, 1980) was a German social psychologist, psychoanalyst, sociologist, humanistic philosopher, and democratic socialist. He was a German Jew who fled the Nazi regime and settled in the US. He was one of the founders of The William Alanson White Institute of Psychiatry, Psychoanalysis and Psychology in New York City and was associated with the Frankfurt School of critical theory.


title: Erich Fromm

text: Erich Fromm was born on March 23, 1900, at Frankfurt am Main, the only child of Orthodox Jewish parents, Rosa (Krause) and Naphtali Fromm. He started his academic studies in 1918 at the University of Frankfurt am Main with two semesters of jurisprudence. During the summer semester of 1919, Fromm studied at the University of Heidelberg, where he began studying sociology under Alfred Weber (brother of the better known sociologist Max Weber), psychiatrist-philosopher Karl Jaspers, and Heinrich Rickert. Fromm received his PhD in sociology from Heidelberg in 1922 with a dissertation "On Jewish Law".


title: Erich Fromm

text: Fromm at the time became strongly involved in Zionism, under the influence of the religious Zionist rabbi Nehemia Anton Nobel. He was very active in Jewish "Studentenverbindungen" and other Zionist organisations.


title: Erich Fromm

text: But he soon turned away from Zionism, saying that it conflicted with his ideal of a "universalist Messianism and Humanism".


title: Erich Fromm

text: During the mid-1920s, he trained to become a psychoanalyst through Frieda Reichmann's psychoanalytic sanatorium in Heidelberg. They married in 1926, but separated shortly after and divorced in 1942. He began his own clinical practice in 1927. In 1930 he joined the Frankfurt Institute for Social Research and completed his psychoanalytical training.


title: Erich Fromm

text: After the Nazi takeover of power in Germany, Fromm moved first to Geneva and then, in 1934, to Columbia University in New York. Together with Karen Horney and Harry Stack Sullivan, Fromm belongs to a Neo-Freudian school of psychoanalytical thought. Horney and Fromm each had a marked influence on the other's thought, with Horney illuminating some aspects of psychoanalysis for Fromm and the latter elucidating sociology for Horney. Their relationship ended in the late 1930s. After leaving Columbia, Fromm helped form the New York branch of the Washington School of Psychiatry in 1943, and in 1946 co-founded the William Alanson White Institute of Psychiatry, Psychoanalysis, and Psychology. He was on the faculty of Bennington College from 1941 to 1949, and taught courses at the New School for Social Research in New York from 1941 to 1959.


title: Erich Fromm

text: When Fromm moved to Mexico City in 1949, he became a professor at the National Autonomous University of Mexico (UNAM) and established a psychoanalytic section at the medical school there. Meanwhile, he taught as a professor of psychology at Michigan State University from 1957 to 1961 and as an adjunct professor of psychology at the graduate division of Arts and Sciences at New York University after 1962. He taught at UNAM until his retirement, in 1965, and at the Mexican Society of Psychoanalysis (SMP) until 1974. In 1974 he moved from Mexico City to Muralto, Switzerland, and died at his home in 1980, five days before his eightieth birthday. All the while, Fromm maintained his own clinical practice and published a series of books.


title: Erich Fromm

text: Beginning with his first seminal work of 1941, "Escape from Freedom" (known in Britain as "The Fear of Freedom"), Fromm's writings were notable as much for their social and political commentary as for their philosophical and psychological underpinnings. Indeed, "Escape from Freedom" is viewed as one of the founding works of political psychology. His second important work, "Man for Himself: An Inquiry into the Psychology of Ethics", first published in 1947, continued and enriched the ideas of "Escape from Freedom". Taken together, these books outlined Fromm's theory of human character, which was a natural outgrowth of Fromm's theory of human nature. Fromm's most popular book was "The Art of Loving", an international bestseller first published in 1956, which recapitulated and complemented the theoretical principles of human nature found in "Escape from Freedom" and "Man for Himself"—principles which were revisited in many of Fromm's other major works.