title: Blithe Spirit (play)

text: There were several changes of cast during the run; all but two of the roles were played by different performers at one time or another. Only Martin Lewis and Moya Nugent stayed from the first night to the last. Irene Browne played two different characters during the run. After playing the steely Ruth from 1942 to 1944 she appeared for six months in 1945 as the ebullient Madame Arcati. As well as changes in the regular principals, other actors − including Coward − appeared for short spells of two or more weeks to allow the regulars to take a holiday.


title: Blithe Spirit (play)

text: While the play continued its London run several tours were organised. A company under the management of Ronald Squire began a British tour in February 1942. The cast included Squire (Charles), Browne (Ruth), Ursula Jeans (Elvira), and Agnes Lauchlan (Madame Arcati). A company headed by Coward presented the piece along with "Present Laughter" and "This Happy Breed" under the collective title of "Play Parade", in a 25-week tour from September 1942. Coward played Charles; Joyce Carey, Ruth; Judy Campbell, Elvira; and Beryl Measor, Madame Arcati. Another tour went out in 1943, headed by John Wentworth as Charles and Mona Washbourne as Madame Arcati.


title: Blithe Spirit (play)

text: From February 1944 an ENSA company toured the Middle East and continental Europe with "Blithe Spirit". Emlyn Williams played Charles; Jessie Evans and Elliot Mason shared the role of Madame Arcati, Adrianne Allen played Ruth; and Lueen MacGrath, Elvira. From October 1945 to February 1946 another ENSA company played "Blithe Spirit" (and "Hamlet") in India and Burma for the armed forces. John Gielgud played Charles; Irene Browne, Madame Arcati; Marian Spencer, Ruth; and Hazel Terry, Elvira.


title: Blithe Spirit (play)

text: In July 1970 the play was revived in the West End at the Globe Theatre, starring Patrick Cargill as Charles, Phyllis Calvert as Ruth, Amanda Reiss as Elvira and Beryl Reid as Madame Arcati; it ran until January 1971. It was revived by the National Theatre in 1976 in a production directed by Harold Pinter, starring Richard Johnson as Charles, Rowena Cooper as Ruth, Maria Aitken as Elvira and Elizabeth Spriggs as Madame Arcati. Another London revival played in 1986 at the Vaudeville Theatre, starring Simon Cadell as Charles, Jane Asher as Ruth, Joanna Lumley as Elvira and Marcia Warren as Madame Arcati.


title: Blithe Spirit (play)

text: The piece was back in the West End at the Savoy Theatre in 2004, in a production directed by Thea Sharrock, starring Aden Gillett as Charles, Joanna Riding as Ruth, Amanda Drew as Elvira and Penelope Keith (succeeded by Stephanie Cole) as Madame Arcati. Matt Wolf wrote in "Variety", "Sharrock and her company land every laugh in a play that induces an indecent amount of pleasure while never letting us forget the extent to which "Blithe Spirit" comes marinated in pain."


title: Blithe Spirit (play)

text: Sharrock directed a revival of her production of the play, which started as a UK tour and then moved to the Apollo Theatre, London. It ran there from March to June 2011, with a cast including Robert Bathurst as Charles, Hermione Norris as Ruth, Ruthie Henshall as Elvira and Alison Steadman as Madame Arcati.


title: Blithe Spirit (play)

text: A West End production, directed by Michael Blakemore, opened at the Gielgud Theatre in March 2014, with Charles Edwards as Charles, Janie Dee as Ruth, Jemima Rooper as Elvira and Angela Lansbury as Madame Arcati, and Jones as Dr Bradman as in Blakemore's 2009 Broadway production. It ran until June.


title: Blithe Spirit (play)

text: A revival at the Theatre Royal Bath in 2019 was followed by a UK tour and a West End run at the Duke of York's Theatre that opened in March 2020. After 12 performances, it was interrupted due to the Covid-19 pandemic. The production starred Jennifer Saunders as Madame Arcati and Richard Eyre directed. Geoffrey Streatfeild and Lisa Dillon played Charles and Ruth Condomine, Simon Coates and Lucy Robinson were Dr and Mrs Bradman, Emma Naomi played Elvira and Rose Wardlaw was Edith. Design was by Anthony Ward, lighting by Howard Harrison, sound by John Leonard and illusions by Paul Kieve.


title: Blithe Spirit (play)

text: The Eyre production returned to the West End for a limited run from September to November 2021 at the Harold Pinter Theatre with the same cast and crew, except that Madeleine Mantock played Elvira.


title: Blithe Spirit (play)

text: The Broadway premiere was on 5 November 1941 at the Morosco Theatre, presented by Coward's American producer, John C. Wilson, with designs by Stewart Chaney. The play transferred to the Booth Theatre on 18 May 1942; it ran for a total of 657 performances. After closing at the Booth on 5 June 1943, a return engagement played 32 performances from 6 September to 2 October 1943 at the Morosco. Haila Stoddard took over as Elvira. While the first Broadway production was still running, Wilson mounted another in Chicago. It opened on 17 February 1942 at the Selwyn Theater.


title: Blithe Spirit (play)

text: "Blithe Spirit" was revived on Broadway at the Neil Simon Theatre on 31 March 1987 in a production directed by Brian Murray. It starred Richard Chamberlain as Charles, Judith Ivey as Ruth, Blythe Danner as Elvira and Geraldine Page as Madame Arcati. It ran for 104 performances. Page, who received a Tony Award nomination for Best Actress, died of a heart attack during the run; Patricia Conolly succeeded her in the role.


title: Blithe Spirit (play)

text: A Broadway revival played in 2009 at the Shubert Theatre. Blakemore directed, with Rupert Everett as Charles, Jayne Atkinson as Ruth, Christine Ebersole as Elvira, Angela Lansbury as Madame Arcati and Simon Jones as Dr Bradman. "The New York Times" found the revival somewhat uneven, calling the opening performance "bumpy", but praised Lansbury's performance.


title: Blithe Spirit (play)

text: A revival, directed by Blakemore with most of the West End cast (including Lansbury at age 89) except Charlotte Parry as Ruth, toured North America from December 2014 to March 2015, visiting Los Angeles, San Francisco, Toronto and Washington D.C.


title: Blithe Spirit (play)

text: A production at the Comedy Theatre, Melbourne in April 1945 starred Edwin Styles as Charles, Aileen Britton as Ruth, Bettina Welch as Elvira and Letty Craydon as Madame Arcati. In 2003 Roger Hodgman directed a production by the Melbourne Theatre Company, with Miriam Margolyes as Arcati. It later played the Sydney Opera House.


title: Blithe Spirit (play)

text: A French translation, "Jeux d'esprits", was presented at the Théâtre de la Madeleine, Paris, in November 1946, directed by Pierre Dux, with Robert Murzeau as Charles, Renée Devillers as Suzanne (Ruth), Simone Renant as Elvire (Elvira) and Jeanne Fusier-Gir as Madame Arcati. In "Le Figaro" Jean-Jacques Gautier acknowledged Coward as a master of comic absurdity but found the piece "thin, thin, thin" – the champagne a little lacking in sparkle.


title: Blithe Spirit (play)

text: After the first performance in Manchester the reviewer in "The Manchester Guardian" thought the mixture of farce and impending tragedy "An odd mixture and not untouched by genius of a sort". After the London premiere, Ivor Brown commented in "The Observer" on the skill with which Coward had treated his potentially difficult subject; he ended his notice, "But here is a new play, a gay play, and one irresistibly propelled into our welcoming hearts by Miss Rutherford's Lady of the Trances, as rapt a servant of the séance as ever had spirits on tap." The London correspondent of "The Guardian" wrote, "London received Mr Noel Coward's ghoulish farce with loud, though not quite unanimous acclaim. There was a solitary boo – from an annoyed spiritualist, presumably." "The Times" considered the piece the equal not only of Coward's earlier success "Hay Fever" but of Wilde's classic comedy "The Importance of Being Earnest". There were dissenting views. James Agate thought the play "common", and Graham Greene called it "a weary exhibition of bad taste".


title: Blithe Spirit (play)

text: When the piece had its first West End revival in 1970 the play was warmly though not rapturously praised by the critics, but by the time of the next major production, in 1976, Irving Wardle of "The Times" considered, "Stylistically, it is Coward's masterpiece: his most complete success in imposing his own view of things on the brute facts of existence," and Michael Billington of "The Guardian" wrote of Coward's influence on Harold Pinter. Coward's partner, Graham Payn, commented to Peter Hall that Coward would have loved the production (directed by Pinter) "because at last the play was centred on the marriage between Charles and Ruth; Elvira and ... Madame Arcati were incidentals". After the Broadway revival in 1987 "Newsweek" commented that the play reminds us that Coward was the precursor of playwrights like Pinter and Joe Orton.


title: Blithe Spirit (play)

text: In 2004 Charles Spencer of "The Daily Telegraph" wrote, "With "Hay Fever" and "Private Lives", "Blithe Spirit" strikes me as being one of Coward's three indisputable comic masterpieces. [It is] the outrageous frivolity with which Coward treats mortality that makes the piece so bracing."


title: Blithe Spirit (play)

text: "Blithe Spirit" has twice been adapted for the cinema. A 1945 film was directed by David Lean, and starred two of the principals from the original stage production reprising their roles: Kay Hammond as Elvira and Margaret Rutherford as Madame Arcati. Constance Cummings played Ruth, and Rex Harrison Charles. Coward was out of the country during the filming and was therefore obliged to leave the direction to Lean. The author was less than impressed with the result. He found Lean's direction static and said that the film "wasn't entirely bad but it was a great deal less good than it should have been".


title: Blithe Spirit (play)

text: A 2020 film adaptation was directed by Edward Hall, with Dan Stevens as Charles, Isla Fisher as Ruth, Leslie Mann as Elvira and Judi Dench as Madame Arcati. In "The Guardian" Peter Bradshaw gave the film one star out of a possible five: "a festival of mugging and farcical overacting". "The New York Times" also published an unenthusiastic review: "more screw-loose than screwball … a ludicrous adaptation of Noël Coward’s 1941 stage play, reimagines its source material as little more than a slip-and-fall farce".


title: Blithe Spirit (play)

text: American radio adaptations were transmitted in 1944 (NBC, with Ronald Colman, Loretta Young and Edna Best), 1947 (ABC, with Clifton Webb, Leonora Corbett and Mildred Natwick), and 1952 (NBC, with John Loder and Mildred Natwick).


title: Blithe Spirit (play)

text: BBC Radio's first adaptation was broadcast in 1954, with Michael Denison (Charles), Thelma Scott (Ruth), Dulcie Gray (Elvira) and Winifred Oughton (Madame Arcati). A second version with Denison and Gray was broadcast in 1972, with Gudrun Ure as Ruth and Sylvia Coleridge as Madame Arcati. A 1983 version featured Paul Eddington as Charles, Julia McKenzie as Ruth, Anna Massey as Elvira and Peggy Mount as Madame Arcati. A 2008 adaptation featured Roger Allam as Charles, Hermione Gulliford as Ruth, Zoe Waites as Elvira and Maggie Steed as Madame Arcati. In December 2014 an adaptation of the play featured cast members of "The Archers" in a supposed amateur production.


title: Blithe Spirit (play)

text: An American television adaptation was broadcast in 1946, with Philip Tonge as Charles, Carol Goodner as Ruth, Leonora Corbett as Elvira and Estelle Winwood as Madame Arcati. In Britain, BBC television broadcast a production in 1948, directed by George More O'Ferrall, with Frank Lawton as Charles, Marian Spencer as Ruth, Betty Ann Davies as Elvira and Beryl Measor reprising her stage role of Madame Arcati. On 14 January 1956 Coward directed a live American television adaptation for the "Ford Star Jubilee" series, in which he also starred as Charles, with Claudette Colbert as Ruth, Lauren Bacall as Elvira and Mildred Natwick as Madame Arcati. A British commercial television adaptation in 1964 was directed by Joan Kemp-Welch, with Griffith Jones as Charles, Helen Cherry as Ruth, Joanna Dunham as Elvira and Hattie Jacques as Madame Arcati. Another American television TV production was presented in 1966 on "Hallmark Hall of Fame", with Dirk Bogarde as Charles, Rachel Roberts as Ruth, Rosemary Harris as Elvira and Ruth Gordon as Madame Arcati.


title: Blithe Spirit (play)

text: The play was adapted into the musical "High Spirits" in 1964, with book, music and lyrics by Hugh Martin and Timothy Gray. It had a Broadway run of 375 performances, starring Edward Woodward as Charles, Louise Troy as Ruth, Tammy Grimes as Elvira and Beatrice Lillie as Madame Arcati. It had a three-month West End run in 1964–1965, with Denis Quilley as Charles, Jan Walters as Ruth, Marti Stevens as Elvira and Cicely Courtneidge as Madame Arcati.


title: Cutlet

text: Cutlet were a typical starter in French cuisine, as a variation of Croquettes with a shape of small rib ("côtelette" in French). The bone was simulated by a piece of fried bread or pasta. The recipe became popular in all Europe due to the influence of French cuisine.


title: Cutlet

text: From the late 1700s until about 1900, virtually all recipes for "cutlets" in English-language cookbooks referenced veal cutlets. Then pork cutlets began to appear. More recently, in American and Canadian cuisine, cutlets have also been made using chicken, although this was also imported from Europe. The cutlet is usually coated with flour, egg and bread crumbs, then fried in a pan with some oil.


title: Cutlet

text: Australians eat lamb cutlets battered with egg yolk and breadcrumbs. Chicken cutlets are also very popular, but known as chicken schnitzel. Both lamb cutlets and chicken schnitzel are a staple of Australian children's cuisine. Amongst most Australians of Italian descent, the term schnitzel is replaced by the term cutlet. Cutlets amongst this population are usually veal or chicken.


title: Cutlet

text: In British cuisine a cutlet is usually unbreaded and can also be called a chop. If referring to beef, more than one piece together would be generally called a rib of beef or a rib joint, whilst lamb ribs are called a rack, or rack of lamb. Lamb racks can also be tied into a circular shape before cooking, with the ribs on the outside, giving a crown shape, leading to the name "crown of lamb".


title: Cutlet

text: In France, cutlets can be made with any of the Salpicons of poultry, game, fish and shellfish, mixed with the necessary amount of forcemeat in keeping with the main ingredient; the consistency should be adjusted with a little well-reduced sauce which should also be in keeping with the ingredients.


title: Cutlet

text: These cutlets should be egg and crumbed and they should be shallow fried and coloured in clarified butter instead of being deep fried.


title: Cutlet

text: In Hong Kong, the cutlet was introduced during the period of British colonial occupation along with other cooking influences. It is seen as "sai chaan" or Western cuisine. Veal, pork and chicken are battered and deep fried for lunch. Seafood such as shrimp or scallop that is battered or breaded and deep fried can also be known as 'cutlet' in Hong Kong. It is usually served alongside rice or spaghetti noodles.


title: Cutlet

text: In Indian cuisine, a cutlet specifically refers to mashed vegetables (potato, carrot, beans) or cooked meat (mutton, Chicken or fish) stuffing that is fried with a batter/covering. The meat itself is cooked with spices - onion, cardamom, cloves, cinnamon, coriander (cilantro), green chillies, lemon and salt. This is then dipped in an egg mix or Corn starch and then in Bread crumbs (also see breaded cutlet), and fried in ghee or vegetable oil. Mostly chicken and mutton cutlets are very popular snacks in the eastern part of India specially in Kolkata.


title: Cutlet

text: The vegetarian version has no meat in it, instead the filling is a combination of mashed potatoes, onion, green chillies, spices and salt, cooked for a bit together. This version is more popular with the vegetarian Indian population. This should not be confused with grilled patties such as Aloo Tikki. A cutlet is traditionally deep-fried.


title: Cutlet

text: In Iran, cutlet (Persian: کتلت) is a popular hamburger-like thin layered fried of mixture of ground beef Or pea flour, mashed or grated potatoes, eggs, onions, spices and bread crumbs.


title: Cutlet

text: The use of the cutlet (cotoletta) is quite widespread in Italian cuisine in many different variations. The most famous variant is the Milanese cutlet ("cotoletta alla milanese"), a veal cutlet covered in bread crumbs and fried in butter. It should not be mistaken for the "Wiener schnitzel" (which should be referred as a "scaloppina alla viennese", or as "fettina impanata" in Italian), because it's a different cut of meat; the Milanese cutlet cut includes the bone, whereas the Wienerschnitzel doesn't. It is disputed whether the "cotoletta alla milanese" originated the Wienerschnitzel, or vice versa.


title: Cutlet

text: The cutlet was introduced to Japan during the Meiji period, in a Western cuisine restaurant in the fashionable Ginza district of Tokyo. The Japanese pronunciation of cutlet is "katsuretsu".


title: Cutlet

text: In Japanese cuisine, "katsuretsu" or shorter "katsu" is actually the name for a Japanese version of the Wiener schnitzel, a breaded cutlet. Dishes with "katsu" include tonkatsu and katsudon.


title: Cutlet

text: The Polish pork cutlet, kotlet schabowy, is a pork chop coated with breadcrumbs. Kotlet schabowy can be served with mashed potatoes, home fries, fried mushrooms, cooked vegetables (cabbage), with salads or with coleslaw. "Kotlet z kurczaka" is a chicken cutlet coated with breadcrumbs. "Kotlet z indyka" is a turkey cutlet coated with breadcrumbs.


title: Cutlet

text: In modern Russian, the word "kotleta" (котлета) refers almost exclusively to pan-fried minced meat croquettes / cutlet-shaped patties. Bread soaked in milk, onions, garlic, and herbs is usually present in the recipe. When in a hurry, a "cutlet" can be eaten between bread slices like a hamburger, but this fast meal is rarely served in restaurants. It is usually served with pan-fried potatoes, mashed potatoes, pasta, etc.


title: Cutlet

text: In the middle of the 20th century, industrially produced, semi-processed ground meat cutlets were introduced in the USSR. Colloquially known as Mikoyan cutlets (named after Soviet politician Anastas Mikoyan, who served as a minister of food industry for a long time and was responsible for introducing a lot of industrial-made products into the Soviet food chain), these were cheap pork or beef cutlet-shaped patties which resembled American burgers.


title: Cutlet

text: In Ukrainian cuisine, a variety called "sichenyk" () is made of minced meat or fish and vegetables and covered with bread crumbs.


title: Cutlet

text: A particular form of the Russian "kotleta" known as Pozharsky cutlet is an elaborated version of minced poultry "kotleta" covered with breadcrumbs or small croutons. A distinct feature of this cutlet is that butter is added to minced meat, which results in an especially juicy and tender consistency.


title: Cutlet

text: Another Russian version of a cutlet, called "otbivnaya kotleta" (), meaning "beaten cutlet", is a fried slice of meat, usually pork or beef, beaten flat with a tenderizing hammer or knife handle and covered with beaten eggs, dough or breadcrumbs. The recipe is similar to those of escalopes, schnitzel, Polish, or American cutlets. Today, this dish is simply called "otbivnaya", with the word "kotleta" reserved for minced meat patties.


title: Cutlet

text: Chicken Kiev is called "kotleta po-kievski" () in Russian and similarly "kotleta po-kyivski" () in Ukrainian, which means "Kiev-style cutlet".


title: Cutlet

text: In Sri Lankan cuisine cutlets almost always refer to fish (usually tuna or mackerel) and potato croquettes. Usually the fish and potatoes are mixed with spices, green chilies and onions and dipped in a batter made of flour and eggs before being crumbed and fried.


title: Naruto: Shippuden (season 13)

text: The episodes from the thirteenth season of the anime series "" are based on Part II of the setting of "Naruto" manga series by Masashi Kishimoto. The episodes are directed by Hayato Date and produced by Pierrot and TV Tokyo. The season focuses on the Fourth Great Ninja War between Naruto Uzumaki and the Hidden Villages' ninja against the forces under the masked ninja Tobi and Kabuto Yakushi. There is also a side story arc. The thirteenth season began airing on August 23, 2012 on TV Tokyo and ended on January 10, 2013.


title: Naruto: Shippuden (season 13)

text: The English dubbed version of this season began on January 10, 2015, on Neon Alley. The season would make its English television debut on Adult Swim's Toonami programming block and premiere from November 24, 2019 to May 10, 2020.


title: Naruto: Shippuden (season 13)

text: The season's collection in DVD started on April 3, 2013 under the title of . Director's cuts of episodes 290 to 295 were released in two special edition DVDs titled and on July 3, 2013 and August 7, 2013.


title: Naruto: Shippuden (season 13)

text: This season contains four musical themes: two openings and two endings. The first opening theme, by The Cro-Magnons, is used from episode 276 to 281. The second opening theme "Moshimo" by Daisuke is used from episodes 282 to 295. The first ending theme, by AISHA, is used from episode 276 to 281. The second ending theme, "MOTHER" by MUCC is used from episodes 282 to 295. The sixth feature film, "", was released on July 28, 2012. The broadcast versions of the episodes 276 to 277 include scenes from the film in the opening themes, while retaining the music "Totsugeki Rock".


title: Lip sync

text: Lip sync or lip synch (pronounced , the same as the word "sink", short for lip synchronization) is a technical term for matching a speaking or singing person's lip movements with sung or spoken vocals.


title: Lip sync

text: Audio for lip syncing is generated through the sound reinforcement system in a live performance or via television, computer, cinema speakers, or other forms of audio output. The term can refer to any of a number of different techniques and processes, in the context of live performances and audiovisual recordings.


title: Lip sync

text: In film production, lip syncing is often part of the post-production phase. Dubbing foreign-language films and making animated characters appear to speak both require elaborate lip syncing. Many video games make extensive use of lip-synced sound files to create an immersive environment in which on-screen characters appear to be speaking. In the music industry, lip syncing is used by singers for music videos, television and film appearances and some types of live performances. Lip syncing by singers can be controversial to fans attending concert performances who expect to view a live performance.


title: Lip sync

text: Lip sync is considered a form of miming. It can be used to make it appear as though actors have substantial singing ability (e.g., "The Partridge Family" television show), to simulate a vocal effect that can be achieved only in the recording studio (e.g., Cher's "Believe", which used an Auto-Tune effects processing on her voice); to improve performance during choreographed live dance numbers that incorporate vocals; to misattribute vocals entirely (e.g., Milli Vanilli, a band which lip synced to recordings made by other singers), or to cover deficiencies in live performance. It is also commonly used in drag shows. Sometimes lip sync performances are forced on performers by television producers to shorten the guest appearances of celebrities, as it requires less time for rehearsals and hugely simplifies the process of sound mixing, or to eliminate the risk of vocal errors. Some artists lip sync because they are not confident singing live and want to avoid singing out of tune.


title: Lip sync

text: Because the film track and music track are recorded separately during the creation of a music video, artists usually lip sync their songs and often imitate playing musical instruments as well. Artists also sometimes move their lips at a faster speed than the recorded track, to create videos with a slow-motion effect in the final clip, which is widely considered to be complex to achieve. Similarly, some artists have been known to lip sync backward for music videos such that, when reversed, the singer is seen to sing forwards while time appears to move backwards in his or her surroundings, such as in Coldplay’s "The Scientist".


title: Lip sync

text: Notable exceptions to this trend include Bruce Springsteen's hit "Streets of Philadelphia", which only uses the instruments as a backing track while the vocals were recorded with a microphone attached on the singer, giving a different feel to it.


title: Lip sync

text: On "American Bandstand" and most variety shows of the 1960s, vocals and instrumentals were all (with a few notable exceptions on American Bandstand) synced to pre-recorded music. Since the creation of MTV in the 1980s, many artists have focused on visual effects, rather than singing, for their live shows. Artists often lip sync during strenuous dance numbers in both live and recorded performances.


title: Lip sync

text: Artists often lip sync during strenuous dance numbers in both live and recorded performances, due to lung capacity being needed for physical activity (both at once would require incredibly trained lungs). Michael Jackson is an example of this; he performed complex dance routines while lip syncing and live singing. His performance on the television special "" (1983) changed the scope of live stage show. Ian Inglis, author of "Performance and Popular Music: History, Place and Time" (2006) notes the fact that "Jackson lip-synced 'Billie Jean' is, in itself, not extraordinary, but the fact that it did not change the impact of the performance is extraordinary; whether the performance was live or lip synced made no difference to the audience," thus creating an era in which artists recreate the spectacle of music video imagery on stage.


title: Lip sync

text: Chris Nelson of "The New York Times" reported: "Artists like Madonna and Janet Jackson set new standards for showmanship, with concerts that included not only elaborate costumes and precision-timed pyrotechnics but also highly athletic dancing. These effects came at the expense of live singing." Edna Gundersen of "USA Today" comments that the complexity of modern stage show has forced "singing and musicianship into minor roles", citing as example artists such as New Kids on the Block, Milli Vanilli, George Michael, Cher, Paula Abdul and Janet Jackson. Gundersen elaborates: "The most obvious example is Madonna's Blond Ambition World Tour, a visually preoccupied and heavily choreographed spectacle. Madonna lip-syncs the duet 'Now I'm Following You', while a Dick Tracy character mouths Warren Beatty's recorded vocals. On other songs, background singers plump up her voice, strained by the exertion of non-stop dancing."


title: Lip sync

text: "Billboard" editor Thom Duffy commented in 1990: "The expectations of fans have changed, and that's the driving force here ... They expect a concert as perfect as what they see on MTV." Rashod D. Ollison of "The Baltimore Sun" observed in 2004: "Since the advent of MTV and other video music channels, pop audiences have been fed elaborate videos thick with jaw-dropping effects, awesome choreography, fabulous clothes, marvelous bodies. And the same level of perfection is expected to extend beyond the video set to the concert stage. So if Britney Spears, Janet Jackson or Madonna sounds shrill and flat without a backing track, fans won't pay up to $300 for a concert ticket."


title: Lip sync

text: Some singers habitually lip sync during live performances, both concert and televised, over pre-recorded music and mimed backing vocals; this is known as singing over playback. Some artists switch between live singing and lip syncing during a performance, particularly during songs that require them to hit particularly high or low notes. Lip syncing these notes ensures that the performer will not be out of tune or strain their voice. Once the difficult portion of the song has passed, the artist may continue to lip sync or may resume singing live. Some artists lip sync choruses during songs but sing the main verses.


title: Lip sync

text: The practice of synching also occurs in musical theater, for much the same purpose as for musicians. A production may include a mix of lip synced and live musical numbers. In long-running shows, this may be done to help protect the performer's voice from strain and damage, as well as to maintain a high caliber of production. A notable example of using lip syncing as a special effect includes performances of "The Phantom of the Opera", with swing actors in the same costumes as the lead actors give the illusion of the characters moving around the stage with some mystery.


title: Lip sync

text: Artists may also lip sync in situations in which their backup bands and sound reinforcement systems cannot be accommodated, such as the Macy's Thanksgiving Day Parade, which features popular singers lip syncing while riding floats.


title: Lip sync

text: Unlike studio recording, live performance provides only one chance to sing each song correctly. An artist may worry that his or her voice is not strong enough, that it will sound noticeably different from recorded versions or that he or she will hit a wrong note.


title: Lip sync

text: Sometimes lip syncing is incorrectly identified by fans sitting in the back of a stadium because of the time it takes sound to carry over distance. Viewers might, for example, see a drummer hit a kit before they actually hear the sound. The delay can be mistaken for poor synchronization of miming artists and a backing track.


title: Lip sync

text: It is also possible that fans who are watching a live performance on a large-screen video display, either in the venue or remotely as in a live broadcast, are actually seeing a real lip sync timing error. These can be created by the video signal processing delay that occurs in the electronic video signal path between the on stage camera and the large screen displays. This lip sync error can cause those fans to perceive the performance as less entertaining or possibly negatively, as compared to a performance displayed without the electronically introduced error.


title: Lip sync

text: There is a technical solution to this problem, the SMPTE ST-2064 standard, but unfortunately as of March 2018 it has not been adopted by any television production groups such as those who provide large venue television, or by broadcasters who provide live broadcasts. These video signal processing delays, the negative perceptions that are created and the SMPTE ST-2064 standard are discussed in audio to video synchronization.


title: Lip sync

text: "[S]ome of the most talented singers have been caught in the act of lip-synching". Arts journalist Chuck Taylor says that it is considered "an egregious offense", but he points out that when singers are dancing and doing complex stage shows, it is hard to sing live. On some TV show performances, "the singer's microphone is still on. On the parts they're not confident on or if the performance is physically demanding, the artist will sing quieter, and more of the performance [backing] track vocals can be heard." There are "very few artists who [...] completely lip-sync" while a backing track is playing with "full lead vocals", a practice done due to "weather conditions, technical issues, or sickness."


title: Lip sync

text: Lip syncing where the audience knows the performer is pretending has also been popular as a form of musical pantomime, in which performers mime to pre-recorded music for the public's entertainment. It is often performed by drag performers (drag queens and drag kings). Iron Maiden and Muse both mocked demands by two music television programs to give mimed performances, by having their band members deliberately swap instruments.


title: Lip sync

text: Examples of lip sync performances (sometimes referred to as a lip dub video) have also been popular as viral videos on the internet. An early example, "Numa Numa", a video recorded by Gary Brolsma of him dancing and lip syncing to the song "Dragostea din Tei", was ranked in 2007 by The Viral Factory as the second most-viewed viral video of all time behind the "Star Wars" Kid.


title: Lip sync

text: Various television competition programs have been built around lip sync performances, such as "Puttin' on the Hits", and "Lip Service". The reality competition "RuPaul's Drag Race" incorporates lip sync performances into its format. Comedian Jimmy Fallon incorporated similar performances with celebrities as sketches during his late night talk show "Late Night with Jimmy Fallon"; he oversaw a standalone television series for Spike, "Lip Sync Battle", which extended the concept into a competitive format between pairs of celebrities. Mobile apps such as Dubsmash and TikTok (which acquired and shut down Musical.ly in 2017), which allow users to record their own lip sync videos to pre-existing audio and song clips for sharing on social networking services or an internal platform, have also been popular.


title: Lip sync

text: In 2015, Maine Mendoza — a popular Filipino user of Dubsmash who had been nicknamed the "Queen of Dubsmash" — became a cast member of the Filipino variety show "Eat Bulaga!" She appeared in a recurring sketch as a character named Yaya Dub, whose dialogue consisted exclusively of lip synced audio. Her spontaneous reactions to fellow cast member Alden Richards during a remote broadcast resulted in the creation of an on-air couple known as AlDub, in which the two were portrayed as a couple who never physically meet, and communicated solely via lip syncing. The couple became a major cultural phenomenon in the country, and appeared on-stage for the first time in an October 2015 concert special, "Tamang Panahon". A hashtag associated with the special received 41 million posts within 24 hours on Twitter, beating a global record previously set during Brazil and Germany's semi-final match at the 2014 FIFA World Cup.


title: Lip sync

text: In the Australian state of New South Wales, the government is considering new laws that would require pop singers to print disclaimers on tickets "to alert fans if [the singers] intend on miming throughout their shows". Fair Trading Minister Virginia Judge stated that "Let's be clear – live means live." Minister Judge stated that "If you are spending up to $200 [on concert tickets], I think you deserve better than a film clip". She indicated that "The NSW Government would be happy to look at options, such as a disclaimer on a ticket which would warn consumers a performance is completely pre-recorded."


title: Lip sync

text: A writer on ethics calls lip syncing an "affront to all legitimate live performers who risk lyric mistakes and cracking voices to give an authentic performance". The author argues that lip syncing in live concerts will "...destroy our ability to enjoy great live performances the way we once could, thrilling to the certain knowledge that we are witnessing something extraordinary from a great talent". The author argues that this "...makes lip-syncing in public performances wrong. Not only is the audience being lied to; it is being made cynical".


title: Lip sync

text: While Michael Jackson's performance on the television special "" (1983) changed the scope of live stage show, as he mixed singing and complex dance moves, Ian Inglis, author of "Performance and Popular Music: History, Place and Time" (2006) states that "Jackson lip-synced 'Billie Jean'" during this TV show. In 1989, a "New York Times" article claimed that "Bananarama's recent "concert" at the Palladium", the "first song had a big beat, layered vocal harmonies and a dance move for every line of lyrics", but "the drum kit was untouched until five songs into the set, or that the backup vocals (and, it seemed, some of the lead vocals as well-a hybrid lead performance) were on tape along with the beat". The article also claims that "British band Depeche Mode, ...adds vocals and a few keyboard lines to [a] taped backup [track when they perform] onstage".


title: Lip sync

text: In 1989, during a Milli Vanilli performance recorded by MTV at the Lake Compounce theme park in Bristol, Connecticut, what sounded to be a pre-recorded track of the group's song "Girl You Know It's True" jammed and began to skip, repeating the partial line "Girl, you know it's..." over and over. Due to rising public questions regarding the source of singing talent in the group, owner Frank Farian confessed to reporters on November 12, 1990, that Morvan and Pilatus did not actually sing on the records. As a result of American media pressure, Milli Vanilli's Grammy was withdrawn four days later, and Arista Records dropped the act from its roster and deleted their album and its masters from their catalog, taking the album "Girl You Know It's True" out of print in the process. After these details emerged, at least 26 different lawsuits were filed under various U.S. consumer fraud protection laws. On August 28, a settlement was approved that refunded those who attended concerts along with those who bought Milli Vanilli recordings. An estimated 10 million buyers were eligible to claim a refund.


title: Lip sync

text: Chris Nelson of "The New York Times" reported that by the 1990s, "[a]rtists like Madonna and Janet Jackson set new standards for showmanship, with concerts that included not only elaborate costumes and precision-timed pyrotechnics but also highly athletic dancing. These effects came at the expense of live singing." Edna Gundersen of "USA Today" reported: "The most obvious example is Madonna's Blond Ambition World Tour, a visually preoccupied and heavily choreographed spectacle. Madonna lip syncs the duet "Now I'm Following You", while a Dick Tracy character mouths Warren Beatty's recorded vocals. On other songs, background singers plump up her voice, strained by the exertion of non-stop dancing."


title: Lip sync

text: Similarly, in reviewing Janet Jackson's Rhythm Nation World Tour, Michael MacCambridge of the "Austin American-Statesman" commented "[i]t seemed unlikely that anyone—even a prized member of the First Family of Soul Music—could dance like she did for 90 minutes and still provide the sort of powerful vocals that the '90s super concerts are expected to achieve."


title: Lip sync

text: The music video for Electrasy's 1998 single "Morning Afterglow" featured lead singer Alisdair McKinnell lip syncing the entire song backwards. This allowed the video to create the effect of an apartment being tidied by 'un-knocking over' bookcases, while the music plays forwards.


title: Lip sync

text: On October 23, 2004, US pop singer Ashlee Simpson appeared as a musical guest of episode 568 of the live comedy TV show "Saturday Night Live". During her performance, "she was revealed to apparently be lip-synching". According to "her manager-father[,]...his daughter needed the help because acid reflux disease had made her voice hoarse." Her manager stated that "Just like any artist in America, she has a backing track that she pushes so you don't have to hear her croak through a song on national television." During the incident, vocal parts from a previously performed song began to sound while the singer was "holding her microphone at her waist"; she made "some exaggerated hopping dance moves, then walked off the stage".


title: Lip sync

text: In 2009, US pop singer Britney Spears was "'extremely upset' over the savaging she has received after lip-synching at her Australian shows", where ABC News Australia reported that "[d]isappointed fans ...stormed out of Perth's Burswood Dome after only a few songs". Reuters reports that Britney Spears "is, and always has been, about blatant, unapologetic lip-synching". The article claims that "at the New York stop of her anticipated comeback tour, Spears used her actual vocal cords only three times – twice to thank the crowd, and once to sing a ballad (though the vocals during that number were questionable, as well)". "Rolling Stone" magazine stated that "Though some reports indicate Spears did some live singing [in her 2009 concerts], the "L.A. Times" Ann Powers notes that the show was dominated by backing tracks (which granted, is not the same thing as miming)".


title: Lip sync

text: Teenage viral video star Keenan Cahill openly lip syncs popular songs on his YouTube channel. His popularity has increased as he included guests such as rapper 50 Cent in November 2010 and David Guetta in January 2011, sending him to be one of the most popular channels on YouTube in January 2011.


title: Lip sync

text: The Beatles ran foul of the contemporaneous British law against miming on television in 1967 with their lip synced promo clip to their song "Hello, Goodbye". On the 21 November 1967 edition of "Top of the Pops", the song was thus played over a series of sequences from the band's 1964 film "A Hard Day's Night". On the 7 December edition of the show, a specially-made black and white promo clip was broadcast with the song, which consisted of the band members editing their telefilm "Magical Mystery Tour", and (other than the official promo clip in color including miming, which first became commercially available with the 1996 VHS release of "The Beatles Anthology") was not released on home video up until appearing as a bonus feature on the 2012 DVD release of "Magical Mystery Tour".


title: Lip sync

text: Indian cinema relies heavily on lip syncing. Lip syncing by a Playback Singer is almost exclusively used in Indian cinema, where actors perform song and dance sequences in movies while lip syncing to the song that is sung by playback singers. The playback singers are officially recognised and have gained much fame in their careers. Some notables among them are Lata Mangeshkar, Kishore Kumar, Muhammad Rafi, Asha Bhosle, Sonu Nigam, Shreya Ghoshal, and many more.


title: Lip sync

text: In an article about Katy Perry, entitled "Lip-Sync Malfunction Forces Katy Perry to Use Her Own Voice to Sing", "Gawker" stated that while the pop star was "performing her hit song "Roar" at the NRJ Music Awards in Cannes on Saturday, [she] suffered a devastating lip-sync malfunction." Perry was "unable to match the backing track" with her lip movements, causing the host to stop the performance and ask her if she wished to start again. Perry restarted the song, this time without the backing track. The producers issued a statement indicating that it was planned for Perry to sing live, except that a "technical problem" caused staff to play a "bad soundtrack".


title: Lip sync

text: The Super Bowl has used lip syncing during singers' performances at the live-to-air sports event. During Super Bowl XLIII, "Jennifer Hudson's performance of the national anthem" was "lip-synched ...to a previously recorded track, and apparently so did Faith Hill who performed before her". The singers lip synced "...at the request of Rickey Minor, the pregame show producer", who argued that "There's too many variables to go live." Subsequent Super Bowl national anthems were performed live. Whitney Houston's rendition of the anthem at the 1991 Super Bowl was also reported to have been lip synced. Such pre-recorded performances for the Super Bowl's halftime shows and national anthem have been commonplace since the 1990s; the NFL has confirmed this as standard practice. In January 1998, singer-songwriter Jewel was criticised for lip syncing the American national anthem at the opening of the Super Bowl XXXII to a digitally-recorded track of her own voice. This was noticeable as the singer missed her cue, and thus, did not sing the first few words of the song. Super Bowl producers have since admitted that they attempt to have all performers pre-record their vocals.


title: Lip sync

text: Some Olympics events have used lip syncing. In the 2008 Summer Olympics opening ceremony, the song "Ode to the Motherland" appeared to be sung by Lin Miaoke at the ceremony, but it emerged that she mimed her performance to a recording by another girl, Yang Peiyi, who actually won the audition. It was a last-minute decision to use lip syncing, following a Politburo member's objection to Yang's physical appearance. International Olympic Committee executive director Gilbert Felli defended the use of a more photogenic double.


title: Lip sync

text: On February 10, 2006, Luciano Pavarotti appeared during a performance of the opera aria "Nessun Dorma" at the 2006 Winter Olympics opening ceremony in Turin, Italy, at his final performance. In the last act of the opening ceremony, his performance received the longest and loudest ovation of the night from the international crowd. Leone Magiera, the conductor who directed the performance, revealed in his 2008 memoirs, "Pavarotti Visto da Vicino", that the performance was prerecorded weeks earlier. "The orchestra pretended to play for the audience, I pretended to conduct and Luciano pretended to sing. The effect was wonderful," he wrote. Pavarotti's manager, Terri Robson, said that the tenor had turned the Winter Olympic Committee's invitation down several times because it would have been impossible to sing late at night in the sub-zero conditions of Turin in February. The committee eventually persuaded him to take part by pre-recording the song.


title: Lip sync

text: On occasion, some vocalists have protested being asked to lip sync on television programs by blatantly drawing attention to the fact they are not singing live. When Public Image Limited singer John Lydon performed on "American Bandstand," he """instead he sat on the floor of the studio, threw himself into the assembled audience, and stuck his nose into the camera while recordings over his own voice played". When appearing on a TV program in Detroit in 1966, Frank Zappa and his band similarly gathered on a "stage" with items from the station's props department, and asked his band members to perform "a repeatable physical action, not necessarily in sync with (or even related to) the lyrics, and do it over and over until our spot on the show was concluded", leading to a performance Zappa described as "Detroit’s first whiff of homemade prime-time Dada."


title: Lip sync

text: Morrissey protested a similar policy on the BBC music programme "Top of the Pops" by singing "This Charming Man" with a fern plant as a "microphone". When appearing on a German music programme in 1986, English metal band Iron Maiden gave a lip synced performance of "Wasted Years" where the band blatantly swapped instruments mid-song, and at one point had three members "playing" the drums at the same time.


title: Lip sync

text: After the Milli Vanilli vocal miming scandal, it "...forever embedded skepticism into the minds (and ears) of the listener." In the fallout of this miming controversy, MTV’s "Unplugged" series was launched, "a showcase for artists wanting to prove they were more than just studio creations". As the show used live performances with singers and acoustic instruments, it required performers to "...display their unembellished voices and ability to perform live." On MTV "Unplugged", artists could not use lip syncing, backup tracks, synthesizers, and racks of vocal effects. With "Unplugged", authenticity in live performances again became an important value in popular music.


title: Lip sync

text: Ellie Goulding and Ed Sheeran have called for honesty in live shows by joining the “Live Means Live” campaign. "Live Means Live" was launched by songwriter/composer David Mindel. When a band displays the "Live Means Live" logo, the audience knows, “there’s no Auto-Tune, nothing that isn’t 100 per cent live" in the show, and there are no backing tracks.


title: Lip sync

text: In film production, lip syncing is often part of the post-production phase. Most film today contains scenes where the dialogue has been re-recorded afterwards; lip syncing is the technique used when animated characters speak, and lip syncing is essential when films are dubbed into other languages. In many musical films, actors sang their own songs beforehand in a recording session and lip synced during filming, but many also lip synced to voices other than their own. Rex Harrison was the exception in "My Fair Lady". Marni Nixon sang for Deborah Kerr in "The King and I" and for Audrey Hepburn in "My Fair Lady", Annette Warren for Ava Gardner in "Show Boat", Robert McFerrin for Sidney Poitier in "Porgy and Bess", Betty Wand for Leslie Caron in "Gigi", Lisa Kirk for Rosalind Russell in "Gypsy", and Bill Lee for Christopher Plummer in "The Sound of Music".


title: Lip sync

text: Some pre-overdubbed performances have survived, such as Hepburn's original "My Fair Lady" vocals (included in documentaries related to the film), and Gardner's original vocals in "Show Boat" were heard for the first time in the 1994 documentary "That's Entertainment! III". When songs appear in non-musical films, however, the actors sing live on set, but later dub their voices in ADR using a "better" performance of the song.


title: Lip sync

text: Lip syncing is almost always used in modern musical films ("The Rocky Horror Picture Show" being an exception) and in biopics such as "Ray" and "La Vie en Rose", where the original recording adds authenticity. But some early musicals usually use live recordings.


title: Lip sync

text: In the 1950s MGM classic "Singin' in the Rain", lip syncing is a major plot point, with Debbie Reynolds' character, Kathy Selden, providing the voice for the character Lina Lamont (played by Jean Hagen). Writing in UK Sunday newspaper "The Observer", Mark Kermode noted, "Trivia buffs love to invoke the ironic dubbing of Debbie Reynolds by Betty Noyes on "Would You"" although he pointed out that "the 19-year-old Reynolds never puts a foot wrong on smashers like "Good Morning"". Reynolds also later acknowledged Betty Noyes’ uncredited contribution to the film, writing: "I sang "You Are My Lucky Star" with Gene Kelly. It was a very rangy song and done in his key. My part did not come out well, and my singing voice was dubbed in by Betty Royce [sic]".


title: Lip sync

text: Automated dialogue replacement, also known as "ADR" or "looping," is a film sound technique involving the re-recording of dialogue after photography. Sometimes the dialogue recorded on location is unsatisfactory either because it has too much background noise on it or the director is not happy with the performance, so the actors replace their own voices in a "looping" session after the filming.


title: Lip sync

text: Another manifestation of lip syncing is the art of making an animated character appear to speak in a prerecorded track of dialogue. The lip sync technique to make an animated character appear to speak involves figuring out the timings of the speech (breakdown) as well as the actual animating of the lips/mouth to match the dialogue track. The earliest examples of lip sync in animation were attempted by Max Fleischer in his 1926 short "My Old Kentucky Home". The technique continues to this day, with animated films and television shows such as "Shrek", "Lilo & Stitch", and "The Simpsons" using lip syncing to make their artificial characters talk. Lip syncing is also used in comedies such as "This Hour Has 22 Minutes" and political satire, changing totally or just partially the original wording. It has been used in conjunction with translation of films from one language to another, for example, "Spirited Away". Lip syncing can be a very difficult issue in translating foreign works to a domestic release, as a simple translation of the lines often leaves overrun or underrun of high dialog to mouth movements.


title: Lip sync

text: Quality film dubbing requires that the dialogue is first translated in such a way that the words used can match the lip movements of the actor. This is often hard to achieve if the translation is to stay true to the original dialogue. Elaborate lip sync of dubbing is also a lengthy and expensive process. The more simplified non-phonetic representation of mouth movement in many anime helps this process.


title: Lip sync

text: In English-speaking countries, many foreign TV series (especially anime like "Pokémon") are dubbed for television broadcast. However, cinematic releases of films tend to come with subtitles instead. The same is true of countries in which the local language is not spoken widely enough to make the expensive dubbing commercially viable (in other words, there is not enough market for it). However, other countries with a large-enough population dub all foreign films into their national language cinematic release. Dubbing is preferred by some because it allows the viewer to focus on the on-screen action, without reading the subtitles.


title: Lip sync

text: Early video games did not use any voice sounds, due to technical limitations. In the 1970s and early 1980s, most video games used simple electronic sounds such as bleeps and simulated explosion sounds. At most, these games featured some generic jaw or mouth movement to convey a communication process in addition to text. However, as games become more advanced in the 1990s and 2000s, lip sync and voice acting has become a major focus of many games.


title: Lip sync

text: Lip sync was for some time a minor focus in role-playing video games. Because of the amount of information conveyed through the game, the majority of communication uses of scrolling text. Older RPGs rely solely on text, using inanimate portraits to provide a sense of who is speaking. Some games make use of voice acting, such as Grandia II or Diablo, but due to simple character models, there is no mouth movement to simulate speech. RPGs for hand-held systems are still largely based on text, with the rare use of lip sync and voice files being reserved for full motion video cutscenes. Newer RPGs, have extensive audio dialogues. The Neverwinter Nights series are examples of transitional games where important dialogue and cutscenes are fully voiced, but less important information is still conveyed in text. In games such as Jade Empire and , developers created partial artificial languages to give the impression of full voice acting without having to actually voice all dialogue.


title: Lip sync

text: Unlike RPGs, strategy video games make extensive use of sound files to create an immersive battle environment. Most games simply played a recorded audio track on cue with some games providing inanimate portraits to accompany the respective voice. "StarCraft" used full motion video character portraits with several generic speaking animations that did not synchronize with the lines spoken in the game. The game did, however, make extensive use of recorded speech to convey the game's plot, with the speaking animations providing a good idea of the flow of the conversation. "Warcraft III" used fully rendered 3D models to animate speech with generic mouth movements, both as character portraits as well as the in-game units. Like the FMV portraits, the 3D models did not synchronize with actual spoken text, while in-game models tended to simulate speech by moving their heads and arms rather than using actual lip synchronization. Similarly, the game Codename Panzers uses camera angles and hand movements to simulate speech, as the characters have no actual mouth movement. However, "StarCraft II" used fully synced unit portraits and cinematic sequences.


title: Lip sync

text: FPS is a genre that generally places much more emphasis on graphical display, mainly due to the camera almost always being very close to character models. Due to increasingly detailed character models requiring animation, FPS developers assign many resources to create realistic lip synchronization with the many lines of speech used in most FPS games. Early 3D models used basic up-and-down jaw movements to simulate speech. As technology progressed, mouth movements began to closely resemble real human speech movements. "" dedicated a development team to lip sync alone, producing the most accurate lip synchronization for games at that time. Since then, games like "" and "Half-Life 2" have made use of coding that dynamically simulates mouth movements to produce sounds as if they were spoken by a live person, resulting in astoundingly lifelike characters. Gamers who create their own videos using character models with no lip movements, such as the helmeted Master Chief from "Halo", improvise lip movements by moving the characters' arms, bodies and making a bobbing movement with the head (see "Red vs. Blue").


title: Lip sync

text: An example of a lip synchronization problem, also known as lip sync error is the case in which television video and audio signals are transported via different facilities ("e.g.," a geosynchronous satellite radio link and a landline) that have significantly different delay times. In such cases, it is necessary to delay the earlier of the two signals electronically.


title: Lip sync

text: Lip sync issues have become a serious problem for the television industry worldwide. Lip sync problems are not only annoying but can lead to subconscious viewer stress which in turn leads to viewer dislike of the television program they are watching. Television industry standards organizations have become involved in setting standards for lip sync errors. In 2015 SMPTE (the Society of Motion Picture and Television Engineers) adopted Standard ST2064 which provides technology for greatly reducing or eliminating lip sync errors in television programming.


title: Lip sync

text: The miming of the playing of a musical instrument, also called "finger-synching", is the instrument equivalent of lip syncing. A notable example of miming includes John Williams' piece at President Obama's inauguration, which was a recording made two days earlier and mimed by musicians Yo-Yo Ma, Itzhak Perlman. The musicians wore earpieces to hear the playback. During Whitney Houston's performance of “The Star Spangled Banner” with full orchestra, a pre-recorded version was used: “At the game, everyone was playing, and Whitney was singing, but there were no live microphones,” orchestra director Kathryn Holm McManus revealed in 2001. “Everyone was lip synching or finger-synching.”


title: Flowerhorn cichlid

text: Flowerhorn cichlids are ornamental aquarium fish noted for their vivid colors and the distinctively shaped heads for which they are named. Their head protuberance is formally called a nuchal hump. Like blood parrot cichlids, they are hybrids that exist in the wild only because of their release. Flowerhorns first emerged for sale on the aquarium market in Malaysia in the late 1990s and soon became popular in many countries in Asia. They are commonly kept by hobbyists in the US, Asia, and Europe. Numerous cast-off flowerhorns have been released to the wild, especially in Singapore and Malaysia, where they have become an invasive pest animal. Their importation is banned in Australia.


title: Flowerhorn cichlid

text: Flowerhorn breeding dates to 1993. Taiwanese and Malaysian peoples admired fish with protruding heads, known as 'kaloi' or 'warships', found in the western part of the nation. The slightly protruding forehead and long tail of cichlids were prized in Taiwanese society as bringing luck in geomancy. By 1994, red devil cichlids (typically "Amphilophus labiatus") and trimac cichlids ("A. trimaculatus") had been imported from Central America to Malaysia and the hybrid blood parrot cichlid had been imported from Taiwan to Malaysia. These fish were then bred together, marking the birth of the flowerhorn.


title: Flowerhorn cichlid

text: In 1995, the blood parrots were further crossbred with the Human Face Red God of Fortune, which produced a new breed called the Five-colors God of Fortune. With its striking colors, it quickly became popular. Selective breeding continued through 1998, when the Seven-colors Blue Fiery Mouth (also known as Greenish Gold Tiger) was imported from Central America, and crossbred with the Jin Gang blood parrot from Taiwan. This crossbreeding led to the first generation of flowerhorn hybrids (often generically called luohans in English), which were then followed by subsequent flowerhorn introductions.


title: Flowerhorn cichlid

text: When luohans were first imported to the United States, there were only two varieties of these fish for distribution: the flowerhorn and the golden base. Flowerhorns came in two varieties; those with pearls (silver-white spots on the skin), and those without. Golden bases also had two varieties: those that faded and those that did not. Among the flowerhorns, the ones without pearls were quickly overtaken in popularity by those with pearls, becoming pearl-scale flowerhorns, which were developed into the Zhen Zhu variety. Within the golden bases, the unfaded ones developed an attractive golden skin in place of what had been the flowerhorn's grey skin.


title: Flowerhorn cichlid

text: By 1999, there were four varieties of flowerhorn available in the American market: regular flowerhorns, pearl-scale flowerhorns, golden flowerhorns, and faders. Commercial breeders proliferated, and fish were selected for appearance with little regard for terminology. Consequently, names became confusing and parentage became difficult to track.


title: Flowerhorn cichlid

text: Around 2000 to 2001, the Kamfa variety appeared. These were hybrids of any type of flowerhorn crossed with any species of the genus "Vieja" or with any parrot cichlid. These brought in some new traits, such as short mouths, wrapped tails, sunken eyes, and increasingly larger head bumps. Seeing this, those who bred the Zhen Zhus began line breeding their fish to develop faster and become more colorful, in order to compete with the Kamfa strains.


title: Flowerhorn cichlid

text: Flowerhorn cichlids have a lifespan of 10–12 years. They are usually kept at a water temperature of 80–85 °F, and a pH of 7.4–8.0. They require a tank of a minimum of 40 gallons, with 75 gallons optimal. A breeding pair may require a tank of 150 gallons or more, depending on size. Being aggressive and territorial, two or more flowerhorns are usually not kept together, but the tank housing them can be divided up with acrylic dividers or egg crates.


title: Flowerhorn cichlid

text: There are several ways by which breeders distinguish between male and female flowerhorns. Generally, the males are larger than the females, but there are some exceptions. Males have the kok, or the nuchal hump, on their foreheads. Males also usually have brighter and more vivid colors. For most breeds, the females have black dots on their dorsal fins, whereas males usually have longer anal and dorsal fins. Females tend to have an orange belly, especially when ready to breed. The mouth of the male is thicker and more pronounced than the female's. One sure way to determine the sex of flowerhorn is that grown female will lay eggs every month even without the male.


title: Flowerhorn cichlid

text: Flowerhorn cichlids are subject to several diseases, including hole-in-head disease, "ich", and digestive blockages.


title: Flowerhorn cichlid

text: The original flowerhorn hybrid stock are referred to as luohans (from the Chinese word for the Buddhist concept of ). The four main derived varieties are zhen zhu, golden monkey, kamfa, and the golden base group, which includes faders and the golden trimac. They are sometimes referred to as breeds, though that term technically only refers to varieties of fully domesticated species.


title: Flowerhorn cichlid

text: Blood parrot cichlids were the earliest defined type of cichlid hybrid, whereas the King Kong parrot represents an early stage in the transition to flowerhorn breeding. The blood parrots are smaller, with a bigger head, more protruding eyes, and a V-shaped mouth. The King Kong Parrot is longer, with a reddish orange color, and a dorsal fin shorter than the anal fin. The shape of the King Kong is similar to the red devil cichlid, and, when it reaches a size of 18 cm, the shape of the mouth changes to a triangle with a more protruding jaw. Only 20% of these fish grow to a size of a half kilogram.


title: Flowerhorn cichlid

text: King Kong parrots are sometimes colored purple or blue by pigment injection. This practice is unhealthy for the fish, and the color will fade with time. Parrot cichlids fed with natural colorants and attractants naturally develop a red color. With further breeding, a round body shape has been selected, with the dorsal fin and anal fin longer than the tail fin, and the mouth can open and close naturally. These fish have clear eyes, and 90% of them grow to 1 kg or above, with the characteristic flowerhorn head shape.


title: Flowerhorn cichlid

text: The Red Mommon and Red Ingot varieties are the most typical of these hybrid cichlids. Both of these fishes are appreciated for feng shui. The Red Mommon is named for its high forehead, which looks like the hat worn by the God of Fortune. The Red Ingot is named for its "yuan-bao" shape, referring to odd-shaped gold or silver pieces formerly used as money in China.


title: Flowerhorn cichlid

text: The Red Mommon and Red Ingot grow faster in the first year, with a size of about 20 cm. They grow to 25–28 cm by two years later. Their maximum size is not yet known, and it is believed that the fish may grow to 30 cm or above in the future. Both of these fish are raised at 28 °C water temperature, pH ~6–8 (with slightly acid water preferred), and kH ~3–6, while avoiding any sudden change in water quality. It is also common to test regularly for ammonia and nitrite. Both of these fishes can be bred with different kinds of cichlids.


title: Flowerhorn cichlid

text: The genuine Golden Monkey (also called Good Fortune) or Kamalau was bred by Lam Seah and Lam Soon in Bercham, Ipoh, Malaysia. After the third generation, all of them were sold to the A-1 Aquarium in 2001. This type of flowerhorn is an original luohan-based fish and not a mixed-type Zen Zhu or Kamfa.


title: Flowerhorn cichlid

text: It can be a particularly expensive flowerhorn, carrying a price tag of more than one thousand dollars. The most expensive Golden Monkey was sold for $600,000 dollars during a Malaysian exhibition in 2009.


title: Flowerhorn cichlid

text: This variety originated directly from the luohan. Its main characteristics are white or yellow eyes (red eyes are possible but not common), a strong caudal fin, other strong and short fins, sunken eyes, no underbites or overbites, and smaller lips than the Zhen Zhu. This variety generally also has a larger and more square body than that of the Zhen Zhu. Head flowers can be found on the Kamfa, but not as prominently as with Zhen Zhus.


title: Flowerhorn cichlid

text: This variety originated slightly after the Kamfa, derived from the luohan. It has a rounded tail, large mouth, red protruding eyes, and a prominent head flower. Zhen Zhu means 'pearl flowerhorn'. This variety's strongest characteristic is pearling. Breeders often cross other types with Zhen Zhus because they breed easily and can create better pearling (flowerline) for the next generation. Weak tails can also carry over, however.


title: Flowerhorn cichlid

text: Golden base is a group of multiple varieties, including Faders and Golden Trimac. Faders are called by that name because during the juvenile period of life they first lose their color and go completely black then, as the fading process continues, the black fades away, leaving a more vibrant color, usually yellow or red.


title: Flowerhorn cichlid

text: Red Texas cichlids are related to the golden base family of flowerhorns. They were originally created by breeding a green Texas cichlid with a Mommon or King Kong parrot, then crossing the offspring back to the parents until a consistent red color was achieved. Hobbyists consider the most important feature of the red Texas to be the color. Red Texas cichlids range in colors, and are rated as:


title: Flowerhorn cichlid

text: The second characteristic that sets the red Texas apart is the pearling. Red Texas can vary greatly in terms of the type of pearling.


title: Flowerhorn cichlid

text: From the Kamfa family, these Flowerhorns are known for their massive nuchal humps, also called a kok, and their strikingly varied patterning. This fish typically has white or yellow sunken eyes, although red eyes are possible but rare. Distinctive features of this strain include an intense black double flower row along the lateral line, and very thick white pearling. Originating in Thailand, this strain has seen a recent rebirth in Vietnam. The body is typical of a Kamfa, with a fan tail, and a longer body than some other Kamfas. King Kamfa is the most expensive flowerhorn strain.


title: Flowerhorn cichlid

text: This is a cross of a Kamfa male and a Malau female. The body and face resemble a typical Kamfa (see above). The finnage and sunken eyes reflect the Kamfa genes. The main feature of a Kamfamalau is the pearling. Fins typically take on a "frosted" pearl look that is rarely found in any other varieties of flowerhorn. Pearling usually crosses all the way across the head bump, another rarity in flowerhorn varieties. This strain should display the best characteristics of both Kamfa and Malau.


title: Flowerhorn cichlid

text: The Thai Silk, also known as Titanium, is a relatively new strain which is almost completely metallic blue, gold, or white. Its origins are unclear. A new strain of Thai silk has been developed more square body shape like a Kamfa but their eyes can be red, yellow and white. It was believed to be a cross between White Tigers (Texas lineage), pure Texas cichlid and a Vieja.


title: Flowerhorn cichlid

text: A strain is a more specific subset within a particular variety. Strains can get as narrowly defined as all coming from one individual parent fish. Strains can also differ by country of origin and by breeder.


title: Flowerhorn cichlid

text: Created by Ah Soon of Malaysia, these fish are characterized by a large stocky body, as well as metallic pearling.


title: Flowerhorn cichlid

text: These were created by the Indonesian Luohan Club (ILC), using a Golden Monkey (or Malau) female and a Zhen Zhu male. The second generation was spawned from the Elvis selection and a Golden Monkey female. The strain is characterized by extensive pearling all over the body, face, and head. What distinguishes an IndoMalau's pearls from that of a Zhen Zhu or a King Kamfa is that they are extremely fine. As the fish ages, the pearls become more intricately woven and thinner. Flowerlines vary dramatically; some only have a few flower spots. Most ILC IndoMalaus will include some singular flowers on the back line or "top row". The front half of the fish, from the pectoral fins forwards, is red. The back half is a golden gradient intensifying in color towards the tail. The body is very wide and high, a throwback to the original luohan. There is a very pronounced chin or "gobbler". The head is usually forward-protruding. The tail is fan-shaped, close to that of a Kamfa. The dorsal and anal fins lack trailers, a common trait found also in Zhen Zhu. The caudal peduncle is very large and pronounced in this strain.


title: Flowerhorn cichlid

text: This strain was created by a Mr. Tan of Vietnam, by crossing a Zhen Zhu with a Kamfa. It has pearls and a flowerline like a King Kamfa, but the body and fins are more closely related to the Zhen Zhu. Most have protruding eyes and a more rounded tail like a Zhen Zhu.


title: Flowerhorn cichlid

text: New flowerhorn strains have been developed through breeding programs in the United States. Although it is hard for the US to compete with Asia's well established flowerhorn breeding farms, strains with unique genetics have been created.


title: Flowerhorn cichlid

text: Flowerhorns have been criticized by cichlid hobbyists and environmentalists for a number of reasons. Interest in flowerhorns resulted in culling of surplus and deformed fish, some of which were dumped in the wild in Malaysia and Singapore, where they survived and disrupted riverine and pond ecosystems. Like many other cichlids, flowerhorns are aggressive and can breed quickly, competing with and eating native fish.


title: Flowerhorn cichlid

text: Flowerhorn breeding contributes to the commercial demand for new and different fish, leading to unethical practices such as breeding for anatomical deformities, as occurred in goldfish breeding.


title: Flowerhorn cichlid

text: Within the aquarium hobby, flowerhorns are not favored because of the difficulty of breeding them. The majority of flowerhorn males are sterile (cannot reproduce), so finding one that can is time consuming. Hobbyists have to wait until 8–10 months for a male fish to reach sexual maturity then pair it with a female to test fertility.


title: Nishan-e-Pakistan

text: The Nishan-e-Pakistan () is the highest civilian award of the Islamic Republic of Pakistan. It is awarded for "those who have rendered services of highest distinction" to the national interest of Pakistan. Nishan is awarded to government officials and civilians, including citizens of Pakistan and foreign nationals. In the Pakistan honours system, Nishan-e-Pakistan is equivalent to Nishan-e-Haider, the highest military gallantry award. Established on 19 March 1975 under the Decorations Act, 1975, the award is not correlated to the rank or status of a person.


title: Nishan-e-Pakistan

text: This award, including other civilian awards, is announced on Independence Day (14 August) each year and its investiture takes place on the following Pakistan Resolution Day (23 March) by the president of Pakistan and, while it is the highest civilian award, it can also be awarded posthumously. Recipients are entitled to the post-nominal NPk.


title: Xander Mobus

text: Mobus has worked in English-language dubs of anime and video games. In 2014, he voiced the announcer and the characters Master Hand and Crazy Hand in "Super Smash Bros. for Nintendo 3DS and Wii U" and returned for the role in 2018's "Super Smash Bros. Ultimate". He voices also Christo in "", Dagda in "", and Joker in "Persona 5". He voice acted various comedic requests through social media during this period, such as singing the Pokémon Theme in the "Super Smash Bros." announcer's voice.


title: Logical consequence

text: Logical consequence (also entailment) is a fundamental concept in logic, which describes the relationship between statements that hold true when one statement logically "follows from" one or more statements. A valid logical argument is one in which the conclusion is entailed by the premises, because the conclusion is the consequence of the premises. The philosophical analysis of logical consequence involves the questions: In what sense does a conclusion follow from its premises? and What does it mean for a conclusion to be a consequence of premises? All of philosophical logic is meant to provide accounts of the nature of logical consequence and the nature of logical truth.


title: Logical consequence

text: Logical consequence is necessary and formal, by way of examples that explain with formal proof and models of interpretation. A sentence is said to be a logical consequence of a set of sentences, for a given language, if and only if, using only logic (i.e., without regard to any "personal" interpretations of the sentences) the sentence must be true if every sentence in the set is true.


title: Logical consequence

text: Logicians make precise accounts of logical consequence regarding a given language formula_1, either by constructing a deductive system for formula_1 or by formal intended semantics for language formula_1. The Polish logician Alfred Tarski identified three features of an adequate characterization of entailment: (1) The logical consequence relation relies on the logical form of the sentences: (2) The relation is a priori, i.e., it can be determined with or without regard to empirical evidence (sense experience); and (3) The logical consequence relation has a modal component.


title: Logical consequence

text: The most widely prevailing view on how best to account for logical consequence is to appeal to formality. This is to say that whether statements follow from one another logically depends on the structure or logical form of the statements without regard to the contents of that form.


title: Logical consequence

text: Syntactic accounts of logical consequence rely on schemes using inference rules. For instance, we can express the logical form of a valid argument as:


title: Logical consequence

text: This argument is formally valid, because every instance of arguments constructed using this scheme is valid.


title: Logical consequence

text: This is in contrast to an argument like "Fred is Mike's brother's son. Therefore Fred is Mike's nephew." Since this argument depends on the meanings of the words "brother", "son", and "nephew", the statement "Fred is Mike's nephew" is a so-called material consequence of "Fred is Mike's brother's son", not a formal consequence. A formal consequence must be true "in all cases", however this is an incomplete definition of formal consequence, since even the argument ""P" is "Q"'s brother's son, therefore "P" is "Q"'s nephew" is valid in all cases, but is not a "formal" argument.


title: Logical consequence

text: If it is known that formula_4 follows logically from formula_5, then no information about the possible interpretations of formula_5 or formula_4 will affect that knowledge. Our knowledge that formula_4 is a logical consequence of formula_5 cannot be influenced by empirical knowledge. Deductively valid arguments can be known to be so without recourse to experience, so they must be knowable a priori. However, formality alone does not guarantee that logical consequence is not influenced by empirical knowledge. So the a priori property of logical consequence is considered to be independent of formality.


title: Logical consequence

text: The two prevailing techniques for providing accounts of logical consequence involve expressing the concept in terms of "proofs" and via "models". The study of the syntactic consequence (of a logic) is called (its) proof theory whereas the study of (its) semantic consequence is called (its) model theory.


title: Logical consequence

text: A formula formula_10 is a syntactic consequence within some formal system formula_11 of a set formula_12 of formulas if there is a formal proof in formula_11 of formula_10 from the set formula_12. This is denoted formula_16. The turnstile symbol formula_17 was originally introduced by Frege in 1879, but its current use only dates back to Rosser and Kleene (1934--1935).


title: Logical consequence

text: A formula formula_10 is a semantic consequence within some formal system formula_11 of a set of statements formula_12 if and only if there is no model formula_21 in which all members of formula_12 are true and formula_10 is false. This is denoted formula_24. Or, in other words, the set of the interpretations that make all members of formula_12 true is a subset of the set of the interpretations that make formula_10 true.


title: Logical consequence

text: Such accounts are called "modal" because they appeal to the modal notions of logical necessity and logical possibility. 'It is necessary that' is often expressed as a universal quantifier over possible worlds, so that the accounts above translate as:


title: Logical consequence

text: The conclusion is a logical consequence of the premises because we can't imagine a possible world where (a) all frogs are green; (b) Kermit is a frog; and (c) Kermit is not green.


title: Logical consequence

text: Modal-formal accounts of logical consequence combine the modal and formal accounts above, yielding variations on the following basic idea:


title: Logical consequence

text: The accounts considered above are all "truth-preservational", in that they all assume that the characteristic feature of a good inference is that it never allows one to move from true premises to an untrue conclusion. As an alternative, some have proposed "warrant-preservational" accounts, according to which the characteristic feature of a good inference is that it never allows one to move from justifiably assertible premises to a conclusion that is not justifiably assertible. This is (roughly) the account favored by intuitionists such as Michael Dummett.


title: Logical consequence

text: The accounts discussed above all yield monotonic consequence relations, i.e. ones such that if formula_10 is a consequence of formula_12, then formula_10 is a consequence of any superset of formula_12. It is also possible to specify non-monotonic consequence relations to capture the idea that, e.g., 'Tweety can fly' is a logical consequence of


title: Bryan Glazer

text: Bryan Glazer (born October 27, 1964) is an American businessman. Together with his brothers, Joel Glazer and Edward Glazer, he owns part of the First Allied Corporation, the Tampa Bay Buccaneers National Football League franchise, and the English football club Manchester United. His family is based in Florida.


title: Bryan Glazer

text: Glazer was born to Linda and Malcolm Glazer, American businessman and billionaire. Glazer received a bachelor's degree from American University in Washington, D.C. He majored in broadcast communications and was a leader of the Phi Sigma Kappa fraternity. He then received a Juris Doctor degree from the Whittier Law School located in Southern California.


title: Bryan Glazer

text: Glazer is currently executive vice-president of the Tampa Bay Buccaneers and was appointed to that position in 1995. He was a key player in the design, development and construction of the Bucs new stadium. He also helped in re-designing the franchise logo. Under Glazer family ownership, the Buccaneers have two Super Bowl titles (XXXVII and LV - which was the first time a Super Bowl team played in its home stadium).


title: Bryan Glazer

text: Glazer was appointed a director of Zapata Corporation in 1997, and served in that position until his retirement in 2009.


title: Bryan Glazer

text: Glazer is currently a non-executive director of the Manchester United board, appointed by his father, Malcolm Glazer to replace the resigned members. Along with Andy Anson (Manchester United's commercial director) and Jeffrey Ajluni (Tampa Bay Buccaneers director of marketing and business development), Glazer was a key player in signing American International Group (AIG) as the club's new shirt sponsor for the 2006–07 season.


title: Bryan Glazer

text: In 2016, Glazer donated $4 million to the renovation and conversion of the Fort Homer W. Hesterly Armory into the Bryan Glazer Family Jewish Community Center.


title: Psychedelic art

text: Psychedelic art (also known as psychedelia) is art, graphics or visual displays related to or inspired by psychedelic experiences and hallucinations known to follow the ingestion of psychedelic drugs such as LSD, psilocybin, and DMT. The word "psychedelic" (coined by British psychologist Humphry Osmond) means "mind manifesting". By that definition, all artistic efforts to depict the inner world of the psyche may be considered "psychedelic".


title: Psychedelic art

text: In common parlance "psychedelic art" refers above all to the art movement of the late 1960s counterculture, featuring highly distorted or surreal visuals, bright colors and full spectrums and animation (including cartoons) to evoke, convey, or enhance psychedelic experiences. Psychedelic visual arts were a counterpart to psychedelic rock music. Concert posters, album covers, liquid light shows, liquid light art, murals, comic books, underground newspapers and more reflected not only the kaleidoscopically swirling colour patterns of LSD hallucinations, but also revolutionary political, social and spiritual sentiments inspired by insights derived from these psychedelic states of consciousness.


title: Psychedelic art

text: Psychedelic art is informed by the notion that altered states of consciousness produced by psychedelic drugs are a source of artistic inspiration. The psychedelic art movement is similar to the surrealist movement in that it prescribes a mechanism for obtaining inspiration. Whereas the mechanism for surrealism is the observance of dreams, a psychedelic artist turns to drug induced hallucinations. Both movements have strong ties to important developments in science. Whereas the surrealist was fascinated by Freud's theory of the unconscious, the psychedelic artist has been literally "turned on" by Albert Hofmann's discovery of LSD.


title: Psychedelic art

text: Among the work forerunners of psychedelic art, the following authors and artists can be noted: Lautreamont, Louis-Ferdinand Celine, Stanislav Witkevich, Antonin Artaud, Georges Bataille, William Burroughs, De Quincey, Terence McKenna, Carlos Castaneda. Mikhail Bulgakov is the first writer to describe narcotic hallucinations. In particular, art researchers Tim Lapetino and James Orok trace the connection of psychedelic art with Dadaism, Surrealism, Lettrism, and Situationism.


title: Psychedelic art

text: The early examples of "psychedelic art" are literary rather than visual, although there are some examples in the Surrealist art movement, such as Remedios Varo and André Masson. Other early examples include Antonin Artaud who writes of his peyote experience in "Voyage to the Land of the Tarahumara" (1937) and Henri Michaux who wrote "Misérable Miracle" (1956), to describe his experiments with mescaline and hashish.


title: Psychedelic art

text: Aldous Huxley's "The Doors of Perception" (1954) and "Heaven and Hell" (1956) remain definitive statements on the psychedelic experience.


title: Psychedelic art

text: Albert Hofmann and his colleagues at Sandoz Laboratories were convinced immediately after its discovery in 1943 of the power and promise of LSD. For two decades following its discovery LSD was marketed by Sandoz as an important drug for psychological and neurological research. Hofmann saw the drug's potential for poets and artists as well, and took great interest in the German writer Ernst Jünger's psychedelic experiments.


title: Psychedelic art

text: Early artistic experimentation with LSD was conducted in a clinical context by Los Angeles–based psychiatrist Oscar Janiger. Janiger asked a group of 50 different artists to each do a painting from life of a subject of the artist's choosing. They were subsequently asked to do the same painting while under the influence of LSD. The two paintings were compared by Janiger and also the artist. The artists almost unanimously reported LSD to be an enhancement to their creativity.


title: Psychedelic art

text: Ultimately it seems that psychedelics would be most warmly embraced by the American counterculture. Beatnik poets Allen Ginsberg and William S. Burroughs became fascinated by psychedelic drugs as early as the 1950s as evidenced by "The Yage Letters" (1963). The Beatniks recognized the role of psychedelics as sacred inebriants in Native American religious ritual, and also had an understanding of the philosophy of the surrealist and symbolist poets who called for a "complete disorientation of the senses" (to paraphrase Arthur Rimbaud). They knew that altered states of consciousness played a role in Eastern Mysticism. They were hip to psychedelics as psychiatric medicine. LSD was the perfect catalyst to electrify the eclectic mix of ideas assembled by the Beats into a cathartic, mass-distributed panacea for the soul of the succeeding generation.


title: Psychedelic art

text: Leading proponents of the 1960s psychedelic art movement were San Francisco poster artists such as: Rick Griffin, Victor Moscoso, Bonnie MacLean, Stanley Mouse & Alton Kelley, and Wes Wilson. Their psychedelic rock concert posters were inspired by Art Nouveau, Victoriana, Dada, and Pop Art. The "Fillmore Posters" were among the most notable of the time. Richly saturated colors in glaring contrast, elaborately ornate lettering, strongly symmetrical composition, collage elements, rubber-like distortions, and bizarre iconography are all hallmarks of the San Francisco psychedelic poster art style. The style flourished from about 1966 to 1972. Their work was immediately influential to vinyl record album cover art, and indeed all of the aforementioned artists also created album covers.


title: Psychedelic art

text: Although San Francisco remained the hub of psychedelic art into the early 1970s, the style also developed internationally: British artist Bridget Riley became famous for her Op art paintings of psychedelic patterns creating optical illusions. Mati Klarwein created psychedelic masterpieces for Miles Davis' Jazz-Rock fusion albums, and also for Carlos Santana's Latin rock. Pink Floyd worked extensively with London-based designers, Hipgnosis to create graphics to support the concepts in their albums. Willem de Ridder created cover art for Van Morrison. Los Angeles area artists such as John Van Hamersveld, Warren Dayton and Art Bevacqua and New York artists Peter Max and Milton Glaser all produced posters for concerts or social commentary (such as the anti-war movement) that were highly collected during this time. Life Magazine's cover and lead article for the September 1, 1967 issue at the height of the Summer of Love focused on the explosion of psychedelic art on posters and the artists as leaders in the hippie counterculture community.


title: Psychedelic art

text: Psychedelic light-shows were a new art-form developed for rock concerts. Using oil and dye in an emulsion that was set between large convex lenses upon overhead projectors the lightshow artists created bubbling liquid visuals that pulsed in rhythm to the music. This was mixed with slideshows and film loops to create an improvisational motion picture art form to give visual representation to the improvisational jams of the rock bands and create a completely "trippy" atmosphere for the audience. The Brotherhood of Light were responsible for many of the light-shows in San Francisco psychedelic rock concerts.


title: Psychedelic art

text: Out of the psychedelic counterculture also arose a new genre of comic books: underground comix. "Zap Comix" was among the original underground comics, and featured the work of Robert Crumb, S. Clay Wilson, Victor Moscoso, Rick Griffin, and Robert Williams among others. Underground Comix were ribald, intensely satirical, and seemed to pursue weirdness for the sake of weirdness. Gilbert Shelton created perhaps the most enduring of underground cartoon characters, "The Fabulous Furry Freak Brothers", whose drugged out exploits held a hilarious mirror up to the hippy lifestyle of the 1960s.


title: Psychedelic art

text: Psychedelic art was also applied to the LSD itself. LSD began to be put on blotter paper in the early 1970s and this gave rise to a specialized art form of decorating the blotter paper. Often the blotter paper was decorated with tiny insignia on each perforated square tab, but by the 1990s this had progressed to complete four color designs often involving an entire page of 900 or more tabs. Mark McCloud is a recognized authority on the history of LSD blotter art.


title: Psychedelic art

text: By the late 1960s, the commercial potential of psychedelic art had become hard to ignore. General Electric, for instance, promoted clocks with designs by New York artist Peter Max. A caption explains that each of Max's clocks "transposes time into multi-fantasy colors." In this and many other corporate advertisements of the late 1960s featuring psychedelic themes, the psychedelic product was often kept at arm's length from the corporate image: while advertisements may have reflected the swirls and colors of an LSD trip, the black-and-white company logo maintained a healthy visual distance. Several companies, however, more explicitly associated themselves with psychedelica: CBS, Neiman Marcus, and NBC all featured thoroughly psychedelic advertisements between 1968 and 1969. In 1968, Campbell's soup ran a poster promotion that promised to "Turn your wall souper-delic!"


title: Psychedelic art

text: The early years of the 1970s saw advertisers using psychedelic art to sell a limitless array of consumer goods. Hair products, cars, cigarettes, and even pantyhose became colorful acts of pseudo-rebellion. The Chelsea National Bank commissioned a psychedelic landscape by Peter Max, and neon green, pink, and blue monkeys inhabited advertisements for a zoo. A fantasy land of colorful, swirling, psychedelic bubbles provided the perfect backdrop for a Clearasil ad. As Brian Wells explains, "The psychedelic movement has, through the work of artists, designers, and writers, achieved an astonishing degree of cultural diffusion… but, though a great deal of diffusion has taken place, so, too, has a great deal of dilution and distortion." Even the term "psychedelic" itself underwent a semantic shift, and soon came to mean "anything in youth culture which is colorful, or unusual, or fashionable." Puns using the concept of "tripping" abounded: as an advertisement for London Britches declared, their product was "great on trips!" By the mid-1970s, the psychedelic art movement had been largely co-opted by mainstream commercial forces, incorporated into the very system of capitalism that the hippies had struggled so hard to change.


title: Psychedelic art

text: Examples of other psychedelic art material are tapestry, curtains and stickers, clothing, canvas and other printed artefacts and furniture.


title: Psychedelic art

text: Computer art has allowed for an even greater and more profuse expression of psychedelic vision. Fractal generating software gives an accurate depiction of psychedelic hallucinatory patterns, but even more importantly 2D and 3D graphics software allow for unparalleled freedom of image manipulation. Much of the graphics software seems to permit a direct translation of the psychedelic vision. The "digital revolution" was indeed heralded early on as the "New LSD" by none other than Timothy Leary.


title: Psychedelic art

text: The rave movement of the 1990s was a psychedelic renaissance fueled by the advent of newly available digital technologies. The rave movement developed a new graphic art style partially influenced by 1960s psychedelic poster art, but also strongly influenced by graffiti art, and by 1970s advertising art, yet clearly defined by what digital art and computer graphics software and home computers had to offer at the time of creation. Conversely, the convolutional neural network DeepDream finds and enhances patterns in images purely via algorithmic pareidolia.


title: Psychedelic art

text: Concurrent to the rave movement, and in key respects integral to it, are the development of new mind-altering drugs, most notably, MDMA (Ecstasy). Ecstasy, like LSD, has had a tangible influence on culture and aesthetics, particularly the aesthetics of rave culture. But MDMA is (arguably) not a real psychedelic, but is described by psychologists as an entactogen. Development of new psychedelics such as 2C-B and related compounds (developed primarily by chemist Alexander Shulgin) which are truly psychedelic has provided a fertile ground for artistic exploration since many of the new psychedelics possess their own unique properties that will affect the artist's vision accordingly.


title: Psychedelic art

text: Even as fashions have changed, and art and culture movements have come and gone, certain artists have steadfastly devoted themselves to psychedelia. Well-known examples are Amanda Sage, Alex Grey, and Robert Venosa. These artists have developed unique and distinct styles that while containing elements that are "psychedelic", are clearly artistic expressions that transcend simple categorization. While it is not necessary to use psychedelics to arrive at such a stage of artistic development, serious psychedelic artists are demonstrating that there is tangible technique to obtaining visions, and that technique is the creative use of psychedelic drugs.


title: Leon Redbone

text: Leon Redbone (born Dickran Gobalian; August 26, 1949 – May 30, 2019) was a singer-songwriter and musician specializing in jazz, blues, and Tin Pan Alley classics. Recognized by his hat (often a Panama hat), dark sunglasses, and black tie, Redbone was born in Cyprus of Armenian ancestry and first appeared on stage in Toronto, Canada, in the early 1970s. He also appeared on film and television in acting and voice-over roles.


title: Leon Redbone

text: In concert Redbone often employed comedy and demonstrated his skill in guitar playing. Recurrent gags involved the influence of alcohol and claiming to have written works originating well before he was born – Redbone favored material from the Tin Pan Alley era, circa 1890 to 1910. He sang the theme to the 1980s television series "Mr. Belvedere" and released eighteen albums.


title: Leon Redbone

text: Redbone was elusive about his origins, and he never explained the origin of his stage name. According to a "Toronto Star" report in the 1980s, he was once known as Dickran Gobalian, came to Canada in the mid-1960s, and changed his name via the Ontario Change of Name Act. Biographical research published in 2019 corroborated his birth name, and stated that his family was of Armenian origin. His parents lived in Jerusalem, but fled in 1948 to Nicosia, Cyprus, where Redbone was born. By 1961, the family had moved to London, England, and by 1965 to Toronto.


title: Leon Redbone

text: While living in Canada in the late 1960s, Redbone began performing in public at Toronto area nightclubs and folk music festivals. He met Bob Dylan at the Mariposa Folk Festival in 1972. Dylan was so impressed by Redbone's performance that he mentioned it in a "Rolling Stone" interview, leading that magazine to do a feature article on Redbone a year before he had a recording contract. The article described his performances as "so authentic you can hear the surface noise [of an old 78 rpm]." Dylan said that if he had ever started a label, he would have signed Redbone. His first album, "On the Track", was released by Warner Bros. Records in 1975.


title: Leon Redbone

text: He was introduced to a larger public as a semi-regular musical guest on NBC's "Saturday Night Live", appearing twice in the first season. During the 1980s and '90s he was a frequent guest on "The Tonight Show Starring Johnny Carson". He was also a guest on "A Prairie Home Companion".