title: 3D film

text: Anaglyph is also used in printed materials and in 3D television broadcasts where polarization is not practical. 3D polarized televisions and other displays only became available from several manufacturers in 2008; these generate polarization on the receiving end.


title: 3D film

text: To present a stereoscopic motion picture, two images are projected superimposed onto the same screen through different polarizing filters. The viewer wears low-cost glasses which also contain a pair of polarizing filters oriented differently (clockwise/counterclockwise with circular polarization or at 90 degree angles, usually 45 and 135 degrees, with linear polarization). As each filter passes only that light which is similarly polarized and blocks the light polarized differently, each eye sees a different image. This is used to produce a three-dimensional effect by projecting the same scene into both eyes, but depicted from slightly different perspectives. Since no head tracking is involved, the entire audience can view the stereoscopic images at the same time.


title: 3D film

text: Circular polarization has an advantage over linear polarization, in that the viewer does not need to have their head upright and aligned with the screen for the polarization to work properly. With linear polarization, turning the glasses sideways causes the filters to go out of alignment with the screen filters causing the image to fade and for each eye to see the opposite frame more easily. For circular polarization, the polarizing effect works regardless of how the viewer's head is aligned with the screen such as tilted sideways, or even upside down. The left eye will still only see the image intended for it, and vice versa, without fading or crosstalk. Nonetheless, 3D cinema films are made to be viewed without head tilt, and any significant head tilt will result in incorrect parallax and prevent binocular fusion.


title: 3D film

text: In the case of RealD a circularly polarizing liquid crystal filter which can switch polarity 144 times per second is placed in front of the projector lens. Only one projector is needed, as the left and right eye images are displayed alternately. Sony features a new system called RealD XLS, which shows both circular polarized images simultaneously: A single 4K projector (4096×2160 resolution) displays both 2K images (2048×1080 resolution) on top of each other at the same time, a special lens attachment polarizes and projects the images.


title: 3D film

text: Optical attachments can be added to traditional 35mm projectors to adapt them for projecting film in the "over-and-under" format, in which each pair of images is stacked within one frame of film. The two images are projected through different polarizers and superimposed on the screen. This is a very cost-effective way to convert a theater for 3-D as all that is needed are the attachments and a non-depolarizing screen surface, rather than a conversion to digital 3-D projection. Thomson Technicolor currently produces an adapter of this type. A metallic screen is necessary for these systems as reflection from non-metallic surfaces destroys the polarization of the light.


title: 3D film

text: Polarized stereoscopic pictures have been around since 1936, when Edwin H. Land first applied it to motion pictures. The so-called "3-D movie craze" in the years 1952 through 1955 was almost entirely offered in theaters using linear polarizing projection and glasses. Only a minute amount of the total 3D films shown in the period used the anaglyph color filter method. Linear polarization was likewise used with consumer level stereo projectors. Polarization was also used during the 3D revival of the 1980s.


title: 3D film

text: In the 2000s, computer animation, competition from DVDs and other media, digital projection, and the use of sophisticated IMAX 70mm film projectors, have created an opportunity for a new wave of polarized 3D films.


title: 3D film

text: All types of polarization will result in a darkening of the displayed image and poorer contrast compared to non-3D images. Light from lamps is normally emitted as a random collection of polarizations, while a polarization filter only passes a fraction of the light. As a result, the screen image is darker. This darkening can be compensated by increasing the brightness of the projector light source. If the initial polarization filter is inserted between the lamp and the image generation element, the light intensity striking the image element is not any higher than normal without the polarizing filter, and overall image contrast transmitted to the screen is not affected.


title: 3D film

text: In this technology, a mechanism is used to block light from each appropriate eye when the converse eye's image is projected on the screen.


title: 3D film

text: The technology originated with the Eclipse Method, in which the projector alternates between left and right images, and opens and closes the shutters in the glasses or viewer in synchronization with the images on the screen. This was the basis of the Teleview system which was used briefly in 1922.


title: 3D film

text: A newer implementation of the Eclipse Method came with LCD shutter glasses. Glasses containing liquid crystal that will let light through in synchronization with the images on the cinema, television or computer screen, using the concept of alternate-frame sequencing. This is the method used by nVidia, XpanD 3D, and earlier IMAX systems. A drawback of this method is the need for each person viewing to wear expensive, electronic glasses that must be synchronized with the display system using a wireless signal or attached wire. The shutter-glasses are heavier than most polarized glasses, though lighter models are no heavier than some sunglasses or deluxe polarized glasses. However these systems do not require a silver screen for projected images.


title: 3D film

text: Liquid crystal light valves work by rotating light between two polarizing filters. Due to these internal polarizers, LCD shutter-glasses darken the display image of any LCD, plasma, or projector image source, which has the result that images appear dimmer and contrast is lower than for normal non-3D viewing. This is not necessarily a usage problem; for some types of displays which are already very bright with poor grayish black levels, LCD shutter glasses may actually improve the image quality.


title: 3D film

text: Dolby 3D uses specific wavelengths of red, green, and blue for the right eye, and different wavelengths of red, green, and blue for the left eye. Glasses which filter out the very specific wavelengths allow the wearer to see a 3D image. This technology eliminates the expensive silver screens required for polarized systems such as RealD, which is the most common 3D display system in theaters. It does, however, require much more expensive glasses than the polarized systems. It is also known as spectral comb filtering or wavelength multiplex visualization


title: 3D film

text: The recently introduced Omega 3D/Panavision 3D system also uses this technology, though with a wider spectrum and more "teeth" to the "comb" (5 for each eye in the Omega/Panavision system). The use of more spectral bands per eye eliminates the need to color process the image, required by the Dolby system. Evenly dividing the visible spectrum between the eyes gives the viewer a more relaxed "feel" as the light energy and color balance is nearly 50-50. Like the Dolby system, the Omega system can be used with white or silver screens. But it can be used with either film or digital projectors, unlike the Dolby filters that are only used on a digital system with a color correcting processor provided by Dolby. The Omega/Panavision system also claims that their glasses are cheaper to manufacture than those used by Dolby. In June 2012 the Omega 3D/Panavision 3D system was discontinued by DPVO Theatrical, who marketed it on behalf of Panavision, citing "challenging global economic and 3D market conditions".


title: 3D film

text: Although DPVO dissolved its business operations, Omega Optical continues promoting and selling 3D systems to non-theatrical markets. Omega Optical's 3D system contains projection filters and 3D glasses. In addition to the passive stereoscopic 3D system, Omega Optical has produced enhanced anaglyph 3D glasses. The Omega's red/cyan anaglyph glasses use complex metal oxide thin film coatings and high quality annealed glass optics.


title: 3D film

text: In this method, glasses are not necessary to see the stereoscopic image. Lenticular lens and parallax barrier technologies involve imposing two (or more) images on the same sheet, in narrow, alternating strips, and using a screen that either blocks one of the two images' strips (in the case of parallax barriers) or uses equally narrow lenses to bend the strips of image and make it appear to fill the entire image (in the case of lenticular prints). To produce the stereoscopic effect, the person must be positioned so that one eye sees one of the two images and the other sees the other.


title: 3D film

text: Both images are projected onto a high-gain, corrugated screen which reflects light at acute angles. In order to see the stereoscopic image, the viewer must sit within a very narrow angle that is nearly perpendicular to the screen, limiting the size of the audience. Lenticular was used for theatrical presentation of numerous shorts in Russia from 1940 to 1948 and in 1946 for the feature-length film Robinson Crusoe.


title: 3D film

text: Though its use in theatrical presentations has been rather limited, lenticular has been widely used for a variety of novelty items and has even been used in amateur 3D photography. Recent use includes the Fujifilm FinePix Real 3D with an autostereoscopic display that was released in 2009. Other examples for this technology include autostereoscopic LCD displays on monitors, notebooks, TVs, mobile phones and gaming devices, such as the Nintendo 3DS.


title: 3D film

text: Some viewers have complained of headaches and eyestrain after watching 3D films. Motion sickness, in addition to other health concerns, are more easily induced by 3D presentations. One published study shows that of those who watch 3D films, nearly 55% experience varying levels of headaches, nausea and disorientation.


title: 3D film

text: There are two primary effects of 3D film that are unnatural for human vision: crosstalk between the eyes, caused by imperfect image separation, and the mismatch between convergence and accommodation, caused by the difference between an object's perceived position in front of, or behind the screen and the real origin of that light on the screen.


title: 3D film

text: It is believed that approximately 12% of people are unable to properly see 3D images, due to a variety of medical conditions. According to another experiment up to 30% of people have very weak stereoscopic vision preventing them from depth perception based on stereo disparity. This nullifies or greatly decreases immersion effects of digital stereo to them.


title: 3D film

text: It has recently been discovered that each of the rods and cones in animal eyes can measure the distance to the point on the object that is in focus at the particular rod or cone. Each rod or cone can act as a passive LIDAR (Light Detection And Ranging). The lens selects the point on the object for each pixel to which the distance is measured; that is, humans can see in 3D separately with each eye. If the brain uses this ability in addition to the stereoscopic effect and other cues no stereoscopic system can present a true 3D picture to the brain.


title: 3D film

text: The French National Research Agency (ANR) has sponsored multidisciplinary research in order to understand the effects of 3D film viewing, its grammar, and its acceptance.


title: 3D film

text: Most of the cues required to provide humans with relative depth information are already present in traditional 2D films. For example, closer objects occlude further ones, distant objects are desaturated and hazy relative to near ones, and the brain subconsciously "knows" the distance of many objects when the height is known (e.g. a human figure subtending only a small amount of the screen is more likely to be 2 m tall and far away than 10 cm tall and close). In fact, only two of these depth cues are not already present in 2D films: stereopsis (or parallax) and the focus of the eyeball (accommodation).


title: 3D film

text: 3D film-making addresses accurate presentation of stereopsis but not of accommodation, and therefore is insufficient in providing a complete 3D illusion. However, promising results from research aimed at overcoming this shortcoming were presented at the 2010 Stereoscopic Displays and Applications conference in San Jose, U.S.


title: 3D film

text: Film critic Mark Kermode argued that 3D adds "not that much" value to a film, and said that, while he liked "Avatar", the many impressive things he saw in the film had nothing to do with 3D. Kermode has been an outspoken critic of 3D film describing the effect as a "nonsense" and recommends using two right or left lenses from the 3D glasses to cut out the "pointy, pointy 3D stereoscopic vision", although this technique still does not improve the huge brightness loss from a 3D film. Versions of these "2-D glasses" are being marketed.


title: 3D film

text: As pointed out in the article "Virtual Space – the movies of the future" in real life the 3D effect, or stereoscopic vision, depends on the distance between the eyes, which is only about inches. The depth perception this affords is only noticeable near to the head – at about arms length. It is only useful for such tasks as threading a needle. It follows that in films portraying real life, where nothing is ever shown so close to the camera, the 3D effect is not noticeable and is soon forgotten as the film proceeds.


title: 3D film

text: Director Christopher Nolan has criticised the notion that traditional film does not allow depth perception, saying "I think it's a misnomer to call it 3D versus 2D. The whole point of cinematic imagery is it's three dimensional... You know 95% of our depth cues come from occlusion, resolution, color and so forth, so the idea of calling a 2D movie a '2D movie' is a little misleading." Nolan also criticised that shooting on the required digital video does not offer a high enough quality image and that 3D cameras cannot be equipped with prime (non-zoom) lenses.


title: 3D film

text: Late film critic Roger Ebert repeatedly criticized 3D film as being "too dim", sometimes distracting or even nausea-inducing, and argued that it is an expensive technology that adds nothing of value to the film-going experience (since 2-D films already provide a sufficient illusion of 3D). While Ebert was "not opposed to 3-D as an option", he opposed it as a replacement for traditional film, and preferred 2-D technologies such as MaxiVision48 that improve image area/resolution and frames per second.


title: 3D film

text: Most 3D systems will cut down the brightness of the picture considerably – the light loss can be as high as 88%. Some of this loss may be compensated by running the projector's bulb at higher power or using more powerful bulbs.


title: 3D film

text: The 2D brightness cinema standard is 14 foot-lamberts (48 candela per square metre), as set by the SMPTE standard 196M. , there is no official standard for 3D brightness. According to the industry de facto standard, however, the "acceptable brightness range" goes as low as 3.5 fL (12 cd/m) – just 25% of the standard 2D brightness.


title: 3D film

text: Among others, Christopher Nolan has criticized the huge brightness loss: "You're not that aware of it because once you're 'in that world,' your eye compensates, but having struggled for years to get theaters up to the proper brightness, we're not sticking polarized filters in everything."


title: 3D film

text: In September 2012, the DCI standards body issued a "recommended practice" calling for a 3D projection brightness of 7 fL (24 cd/m), with an acceptable range of 5–9 fL (17–31 cd/m). It is not known how many theaters actually achieve such light levels with current technology. Prototype laser projection systems have reached 14 fL (48 cd/m) for 3D on a cinema screen.


title: 3D film

text: Another major criticism is that many of the films in the 21st century to date were not filmed in 3D, but converted into 3-D after filming. Filmmakers who have criticized the quality of this process include James Cameron (whose film "Avatar" was created mostly in 3D from the ground up, with some portions of the film created in 2D, and is largely credited with the revival of 3D) and Michael Bay. However, Cameron has said that quality 2D to 3D conversions can be done if they take the time they need and the director is involved. Cameron's "Titanic" was converted into 3D in 2012, taking 60 weeks and costing $18 million.


title: 3D film

text: In contrast, computer-animated films for which the original computer models are still available can be rendered in 3D easily, as the depth information is still available and does not need to be inferred or approximated. This has been done with "Toy Story", among others.


title: Affluence in the United States

text: Affluence refers to an individual's or household's economical and financial advantage in comparison to others. It may be assessed through either income or wealth.


title: Affluence in the United States

text: In absolute terms affluence is a relatively widespread phenomenon in the United States, with over 30% of households having an income exceeding $100,000 per year and over 30% of households having a net worth exceeding $250,000, as of 2019. However, when looked at in relative terms, wealth is highly concentrated: the bottom 50% of Americans only share 2% of total household wealth while the top 1% hold 35% of that wealth.


title: Affluence in the United States

text: In the United States, as of 2019, the median household income is $60,030 per year and the median household net worth is $97,300, while the mean household income is $89,930 per year and the mean household net worth is $692,100.


title: Affluence in the United States

text: While income is often seen as a type of wealth in colloquial language use, wealth and income are two substantially different measures of economic prosperity. Wealth is the total value of net possessions of an individual or household, while income is the total inflow of wealth over a given time period. Hence the change in wealth over that time period is equal to the income minus the expenditures in that period. Income is a so-called "flow" variable, while wealth is a so-called "stock" variable.


title: Affluence in the United States

text: Affluence in the United States has been attributed in many cases to inherited wealth amounting to "a substantial head start": in September 2012, the Institute for Policy Studies found that over 60 percent of the Forbes richest 400 Americans had grown up with substantial privilege.


title: Affluence in the United States

text: Income is commonly used to measure affluence, although this is a relative indicator: a middle class person with a personal income of $77,500 annually and a billionaire may both be referred to as affluent, depending on reference groups. An average American with a median income of $32,000 ($39,000 for those employed full-time between the ages of 25 and 64) when used as a reference group would justify the personal income in the tenth percentile of $77,500 being described as affluent, but if this earner were compared to an executive of a Fortune 500 company, then the description would not apply. Accordingly, marketing firms and investment houses classify those with household incomes exceeding $250,000 as mass affluent, while the threshold upper class is most commonly defined as the top 1% with household incomes commonly exceeding $525,000 annually.


title: Affluence in the United States

text: According to the U.S. Census Bureau, 42% of U.S. households have two income earners, thus making households' income levels higher than personal income levels; the percent of married-couple families with children where both parents work is 59.1%.


title: Affluence in the United States

text: In 2005, the economic survey revealed the following income distribution for households and individuals:


title: Affluence in the United States

text: Households may also be differentiated among each other, depending on whether or not they have one or multiple income earners (the high female participation in the economy means that many households have two working members). For example, in 2005 the median household income for a two income earner households was $67,000 while the median income for an individual employed full-time with a graduate degree was in excess of $60,000, demonstrating that nearly half of individuals with a graduate degree have earnings comparable with most dual income households.


title: Affluence in the United States

text: By another measure – the number of square feet per person in the home – the average home in the United States has more than 700 square feet per person, 50% – 100% more than in other high-income countries (though this indicator may be regarded as an accident of geography, climate and social preference, both within the US and beyond it) but this metric indicates even those in the lowest income percentiles enjoy more living space than the middle classes in most European nations. Similarly ownership levels of 'gadgets' and access to amenities are exceptionally high compared to many other countries.


title: Affluence in the United States

text: Overall, the term affluent may be applied to a variety of individuals, households, or other entities, depending on context. Data from the U.S. Census Bureau serves as the main guideline for defining affluence. U.S. government data not only reveal the nation's income distribution but also the demographic characteristics of those to whom the term "affluent", may be applied.


title: Affluence in the United States

text: Wealth in the United States is commonly measured in terms of net worth, which is the sum of all assets, including the market value of real estate, like a home, minus all liabilities. The United States is the wealthiest country in the world.


title: Affluence in the United States

text: For example, a household in possession of an $800,000 house, $5,000 in mutual funds, $30,000 in cars, $20,000 worth of stock in their own company, and a $45,000 IRA would have assets totaling $900,000. Assuming that this household would have a $250,000 mortgage, $40,000 in car loans, and $10,000 in credit card debt, its debts would total $300,000. Subtracting the debts from the worth of this household's assets (900,000 − $300,000 = $600,000), this household would have a net worth of $600,000. Net worth can vary with fluctuations in value of the underlying assets.


title: Affluence in the United States

text: As one would expect, households with greater income often have the highest net worths, though high income cannot be taken as an always accurate indicator of net worth. Overall the number of wealthier households is on the rise, with baby boomers hitting the highs of their careers. In addition, wealth is unevenly distributed, with the wealthiest 25% of US households owning 87% of the wealth in the United States, which was $54.2 trillion in 2009.


title: Affluence in the United States

text: U.S. household and non-profit organization net worth rose from $44.2 trillion in Q1 2000 to a pre-recession peak of $67.7 trillion in Q3 2007. It then fell $13.1 trillion to $54.6 trillion in Q1 2009 due to the subprime mortgage crisis. It then recovered, rising consistently to $86.8 trillion by Q4 2015. This is nearly double the 2000 level.


title: Affluence in the United States

text: Assets are known as the raw materials of wealth, and they consist primarily of stocks and other financial and non-financial property, particularly homeownership. While tangible assets are unequally distributed, financial assets are much more unequal. In 2004, the top 1% controlled 50.3% of the financial assets while the bottom 90% held only 14.4% of the total US financial assets.


title: Affluence in the United States

text: These discrepancies exist because the many wealth building tools established by the Federal Government work better for high earners. These include 401k plans, 403b plans, and IRAs. Traditional IRAs, 401k and 403b plans are tax shelters created for working individuals. These plans allow for tax sheltered (or pre-tax) contributions of earned income directly to tax sheltered savings accounts. Annual contributions are capped to ensure that high earners cannot enjoy the tax benefit disproportionately. The Roth IRA is another tool that can help create wealth in the working and middle classes.


title: Affluence in the United States

text: Assets in Roth IRAs grow tax free; interests, dividends, and capital gains are all exempt from income taxes. Contributions to Roth IRAs are limited to those with annual incomes less than the threshold established yearly by the IRS. The benefits of these plans, however, are only available to workers and families whose incomes and expenses allow them excess funds to commit for a long period, typically until the investor reaches age 59½. The effect of these tools are further limited by the contribution limits placed on them.


title: Affluence in the United States

text: Including human capital such as skills, the United Nations International Human Dimensions Programme estimated the total wealth of the United States in 2008 to be $118 trillion.


title: Affluence in the United States

text: Affluence and economic standing within society are often expressed in terms of percentile ranking. Economic ranking is conducted either in terms of giving lower thresholds for a designated group (e.g. the top 5%, 10%, 15%, etc.) or in terms of the percentage of households/individuals with incomes above a certain threshold (e.g. above $75,000, $100,000, $150,000, etc.). The table below presents 2006 income data in terms of the lower thresholds for the given percentages (e.g. the top 25.6% of households had incomes exceeding $80,000, compared to $47,000 for the top quarter of individuals).


title: Affluence in the United States

text: Household income changes over time, with income gains being substantially larger for the upper percentiles than for the lower percentiles. All areas of the income strata have seen their incomes rise since the late 1960s, especially during the late 1990s. The overall increase in household income is not the result of an increase in the percentage of households with more than one income earner. In fact, the lowest 50% population have become very poor sharing just 2% of wealth in spite of modern social practice of more than one working person, mostly women in the household. But the myth is highly prevalent and promoted by media. The standard of living of a 1960s single working parent can only be afforded today when both parents work due to disproportionate distribution of wealth today:


title: Affluence in the United States

text: Two income-earner households are more common among the top quintile of households than the general population: 2006 U.S. Census Bureau data indicates that over three quarters, 76%, of households in the top quintile, with annual incomes exceeding $91,200, had two or more income earners compared to just 42% among the general population and a small minority in the bottom three quintiles. As a result, much of the rising income inequity between the upper and lower percentiles can be explained through the increasing percentage of households with two or more incomes.


title: Affluence in the United States

text: Source: U.S. Census Bureau (2004): "Income, Poverty, and Health Insurance Coverage in the United States: 2003", p. 36 et seq. All figures are inflation-adjusted and given in 2003 dollars.


title: Affluence in the United States

text: According to the Congressional Budget Office, between 1979 and 2007 incomes of the top 1% of Americans grew by an average of 275%. During the same time period, the 60% of Americans in the middle of the income scale saw their income rise by 40%. From 1992 to 2007 the top 400 income earners in the U.S. saw their income increase 392% and their average tax rate reduced by 37%. In 2009, the average income of the top 1% was $960,000 with a minimum income of $343,927.


title: Affluence in the United States

text: During the economic expansion between 2002 and 2007, the income of the top 1% grew 10 times faster than the income of the bottom 90%. In this period 66% of total income gains went to the 1%, who in 2007 had a larger share of total income than at any time since 1928. According to PolitiFact and others, the top 400 wealthiest Americans "have more wealth than half of all Americans combined." Inherited wealth may help explain why many Americans who have become rich may have had a "substantial head start". In September 2012, according to the Institute for Policy Studies, "over 60 percent" of the Forbes richest 400 Americans "grew up in substantial privilege".


title: Affluence in the United States

text: If a family has a positive net worth then it has more wealth than the combined net worth of over 30.6 million American families. This is because the bottom 25% of American families have a negative combined net worth.


title: Affluence in the United States

text: Interpreting these income statistics is complicated by several factors: membership in the top 1% changes from year to year, the IRS made large changes in the definition of adjusted gross income in 1987, and numbers for particular income ranges may be distorted by outliers (in the top segment) and failure to include transfer payments (in the lower segments).


title: Affluence in the United States

text: Regarding Income Mobility, the IRS occasionally studies income data from actual households over time, usually over one decade. Their results underestimate income mobility by excluding those under age 25, the most mobile population, from their studies.


title: Affluence in the United States

text: Many people look only at annual reported income data split into income quintiles. It is erroneous to assume that individual households remain in the same quintile over time, just as it usually is when using aggregate data. A majority of households in the top income quintile in one year, for example, will have moved to a lower quintile within a decade. Three out of four households in the top 0.01% of income will no longer be in that small group ten years later. In summary, half of all of U.S. households move from one income quintile to a different income quintile every decade. And actual households who started a decade in the lowest quintile of income, when tracked over the next ten years, will have proportionally more income growth than actual households who started the decade in the highest quintile of income. Thus, when comparing income/wealth quintile distributions from different time periods, generalizations can only be made with regards to the households in aggregate for each quintile, and can not be made to any individual households over the same time period (i.e. assuming the wealth value has been appropriately adjusted for differences in time, one cannot infer that a decrease in total wealth percentage for one quintile over time means that the households from that quintile have lost wealth as individuals, but only that total wealth percentage has decreased for those in that quintile at the time of measurement).


title: Affluence in the United States

text: Impact of age and experience: people that are older and have more experience, tend to have considerably larger incomes than younger and inexperienced workers. Normalizing for age and experience is rarely an effective statistical compensation, as each elderly citizen began as inexperienced.


title: Affluence in the United States

text: According to an analysis that excludes pensions and social security, the richest 1% of the American population in 2007 owned 34.6% of the country's total wealth, and the next 19% owned 50.5%. Thus, the top 20% of Americans owned 85% of the country's wealth and the bottom 80% of the population owned 15%. Financial inequality was greater than inequality in total wealth, with the top 1% of the population owning 42.7%, the next 19% of Americans owning 50.3%, and the bottom 80% owning 7%. However, according to the federal reserve, "For most households, pensions and Social Security are the most important sources of income during retirement, and the promised benefit stream constitutes a sizable fraction of household wealth" and "including pensions and Social Security in net worth makes the distribution more even". When including household wealth from pensions and social security, the richest 1% of the American population in 1992 owned 16% of the country's total wealth, as opposed to 32% when excluding pensions and social security.


title: Affluence in the United States

text: After the Great Recession which started in 2007, the share of total wealth owned by the top 1% of the population grew from 34.6% to 37.1%, and that owned by the top 20% of Americans grew from 85% to 87.7%. The Great Recession also caused a drop of 36.1% in median household wealth but a drop of only 11.1% for the top 1%.


title: Affluence in the United States

text: When observing the changes in the wealth among American households, one can note an increase in wealthier individuals and a decrease in the number of poor households, while net worth increased most substantially in semi-wealthy and wealthy households. Overall the percentage of households with a negative net worth (more debt than assets) declined from 9.5% in 1989 to 4.1% in 2001.


title: Affluence in the United States

text: The percentage of net worths ranging from $500,000 to one million doubled while the percentage of millionaires tripled. From 1995 to 2004, there was tremendous growth among household wealth, as it nearly doubled from $21.9 trillion to $43.6 trillion, but the wealthiest quartile of the economic distribution made up 89% of this growth. During this time frame, wealth became increasingly unequal, and the wealthiest 25% became even wealthier.


title: Affluence in the United States

text: According to U.S. Census Bureau statistics, this 'upward shift' is most likely the result of a booming housing market which caused homeowners to experience tremendous increases in home equity. Life-cycles have also attributed to the rising wealth among Americans. With more and more baby-boomers reaching the climax of their careers and the middle-aged population making up a larger segment of the population now than ever before, more and more households have achieved comfortable levels of wealth. Zhu Xiao Di (2004) notes, that household wealth usually peaks around families headed by people in their 50s, and as a result, the baby boomer generation reached this age range at the time of the analysis.


title: Affluence in the United States

text: Household net worth fell from 2007 to 2009 by a total of $17.5 trillion or 25.5%. This was the equivalent loss of one year of GDP.


title: Affluence in the United States

text: By the fourth quarter of 2010, the household net worth had recovered by a growth of 1.3 percent to a total of $56.8 trillion. An additional growth of 15.7 percent is needed just to bring the value to where it was before the recession started in December 2007. In 2014 a record breaking net worth of $80.7 trillion was achieved.


title: Affluence in the United States

text: According to the University of Chicago, the top 1% is primarily made up of owner-managers of small to medium-sized businesses of which the most profitable are physician's and dentist's offices, professional and technical services, specialty trade contracting, legal services. The typical business has $7 million in sales and 57 employees. With a 10% profit margin, this will place two business partners in the top 1%.


title: Affluence in the United States

text: The remainder of the top 1% tends to be the classic professions: medicine, dentistry, law, engineering, finance, and corporate executive management.


title: Affluence in the United States

text: A correlation has been shown between increases in income and increases in worker satisfaction. Increasing worker satisfaction, however, is not solely a result of the increase in income: workers in more complex and higher level occupations tend to have attained higher levels of education and thus are more likely to have a greater degree of autonomy in the workplace. Additionally, higher level workers with advanced degrees are hired to share their personal knowledge, to conceptualize, and to consult. Higher-level workers typically suffer less job alienation and reap not only external benefits in terms of income from their jobs, but also enjoy high levels of intrinsic motivation and satisfaction.


title: Affluence in the United States

text: In the United States, the highest earning occupational group is referred to as white collar professionals. Individuals in this occupational classification tend to report the highest job satisfaction and highest incomes. Defining income based on title of a profession can be misleading, given that a professional title may indicate the type of education received, but does not always correlate with the actual day to day income-generating endeavors that are pursued.


title: Affluence in the United States

text: Some sources cite the profession of physician in the United States as the highest paying, Physician (MD and DO) and Dentist (DMD and DDS) compensation ranks as the highest median annual earnings of all professions. Median annual earnings ranged from $149,310 for general dentists and $156,010 for family physicians to $321,686 for anesthesiologists. Surgeons post a median annual income of $282,504. However, the annual salary for Chief Executive Officer (C.E.O.) is projected quite differently based on source: Salary.com reports a median salary of $634,941, while the U.S. Department of Labor in May 2004 reported the median as $140,350. This is primarily due to a methodological difference in terms of which companies were surveyed. Overall annual earnings among the nation's top 25 professions ranged from the $70,000s to the $300,000s.


title: Affluence in the United States

text: In addition to physicians, lawyers, physicists, and nuclear engineers were all among the nation's 20 highest paid occupations with incomes in excess of $78,410. Some of the other occupations in the high five-figure range were economists with a median of $72,780, mathematicians with $81,240, financial managers with $81,880, and software publishers with median annual earnings of $73,060. The median annual earnings of wage-and-salary pharmacists in May 2006 were $94,520. The median annual earnings of wage-and-salary engineers in November 2011 were $90,000. The middle 50 percent earned between $83,180 and $108,140 a year (as in the Occupational Outlook Handbook, 2008–09 Edition by the U.S. Bureau of Labor Statistics).


title: Affluence in the United States

text: Educational attainment plays a major factor in determining an individual's economic disposition. Personal income varied greatly according to an individual's education, as did household income.


title: Affluence in the United States

text: Incomes for those employed, full-time, year-round and over the age of twenty-five ranged from $20,826 ($17,422 if including those who worked part-time) for those with less than a ninth grade education to $100,000 for those with professional degrees ($82,473 if including those who work part-time). The median income for individuals with doctorates was $79,401 ($70,853 if including those who work part-time).


title: Affluence in the United States

text: These statistics reveal that the majority of those employed full-time with professional or doctoral degrees are among the overall top 10% (15% if including those who work part-time) of income earners. Of those with a master's degree, nearly 50% were among the top quarter of income earners (top third if including those who work part-time).


title: Affluence in the United States

text: Individuals of a broad variety of religious backgrounds have become wealthy in America. However, the majority of these individuals follow Mainline Protestant denominations; Episcopalians and Presbyterians are most prevalent. According to a 2016 study by the Pew Research Center, Jewish again ranked as the most financially successful religious group in the United States, with 44% of Jews living in households with incomes of at least $100,000, followed by Hindu (36%), Episcopalians (35%), and Presbyterians (32%). Owing to their numbers, more Catholics (13.3 million) reside in households with a yearly income of $100,000 or more than any other religious group.


title: Affluence in the United States

text: According to the same study there is correlation between education and income, about 77% of American Hindus have an undergraduate degree and according to a study in 2020, they are earning highest with $137,000, followed by Jews (59%), Episcopalians (56%), and Presbyterians (47%).


title: Affluence in the United States

text: Recent U.S. Census Bureau publications indicate a strong correlation between race and affluence. In the top household income quintile (households with incomes exceeding $91,200), Asian Americans and Whites were over represented, whereas Hispanics and African Americans were underrepresented.


title: Affluence in the United States

text: The household income for Asian Americans was, at $61,094, by far the highest, exceeding that of Whites ($48,554) by 26%. Over a quarter, 27.5%, of Asian American households had incomes exceeding $100,000, and another 40% had incomes of over $75,000.


title: Affluence in the United States

text: Among White households, who remained near the national median, 18.3% had six figure incomes, while 28.9% had incomes exceeding $75,000. The percentages of households with incomes exceeding $100,000 and $75,000 were far below the national medians for Hispanic and African American households. Among Hispanic households, for example, only 9% had six figure incomes, and 17% had incomes exceeding $75,000. The race gap remained when considering personal income. In 2005, roughly 11% of Asian Americans and 7% of White individuals had six figure incomes, compared to 2.6% among Hispanics and 2.3% among African Americans.


title: Affluence in the United States

text: The racial breakdowns of income brackets further illustrate the racial disparities associated with affluence. in 2005, 81.8% of all 114 million households were White (including White Hispanics), 12.2% were African American, 10.9% were Hispanic and 3.7% were Asian American.


title: Affluence in the United States

text: While White households are always near the national median due to Whites being by far the most prevalent racial demographic, the percentages of minority households with incomes exceeding $100,000 strayed considerably from their percentage of the overall population: Asian Americans, who represent the smallest surveyed racial demographic in the overall population, were the found to be the prevalent minority among six figure income households.


title: Affluence in the United States

text: Among the nearly twenty million households with six figure incomes, 86.9% were White, 5.9% were Asian American, 5.6% were Hispanic and 5.5% were African American. Among the general individual population "with earnings", 82.1% were White, 12.7% were Hispanic, 11.0% were African American and 4.6% were Asian American.


title: Affluence in the United States

text: Of the top 10% of income earners, those nearly 15 million individuals with incomes exceeding $77,500, Whites and Asians were once again over-represented with the percentages of African Americans and Hispanics trailing behind considerably. Of the top 10% of earners, 86.7% were White. Asian Americans were the prevalent minority, constituting 6.8% of top 10% income earners, nearly twice the percentage of Asian Americans among the general population.


title: Affluence in the United States

text: Hispanics, who were the prevalent minority in the general population of income earners, constituted only 5.2% of those in the top 10%, with African Americans being the least represented with 5.1%.


title: Affluence in the United States

text: Economic well-being is often associated with high societal status, yet income and economic compensation are a function of scarcity and act as only one of a number of indicators of social class. It is in the interest of all of society that open positions are adequately filled with a competent occupant enticed to do his or her best. As a result, an occupation that requires a scarce skill, the attainment of which is often documented through an educational degree, and entrusts its occupant with a high degree of influence will generally offer high economic compensation.


title: Affluence in the United States

text: To put it another way, the high income is intended to ensure that the desired individuals obtain the necessary skills (e.g. medical or graduate school) and complete their tasks with the necessary vigor but differences in income may, however, be found among occupations of similar sociological nature: the median annual earnings of a physician were in excess of $150,000 in May 2004, compared to $95,000 for an attorney. Both occupations require finely tuned and scarce skill sets and both are essential to the well-being of society, yet physicians out-earned attorneys and other upper middle class professionals by a wide margin as their skill-sets are deemed especially scarce.


title: Affluence in the United States

text: Overall, high status positions tend to be those requiring a scarce skill and are therefore commonly far better compensated than those in the middle of the occupational strata.


title: Affluence in the United States

text: It is important to note that the above is an ideal type, a simplified model or reality using optimal circumstances. In reality other factors such as discrimination based on race, ethnicity and gender as well as aggressive political lobbying by certain professional organizations also influence personal income. An individual's personal career decisions, as well as his or her personal connections within the nation's economic institutions, are also likely to have an effect on income, status and whether or not an individual may be referred to as affluent.


title: Affluence in the United States

text: In contemporary America it is a combination of all these factors, with scarcity remaining by far the most prominent one, which determine a person's economic compensation. Due to higher status professions requiring advanced and thus less commonly found skill sets (including the ability to supervise and work with a considerable autonomy), these professions are better compensated through the means of income, making high status individuals affluent, depending on reference group.


title: Affluence in the United States

text: While the two paragraphs above only describe the relationship between status and personal income, household income is also often used to infer status. As a result, the dual income phenomenon presents yet another problem in equating affluence with high societal status. As mentioned earlier in the article, 42% of households have two or more income earners, and 76% of households with six figure incomes have two or more income earners. Furthermore, people are most likely to marry their professional and societal equals.


title: Affluence in the United States

text: It therefore becomes apparent that the majority of households with incomes exceeding the six figure mark are the result of an economic as well as personal union between two economic equals. Today, two nurses, each making $55,000 a year, can easily out-earn a single attorney who makes the median of $95,000 annually. Despite household income rising drastically through the union of two economic equals, neither individual has advanced his or her function and position within society. Yet the household (not the individual) may have become more affluent, assuming an increase in household members does not offset the dual-income derived gains.


title: Affluence in the United States

text: As of 2002, there were approximately 146,000 (0.1%) households with incomes exceeding $1,500,000, while the top 0.01% or 11,000 households had incomes exceeding $5,500,000. The 400 highest tax payers in the nation had gross annual household incomes exceeding $87,000,000. Household incomes for this group have risen more dramatically than for any other. As a result, the gap between those who make less than one and half million dollars annually (99.9% of households) and those who make more (0.1%) has been steadily increasing, prompting "The New York Times" to proclaim that the "Richest Are Leaving Even the Rich Far Behind."


title: Affluence in the United States

text: The income disparities within the top 1.5% are quite drastic. While households in the top 1.5% of households had incomes exceeding $250,000, 443% above the national median, their incomes were still 2200% lower than those of the top 0.1% of households.


title: Affluence in the United States

text: The total value of all U.S. household wealth in 2000 was approximately $44 trillion. Prior to the Late-2000s recession which began in December 2007 its value was at $65.9 trillion. After, it plunged to $48.5 trillion during the first quarter of 2009. The total household net worth rose 1.3% by the fourth quarter of 2009 to $54.2 trillion, indicating the American economy is recovering.


title: Soma (drink)

text: In the Vedic tradition, sóma (Devanagari: सोम) is a ritual drink of importance among the early Vedic Indo-Aryans. The Rigveda mentions it, particularly in the Soma Mandala. Gita mentions the drink in Chapter 9. It is equivalent to the Iranian haoma.


title: Soma (drink)

text: The texts describe the preparation of soma by means of extracting the juice from a plant, the identity of which is now unknown and debated among scholars. Both in the ancient religions of Historical Vedic religion and Zoroastrianism, the name of the drink and the plant are not exactly the same.


title: Soma (drink)

text: There has been much speculation about the most likely identity of the original plant. Traditional Indian accounts, such as those from practitioners of Ayurveda, Siddha medicine, and Somayajna called Somayajis, identify the plant as "Somalata" ("Sarcostemma acidum").


title: Soma (drink)

text: Non-Indian researchers have proposed candidates including the fly agaric, "Amanita muscaria;" Psilocybin mushrooms, "Psilocybe cubensis;" wild or Syrian rue, "Peganum harmala;" and ma huang, "Ephedra sinica".


title: Soma (drink)

text: Soma is a Vedic Sanskrit word that literally means "distill, extract, sprinkle", often connected in the context of rituals.


title: Soma (drink)

text: Soma's Avestan cognate is the "haoma". According to Geldner (1951), the word is derived from Indo-Iranian roots "*sav-" (Sanskrit "sav-/su") "to press", i.e. "*sau-ma-" is the drink prepared by pressing the stalks of a plant, but the word and the related practices were borrowed by the Indo-Aryans from the Bactria–Margiana culture (BMAC). Although the word is only attested in Indo-Iranian traditions, Manfred Mayrhofer has proposed a Proto-Indo-European origin from the root *.


title: Soma (drink)

text: The Vedic religion was the religion of some of the Vedic Indo-Aryan tribes, the "", who migrated into the Indus River valley region of the Indian subcontinent. The Indo-Aryans were speakers of a branch of the Indo-European language family, which originated in the Sintashta culture and further developed into the Andronovo culture, which in turn developed out of the Kurgan culture of the Central Asian steppes. The Vedic beliefs and practices of the pre-classical era were closely related to the hypothesised Proto-Indo-European religion, and show relations with rituals from the Andronovo culture, from which the Indo-Aryan people descended. According to Anthony, the Old Indic religion probably emerged among Indo-European immigrants in the contact zone between the Zeravshan River (present-day Uzbekistan) and (present-day) Iran. It was "a syncretic mixture of old Central Asian and new Indo-European elements" which borrowed "distinctive religious beliefs and practices" from the Bactria–Margiana culture (BMAC). This syncretic influence is supported by at least 383 non-Indo-European words that were borrowed from this culture, including the god Indra and the ritual drink Soma. According to Anthony,


title: Soma (drink)

text: In the Vedas, the same word (soma) is used for the drink, the plant, and its deity. Drinking "soma" produces immortality ("Amrita", Rigveda 8.48.3). Indra and Agni are portrayed as consuming soma in copious quantities. In the vedic ideology, Indra drank large amounts of soma while fighting the serpent demon Vritra. The consumption of soma by human beings is well attested in Vedic ritual. The Soma Mandala of the Rigveda is completely dedicated to Soma Pavamana, and is focused on a moment in the ritual when the soma is pressed, strained, mixed with water and milk, and poured into containers. These actions are described as a representation of a variety of things, including a king conquering territory, the Sun's journey through the cosmos, or a bull running to mate with cows (represented by the milk). The most important myth about Soma is about his theft. In it, Soma was originally held captive in a citadel in heaven by the archer Kṛśānu. A falcon stole Soma, successfully escaping Kṛśānu, and delivered Soma to Manu, the first sacrificer. Additionally, Soma is associated with the moon in the late Rigveda and Middle Vedic period. Sūryā, the daughter of the Sun, is sometimes stated to be the wife of Soma.


title: Soma (drink)

text: "...He covers the naked and heals all who are sick. The blind man sees; the lame man steps forth...Let those who seek find what they seek: let them receive the treasure...Let him find what was lost before; let him push forward the man of truth..."


title: Soma (drink)

text: Such is indicative of an experience with an entheogen of some source...(Michael Wood (historian)).("The Story of India")


title: Soma (drink)

text: The finishing of "haoma" in Zoroastrianism may be glimpsed from the Avesta (particularly in the "Hōm Yast", Yasna 9), and Avestan language "*hauma" also survived as Middle Persian "hōm". The plant "haoma" yielded the essential ingredient for the ritual drink, "parahaoma".


title: Soma (drink)

text: In Yasna 9.22, haoma grants "speed and strength to warriors, excellent and righteous sons to those giving birth, spiritual power and knowledge to those who apply themselves to the study of the nasks". As the religion's chief cult divinity he came to be perceived as its divine priest. In Yasna 9.26, Ahura Mazda is said to have invested him with the sacred girdle, and in Yasna 10.89, to have installed haoma as the "swiftly sacrificing "zaotar"" (Sanskrit "hotar") for himself and the Amesha Spenta.


title: Soma (drink)

text: The Maharishi Mahesh Yogi's Transcendental Meditation-Sidhi Program involves a notion of "soma", said to be based on the Rigveda.


title: Soma (drink)

text: There has been much speculation as to the original "Sauma" plant. Candidates that have been suggested include honey, mushrooms, psychoactive and other herbal plants.


title: Soma (drink)

text: When the ritual of somayajna is held today in South India by the traditional Srautas called Somayajis, the plant used is the "somalatha" (Sanskrit: soma creeper, "Sarcostemma acidum") which is procured as a leafless vine.


title: Soma (drink)

text: Since the late 18th century, when Abraham Hyacinthe Anquetil-Duperron and others made portions of the Avesta available to western scholars, several scholars have sought a representative botanical equivalent of the "haoma" as described in the texts and as used in living Zoroastrian practice. In the late 19th century, the highly conservative Zoroastrians of Yazd (Iran) were found to use ephedra, which was locally known as "hum" or "homa" and which they exported to the Indian Zoroastrians.


title: Soma (drink)

text: During the colonial British era scholarship, cannabis was proposed as the soma candidate by Jogesh Chandra Ray, "The Soma Plant" (1939) and by B. L. Mukherjee (1921).


title: Soma (drink)

text: In the late 1960s, several studies attempted to establish "soma" as a psychoactive substance. A number of proposals were made, including one in 1968 by the American banker R. Gordon Wasson, an amateur ethnomycologist, who asserted that "soma" was an inebriant but not cannabis, and suggested fly-agaric mushroom, "Amanita muscaria", as the likely candidate. Since its introduction in 1968, this theory has gained both detractors and followers in the anthropological literature. Wasson and his co-author, Wendy Doniger O'Flaherty, drew parallels between Vedic descriptions and reports of Siberian uses of the fly-agaric in shamanic ritual.


title: Soma (drink)

text: In 1989 Harry Falk noted that, in the texts, both "haoma" and "soma" were said to enhance alertness and awareness, did not coincide with the consciousness altering effects of an entheogen, and that "there is nothing shamanistic or visionary either in early Vedic or in Old Iranian texts", (Falk, 1989) Falk also asserted that the three varieties of ephedra that yield ephedrine ("Ephedra gerardiana", "E. major procera" and "E. intermedia") also have the properties attributed to "haoma" by the texts of the Avesta. (Falk, 1989) At the conclusion of the 1999 Haoma-Soma workshop in Leiden, Jan E. M. Houben writes: "despite strong attempts to do away with ephedra by those who are eager to see sauma as a hallucinogen, its status as a serious candidate for the Rigvedic Soma and Avestan Haoma still stands" (Houben, 2003).


title: Soma (drink)

text: The Soviet archeologist Viktor Sarianidi wrote that he had discovered vessels and mortars used to prepare soma in Zoroastrian temples in the Bactria–Margiana Archaeological Complex. He said that the vessels have revealed residues and seed impressions left behind during the preparation of soma. This has not been sustained by subsequent investigations. Alternatively Mark Merlin, who revisited the subject of the identity of soma more than thirty years after originally writing about it stated that there is a need of further study on links between soma and "Papaver somniferum". (Merlin, 2008).


title: Soma (drink)

text: In his book "Food of the Gods", ethnobotanist Terence McKenna postulates that the most likely candidate for soma is the mushroom "Psilocybe cubensis", a hallucinogenic mushroom that grows in cow dung in certain climates. McKenna cites both Wasson's and his own unsuccessful attempts using "Amanita muscaria" to reach a psychedelic state as evidence that it could not have inspired the worship and praise of soma. McKenna further points out that the 9th mandala of the Rig Veda makes extensive references to the cow as the embodiment of soma.


title: Soma (drink)

text: According to Michael Wood, the references to immortality and light are characteristics of an entheogenic experience.


title: Christina Rossetti

text: Christina Georgina Rossetti (5 December 1830 – 29 December 1894) was an English writer of romantic, devotional and children's poems, including "Goblin Market" and "Remember". She also wrote the words of two Christmas carols well known in Britain: "In the Bleak Midwinter", later set by Gustav Holst, Katherine Kennicott Davis, and Harold Darke, and "Love Came Down at Christmas", also set by Darke and other composers. She was a sister of the artist and poet Dante Gabriel Rossetti and features in several of his paintings.


title: Christina Rossetti

text: Christina Rossetti was born in Charlotte Street (now Hallam Street), London, to Gabriele Rossetti, a poet and a political exile from Vasto, Abruzzo, Italy, since 1824 and Frances Polidori, the sister of Lord Byron's friend and physician John William Polidori. She had two brothers and a sister: Dante Gabriel became an influential artist and poet, and William Michael and Maria both became writers. Christina, the youngest and a lively child, dictated her first story to her mother before she had learnt to write.


title: Christina Rossetti

text: Rossetti was educated at home by her mother and father, through religious works, classics, fairy tales and novels. Rossetti delighted in the works of Keats, Scott, Ann Radcliffe and Matthew Lewis. The influence of the work of Dante Alighieri, Petrarch and other Italian writers filled the home and impacted Rossetti's later writing. Their household was open to visiting Italian scholars, artists and revolutionaries. The family homes in Bloomsbury at 38 and later 50 Charlotte Street were within easy reach of Madame Tussauds, London Zoo and the newly opened Regent's Park, which she visited regularly. Unlike her parents, Rossetti was much of a London child and seemingly a happy one.


title: Christina Rossetti

text: In the 1840s, Rossetti's family faced financial troubles due to a deterioration in her father's physical and mental health. In 1843, he was diagnosed with persistent bronchitis, possibly tuberculosis, and faced losing his sight. He gave up his teaching post at King's College and though he lived another 11 years, suffered from depression and was never physically well again. Rossetti's mother began teaching to keep the family and Maria became a live-in governess, a prospect that Christina Rossetti dreaded. At the time her brother William was working for the Excise Office and Gabriel was at art school, leaving Christina increasingly isolated at home. When she was 14, she suffered a nervous breakdown and left school. Bouts of depression and related illness followed. During this period she, her mother and her sister became absorbed in the Anglo-Catholic movement that developed in the Church of England. Religious devotion came to play a major role in her life.


title: Christina Rossetti

text: In her late teens, Rossetti became engaged to the painter James Collinson, the first of three suitors. He, like her brothers Dante and William, was a founding member of the avant-garde Pre-Raphaelite Brotherhood, established in 1848. The engagement ended in 1850 when he reverted to Catholicism. In 1853, when the family had financial difficulties, Christina helped her mother keep a school in Fromefield, Frome, but it did not succeed. A plaque marks the house. In 1854 the pair returned to London, where Christina's father died. She later became involved with the linguist Charles Cayley, but declined to marry him, also for religious reasons. A third offer came from the painter John Brett, whom she likewise refused.


title: Christina Rossetti

text: Rossetti sat for several of Dante Gabriel Rossetti's paintings. In 1848, she sat for the Virgin Mary in his first completed oil painting, "The Girlhood of Mary Virgin", and the first work he inscribed with the initials "PRB", later revealed as standing for the Pre-Raphaelite Brotherhood. The following year she modelled for his depiction of the Annunciation, "Ecce Ancilla Domini". A line from her poem "Who shall deliver me?" inspired a painting by Fernand Khnopff called "I lock my door upon myself". In 1849 she again became seriously ill with depression, and around 1857 had a major religious crisis.


title: Christina Rossetti

text: From 1842 Rossetti began writing down and dating her poems. Most of them imitated her favoured poets. In 1847 she began experimenting with verse forms such as sonnets, hymns and ballads, while drawing narratives from the Bible, folk tales and the lives of saints. Her early pieces often meditate on death and loss in the Romantic tradition. Her first two poems published were "Death's Chill Between" and "Heart's Chill Between", in the "Athenaeum" magazine in 1848. She used the pseudonym "Ellen Alleyne" in the literary periodical, "The Germ", published by the Pre-Raphaelites from January to April 1850 and edited by her brother William. This marked the beginning of her public career.


title: Christina Rossetti

text: Rossetti's more critical reflections on the artistic movement her brother had begun were expressed in an 1856 poem "In the Artist's Studio". Here she reflects on seeing multiple paintings of the same model. For Rossetti, the artist's idealised vision of the model's character begins to overwhelm his work, until "every canvas means/the one same meaning." Dinah Roe, in her introduction to the Penguin Classics collection of Pre-Raphaelite poetry, argues that this critique of her brother and similar male artists is less about "the objectification of women" than about "the male artist's self-worship".


title: Christina Rossetti

text: Rossetti's first commercially printed collection, "Goblin Market and Other Poems", appeared in 1862, when she was 31. It was widely praised by critics, who placed her as the foremost female poet of the day. She was lauded by Gerard Manley Hopkins, Algernon Swinburne and Tennyson. After its publication, she was named the natural successor to Elizabeth Barrett Browning, who had died the year before in 1861. The title poem, one of her best known, is ostensibly about two sisters' misadventures with goblins, but critics have seen it in various ways as an allegory of temptation and salvation, a comment on Victorian gender roles and female agency, and a work of erotic desire and social redemption.


title: Christina Rossetti

text: Rossetti worked voluntarily in 1859–1870 at the St Mary Magdalene house of charity in Highgate, a refuge for ex-prostitutes. It is suggested that "Goblin Market" may have been inspired by "fallen women" she came to know. There are parallels with Samuel Taylor Coleridge's "The Rime of the Ancient Mariner" in religious themes of temptation, sin and redemption by vicarious suffering. Swinburne in 1883 dedicated "A Century of Roundels" to Rossetti, as she adopted his roundel form in a number of poems, for instance in "Wife to Husband". She was ambivalent about women's suffrage, but many have found feminist themes in her work. She opposed slavery in the United States, cruelty to animals in prevalent vivisection, and exploitation of girls in under-age prostitution.


title: Christina Rossetti

text: Rossetti kept a wide circle of friends and correspondents. She continued to write and publish for the rest of her life, mainly devotional work and children's poetry. In the years just before her death she wrote "The Face of the Deep", (1892) a book of devotional prose, and oversaw an enlarged edition of "Sing-Song", originally published in 1872, in 1893. She died late the next year.


title: Christina Rossetti

text: In her later decades, Rossetti suffered from a type of hyperthyroidism – Graves' disease – diagnosed in 1872, suffering a near-fatal attack in the early 1870s. In 1893, she developed breast cancer. The tumour was removed, but there was a recurrence in September 1894.


title: Christina Rossetti

text: Christina Rossetti died on 29 December 1894 and was buried on New Year's Day 1895 in the family grave on the west side of Highgate Cemetery. There she joined her father, mother and Elizabeth Siddal, wife of her brother Dante Gabriel. Her brother William was also buried there in 1919, as were the ashes of four subsequent family members.


title: Christina Rossetti

text: There is a stone tablet on the façade of 30 Torrington Square, Bloomsbury, marking her final home, where she died.


title: Christina Rossetti

text: Rossetti's popularity in her lifetime did not approach that of her contemporary Elizabeth Barrett Browning, but her standing remained strong after her death. Her popularity faded in the early 20th century in the wake of Modernism, but scholars began to explore Freudian themes in her work, such as religious and sexual repression, reaching for personal, biographical interpretations of her poetry. Academics studying her work in the 1970s saw beyond the lyrical sweetness to her mastery of prosody and versification. Feminists held her as symbol of constrained female genius and a leader among 19th-century poets. Her writings strongly influenced writers such as Ford Madox Ford, Virginia Woolf, Gerard Manley Hopkins, Elizabeth Jennings, and Philip Larkin. The critic Basil de Sélincourt called her "all but our greatest woman poet... incomparably our greatest craftswoman... probably in the first twelve of the masters of English verse."


title: Christina Rossetti

text: Rossetti's Christmas poem "In the Bleak Midwinter" became widely known in the English-speaking world after her death, when set as a Christmas carol by Gustav Holst and later by Harold Darke. Her poem "Love Came Down at Christmas" (1885) has also been widely arranged as a carol.


title: Christina Rossetti

text: British composers receptive to Rossetti's verse included Alexander Mackenzie ("Three Songs", Op. 17, 1878), Frederick Cowen, Samuel Coleridge-Taylor ("Six Sorrow Songs", Op. 57, 1904), Hubert Parry, Hope Squire, and Charles Villiers Stanford. In 1918, John Ireland set eight poems from her "Sing-Song: A Nursery Rhyme Book" to music in his song cycle "Mother and Child". The poem "Song" was an inspiration for Bear McCreary's composition "When I Am Dead", published in 2015. Two of Rossetti's poems, "Where Sunless Rivers Weep" and "Weeping Willow", were set to music by Barbara Arens in her "All Beautiful & Splendid Things: 12 + 1 Piano Songs on Poems by Women" (2017, Editions Musica Ferrum). Rossetti's "Love is Like a Rose" was set to music by Constance Cochnower Virtue; "Love Me, I Love You," was set to music by Hanna Vollenhoven; and "Song of the Dawn" was set to music by Elise Fellows White.


title: Christina Rossetti

text: In 2000, one of many Millennium projects across the country was a poetry stone placed in what had been the grounds of North Hill House in Frome. On one side is an excerpt from her poem, "What Good Shall My Life Do Me": "Love lights the sun: love through the dark/Lights the moon's evanescent arc:/Same Love lights up the glow-worms spark." She wrote about her brief stay in Frome, which had "an abundance of green slopes and gentle declivities: no boldness or grandeur but plenty of peaceful beauty".


title: Christina Rossetti

text: The title of J. K. Rowling's novel "The Cuckoo's Calling" (2013) follows a line in Rossetti's poem "A Dirge".


title: RiceGum

text: Bryan Quang Le (born November 19, 1996), better known as RiceGum, is an American YouTuber and rapper, best known for his diss tracks and online feuds with other YouTube personalities. Since creating his YouTube channel, his channel has received over ten million subscribers and over two billion video views.


title: RiceGum

text: In November 2017, Le was ranked at number 25 on the "Billboard" Emerging Artists chart. His song "It's Every Night Sis" was certified platinum by the Recording Industry Association of America (RIAA) in March 2018.


title: RiceGum

text: Le was born to Vietnamese and Chinese parents. He attended Sierra Vista High School, where he was on the basketball team. Le attended the University of Nevada, Las Vegas (UNLV) before dropping out during his first year to pursue his online career full-time.


title: RiceGum

text: In 2017, Le released a single titled "It's Every Night Sis" featuring fellow YouTube personality Alissa Violet, which was a response track to YouTuber Jake Paul's viral song "It's Everyday Bro". It became Le's first charting single, having debuted at number 80 and number 55 on the "Billboard" Hot 100 and Canadian Hot 100 charts respectively. The song later became certified platinum by the Recording Industry Association of America (RIAA) in March 2018. The single was followed by "God Church" in July 2017, its title was another reference to "It's Everyday Bro", which reached number one on the Comedy Digital Track Sales chart.


title: RiceGum

text: RiceGum was featured in the video for "Earthquake" by YouTube personality and rapper KSI, released on August 12, 2017. The video was viewed over 46 million times and was later removed after a dispute between the two.


title: RiceGum

text: In October 2017, RiceGum released "Frick da Police", which was a diss track towards YouTube personality IDubbbz. The song charted at number 45 and number 67 on the Hot R&B/Hip-Hop Songs and Canadian Hot 100 charts respectively. In December 2017, RiceGum released a Christmas song titled, "Naughty or Nice".


title: RiceGum

text: In February and April 2018, RiceGum released the songs "Bitcoin" and "Fortnite n Chill" respectively.


title: RiceGum

text: On April 2, 2020, RiceGum released the song, "DaAdult", which was followed up by, "My Ex", on May 1, 2020. In June 2020, RiceGum released the song, "Contract Money Freestyle".


title: RiceGum

text: RiceGum was featured in the Super Bowl LII commercial for Monster headphones. In the ad, he plays a man on a subway who is inspired by Iggy Azalea to fashion a headset from scratch, which is accepted by an executive.


title: RiceGum

text: Ian W., a YouTuber by the channel name of iDubbbzTV, made an episode of his popular "Content Cop" series on RiceGum (a series where he critiques other YouTubers' content), which received over 50 million views and over 2 million likes. The end of the video featured the diss track "Asian Jake Paul". In response to the video, RiceGum made the diss track "Frick da Police". The diss track was met with a negative reception, currently holding 1.3 million dislikes since its release. RiceGum has also been involved in controversies with other popular YouTubers and musicians such as James Rallison, Gabbie Hanna, and Bhad Bhabie.


title: RiceGum

text: On June 12, 2018, RiceGum uploaded a video of himself in Hong Kong through his main YouTube channel. In the video, he asks strangers and a staff member in a local McDonald's if they have dog on the menu as he says "Asians eat cats and dogs in China." He also jokes about wanting to have dog and cat meat to eat as he is "always open to try new things". He comments on Hong Kong street food beef entrails, questioning if it is dog meat and saying "shit looks disgusting". He filmed comedian M2THAK walking up to a man in the Hong Kong International Airport, yelling "Do you understand the words that are coming out of my mouth?", allegedly imitating a scene from the Hollywood movie "Rush Hour" starring Jackie Chan and Chris Tucker to imply that Asian communities do not understand English. M2THAK was also filmed repositioning mannequins in a store window into sexually suggestive poses. The video included a scene where they gave a half-eaten ice cream to a local Hong Kong man.


title: RiceGum

text: Online commentary has compared the video to Logan Paul's Japan vlog controversy, saying that he is being disrespectful and culturally insensitive in a foreign country. Jimmy Wong tweeted saying that he is disappointed as RiceGum's videos are now "disrespectful, ignorant, borderline racist, & shameful to all creators, especially Asians" and asked him to "please grow up & stop".


title: RiceGum

text: Two weeks later, on June 26, when the video received different criticism in China and other Asian countries, RiceGum released a video, saying that he was just "joking around". He defended himself saying that he was just trying to use Asian stereotypes to point to American comedy culture and that people are being too sensitive. He further explained that he believed it is acceptable as he is Asian. He also said that he wanted to return to Hong Kong, but says that he is "kind of scared now because the people may hit me and beat me up". However, the video was considered insincere; media site "Polygon" described that his apology was done "in a somewhat glib manner" and "What's Trending" said the "apology" "sounded [incredibly] forced". The video of his Hong Kong tour is currently removed from YouTube due to the violation of YouTube's Terms of Service.


title: RiceGum

text: In January 2019, RiceGum, along with Jake Paul, came under fire for promoting "MysteryBrand", a website which offers the chance to open a digital "mystery box" of pre-selected items with a promise to win one in real life at random. Many users have said they have not received prizes they won through the site, and concluded the site is a scam. In response, RiceGum made a video in which he pointed out that other YouTubers made their own videos promoting "MysteryBrand" months prior, saying "No-one said anything, it wasn't a problem back then. Why did no-one bring it up, or even talk about these guys? This mystery box thing has been on the internet for 3 or 4 months even from other creators, but as soon as I do it, it's a problem?" At the end of the video, he decided to give away Amazon gift card codes, saying "There's nothing I can really do but say sorry and give you these Amazon gift cards". However, many people called him out for the Amazon codes already being expired.


title: RiceGum

text: In June 2021, RiceGum along with members of FaZe Clan were influencer ambassadors for a crypto non-fungible token called Save the Kids (KIDS) which was marketed as a charity token meant to give a percentage of the transaction fee to the Binance Charity Wallet. The token was then pumped and dumped by many of the ambassadors and the token's value quickly crashed shortly after when it was released.


title: Harry Winks

text: Harry Billy Winks (born 2 February 1996) is an English professional footballer who plays as a central midfielder for Serie A club Sampdoria, on loan from Tottenham Hotspur of the . He has represented England at international level from youth to senior level, most recently in 2020.


title: Harry Winks

text: Harry Winks was born to Anita and Gary Winks. He has Spanish ancestry through his maternal grandparents. He was born and raised in Hemel Hempstead and was educated at Cavendish School. Winks is a Tottenham Hotspur fan; he attended his first match at White Hart Lane when he was six. He was invited to train at Tottenham's development centre in St Albans after attending a summer football camp run by an academy coach when he was five, and joined the Tottenham Academy at the age of five.


title: Harry Winks

text: Winks is a product of the Tottenham Hotspur youth system. During the 2013–14 season, he regularly trained with the first-team squad and was named on the senior bench for the first time in a Premier League tie against Liverpool on 30 March 2014, remaining an unused substitute in a 4–0 loss at Anfield. On 27 July 2014, Winks signed his first professional contract with Tottenham; according to Winks, Mauricio Pochettino said that he wanted to sign Winks immediately after watching videos of his performances. He made his first team debut on 27 November 2014 in the UEFA Europa League group against FK Partizan in a 1–0 home win at White Hart Lane, replacing Paulinho after 87 minutes.


title: Harry Winks

text: On 6 July 2015, Winks signed a new contract with Tottenham until 2018, with the option of an additional year. He was given the number 29 shirt, which was included on the club's list of first-team numbers. Winks made his first appearance of the season as a late substitute in a 3–1 win against Qarabağ FK.


title: Harry Winks

text: On 27 August 2016, he made his Premier League debut, replacing Christian Eriksen in the last minute of the match in a 1–1 draw at home to Liverpool. On 19 November, Winks made his full debut against West Ham United, performing well and scoring his first ever goal for Spurs to level the match at 1–1. Tottenham went on to win the match 3–2 in a dramatic finish at White Hart Lane after scoring two late goals. Winks made his debut in the FA Cup on 8 January 2017, when he was selected for the team in the match against Aston Villa of the third round. Tottenham went on to win the match 2–0. On 14 February 2017, Winks signed a new contract with Tottenham, keeping him at the club until 2022. During an away match against Burnley on 1 April 2017 in the Premier League, Winks suffered an injury when he tumbled into the Burnley dugout, and was later taken to hospital for a scan on his ankle. Spurs announced on 4 April that Winks would be sidelined by the injury to his ankle ligament for the rest of the season.


title: Harry Winks

text: Winks began the 2017–18 season as substitutes in three early games after recovering from his injury. He made his first start of the season in the EFL Cup tie against Barnsley that finished 1–0. He next started in the match in UEFA Champions League away game against APOEL FC, and his performance earned him praise from Mauricio Pochettino as the "perfect midfielder". After only one previous start in the Premier League for the club this season (in a 4–0 win against Huddersfield Town) and four Premier League starts including last season, he gained his first call-up for the national squad. He received plaudits for his performance in the UEFA Champions League game away against Real Madrid where he was judged to have held his own against Luka Modrić and Toni Kroos. However, he picked up a niggling ankle injury in the match against Crystal Palace on 5 November 2017, which led to him missing final three months of this season after trying initially to play some games through the discomfort. He signed a new contract on 17 May 2018, keeping him at Tottenham until 2023.


title: Harry Winks

text: After a long period out through an injury that required surgery, Winks returned to the squad in the 2018–19 season in the home game against Fulham, appearing as a late substitute. He made his first start of the season in the game against Liverpool that Spurs lost 2–1. In the away match against Fulham in January 2019, he scored a last minute winning goal to win 2–1, his first goal for the club since November 2016. On 1 June 2019, Winks started in the 2019 UEFA Champions League Final against Liverpool.


title: Harry Winks

text: Winks scored his first goal of the 2020–21 season, his first for Tottenham in nearly two years, in the UEFA Europa League match against the Bulgarian side Ludogorets Razgrad to help Tottenham win 4–0. He hit the back of the net from 54 yards away, one of the longest goals ever scored in the Europa League, which he said was not intentional.


title: Harry Winks

text: On 30 August 2022, Winks joined Serie A club Sampdoria on loan for the 2022–23 season, with an option for the transfer to become permanent.


title: Harry Winks

text: Winks has represented England up to senior level. Before this, he was eligible to represent Spain as well as England. He was part of the under-20 squad for the Mercedes-Benz Elite Cup in Germany in 2015. Winks made his under-21 debut on 14 November 2016 where he started in England's friendly 3–2 defeat to France.


title: Harry Winks

text: On 2 October 2017, Winks received his first call up to the senior England squad, for their 2018 FIFA World Cup qualifiers against Slovenia and Lithuania. He made his debut when starting in England's 1–0 away win over Lithuania, which was the team's final match in their successful 2018 FIFA World Cup qualification campaign. Phil McNulty of BBC Sport stated that, on the night, Winks was "England's best performer. Neat and tidy and almost scored. Eye-catching among so much mediocrity". Winks missed the World Cup due to injury, but returned to the England squad in the 2018–19 UEFA Nations League away match against Spain. He helped England to a 3–2 win, the first competitive home defeat for Spain since 2003 and England's first win in Spain in 31 years, in what was judged a "self-assured" performance.


title: Harry Winks

text: Winks scored his first goal for England on 17 November 2019 in a 4–0 win against Kosovo in UEFA Euro 2020 qualifying.


title: Harry Winks

text: Winks plays as a central or defensive midfielder. Tottenham Hotspur manager Mauricio Pochettino has said "When we talk about midfielders – because you like to use Spanish midfielders like Xavi and (Andres) Iniesta – he's like this type of player", describing Winks as "completely different to our other midfielders like Victor Wanyama, Eric Dier, Mousa Dembélé and Moussa Sissoko. He has qualities to add to the team that are completely different". "Talksport" remarked that following his breakthrough for club and country, Winks was "seen as a potential difference-maker for the Three Lions due to his very individual skill set", with Winks earning comparisons with foreign midfielders rather than his English contemporaries.


title: Harry Winks

text: Ex-England and Spurs midfielder Danny Murphy said in September 2018 that the England team should be built around Winks, citing his performance for Tottenham against Real Madrid in the 2017–18 UEFA Champions League group stage as evidence: "The one who I think has got the capability, more than anyone else I have seen, is [Harry] Winks. What he showed in that game in Madrid, in both games when he was fit and at it, was a confidence and an ability to play. To see the passes, to get his foot in and be disciplined and mix that mix of midfield talent that you need [...] for me, Winks is one of the best I've seen when he's at it – in terms of his all-round ability." "ESPN FC"s Ben Pearce opined in 2018: "England are still missing a deep-lying playmaker [...] Those wondering who could possibly fill the void have obviously forgotten Winks, who excels at keeping possession with quick, short passes".


title: Timeline of social media

text: This page is a timeline of social media. Major launches, milestones, and other major events are included.


title: U Can't Touch This

text: "U Can't Touch This" is a song co-written, produced, and performed by American rapper MC Hammer. It was released as the third single from his third album, "Please Hammer Don't Hurt 'Em" (1990), and has been considered his signature song. Along with Hammer, Rick James shares songwriting credits with Alonzo Miller, as the song samples the prominent opening riff of James' 1981 single "Super Freak". The song has been used and referred to in many television shows, films, commercials, and other forms of media. It has also received multiple awards and recognition.


title: U Can't Touch This

text: The song is notable as the winner of a Grammy Award for Best R&B Song and a Grammy Award for Best Rap Solo Performance. It was the first rap song to be nominated for a Grammy Award for Record of the Year at the 33rd Annual Grammy Awards in 1991, as well as the MTV Video Music Award for Best Rap Video and MTV Video Music Award for Best Dance Video at the 1990 MTV Video Music Awards. It peaked at number one on the "Billboard" Hot R&B/Hip-Hop Singles & Tracks chart, and charted in several countries.


title: U Can't Touch This

text: The song samples the prominent opening riff of the Rick James song "Super Freak", which is repeated throughout the recording. The lyrics describe Hammer as having "toured around the world, from London to The Bay" and as being "magic on the mic", which he says coincides with James' "beat that you can't touch". Additionally, the lyrics "you can't touch this" and "Stop! Hammer time!" became pop culture catchphrases. "Hammertime" was later used as the title of a reality show starring Hammer on A&E during the summer of 2009.


title: U Can't Touch This

text: The sample of "Super Freak", which forms the basis of the song, led James (and other performers on the original record) to file a lawsuit for copyright infringement, which was settled out of court, with Hammer agreeing to credit James as a songwriter, effectively granting him millions of dollars in royalties.


title: U Can't Touch This

text: The song was not initially released as a single. As a result, the album went on to sell more than 18 million copies, gaining multi-platinum certification from the Recording Industry Association of America.


title: U Can't Touch This

text: A music video, directed by Rupert Wainwright, was produced to promote the single, showing Hammer doing some of his signature dances, including the "running man", "the bump", and the "Hammer dance", while wearing his iconic Hammer pants.


title: U Can't Touch This

text: Bill Coleman from "Billboard" commented, "A Rick James classic paired with Hammer's distinctive rhyme styling has added up to a deserved smash." Whitney Pastorek from "Entertainment Weekly" wrote, "The good-natured boast, laid over the hook of Rick James' 'Superfreak', proved irresistible. Hammer's hydraulic dance moves and outlandish fashions — harem pants and gold lamé, together at last! — were cartoonish".


title: U Can't Touch This

text: In April 1990, the song hit the Top 40. It also secured a Grammy Award for Best R&B Song and a Grammy Award for Best Rap Solo Performance in 1991, a new category at the time, and the first rap song to be nominated for Grammy Award for Record of the Year. The single was a major success, reaching number one on the US "Billboard" Hot R&B/Hip-Hop Singles & Tracks chart and number eight on the "Billboard" Hot 100. The track also performed successfully in other parts of the world, peaking at number one in Australia, Netherlands, New Zealand and Sweden, and number 3 on the UK Singles Chart.


title: U Can't Touch This

text: In September 1990, the music video for the song won a MTV Video Music Award for Best Rap Video and a MTV Video Music Award for Best Dance Video. It was also nominated for MTV Video Music Award for Best Male Video, Best Editing, and Best Choreography. In 1991, "Kids Incorporated" covered the song in the season 7 episode "Pipe Dreams".


title: U Can't Touch This

text: In 1999, MTV's "100 Greatest Videos Ever Made" included the song at number 71. In October 2000, VH1's "100 Greatest Dance Songs" included it at number 88. In May 2001, VH1's "100 Greatest Videos" included it at number 59.


title: U Can't Touch This

text: In August 2005, the song was certified gold. In December 2007, VH1's "100 Greatest Songs of the '90s" included it at number 16. During 2008, it ranked as number 26 on VH1's "100 Greatest Songs of Hip Hop".


title: U Can't Touch This

text: In October 2005, "Blender" ranked the song at number 196 in their list of "Greatest Songs Since You Were Born".


title: U Can't Touch This

text: In 1991, a parody entitled "I Can't Watch This" was released by "Weird Al" Yankovic for his album "Off the Deep End", with lyrics complaining about bad TV shows overlaid on the song's music track (and featuring samples of various commercials during the breakdowns).


title: U Can't Touch This

text: Childersburg High School Principal Quentin Lee in Childersburg, Alabama created a parody video to "share some joy" and provide advice to students on handling the COVID-19 pandemic.


title: Monte Carlo Casino

text: The Monte Carlo Casino, officially named Casino de Monte-Carlo, is a gambling and entertainment complex located in Monaco. It includes a casino, the Opéra de Monte-Carlo, and the office of Les Ballets de Monte-Carlo.


title: Monte Carlo Casino

text: The Casino de Monte-Carlo is owned and operated by the Société des bains de mer de Monaco, a public company in which the Monaco government and the ruling royal family have a majority interest. The company also owns the principal hotels, sports clubs, foodservice establishments, and nightclubs throughout the Principality.


title: Monte Carlo Casino

text: The idea of opening a gambling casino in Monaco originated with Princess Caroline, a shrewd, business-minded spouse of Prince Florestan. Revenues from the proposed venture were supposed to save the House of Grimaldi from bankruptcy. The ruling family's persistent financial problems became especially acute after the loss of tax revenue from two breakaway towns, Menton and Roquebrune, which declared independence from Monaco in 1848 and refused to pay taxes on olive oil and fruit imposed by the Grimaldis.


title: Monte Carlo Casino

text: In 1854, Charles, Florestan's son and future Prince of Monaco, recruited a team of Frenchmen— writer Albert Aubert and businessman Napoleon Langlois— to devise a development plan and write a prospectus to attract 4 million francs needed to build a spa for the treatment of various diseases, a gambling casino modeled from the Bad Homburg casino, and English-styled villas. Granted the concession of 30 years to operate a bathing establishment and gaming tables, Aubert and Langlois opened the first casino at 14 December 1856 in "Villa Bellevu". Intended to be only a temporary location, the building was a modest mansion in La Condamine.


title: Monte Carlo Casino

text: In the late 1850s, Monaco was an unlikely place for a resort to succeed. The lack of roads needed to connect Monaco to Nice and the rest of Europe, and the absence of comfortable accommodations for visitors, as well as the concessionaires' failure to publicize the new resort, resulted in far fewer customers than was originally anticipated. Unable to raise the capital needed to operate the money-losing enterprise, Aubert and Langlois ceded their rights to Frossard de Lilbonne, who in turn passed it to Pierre Auguste Daval in 1857.


title: Monte Carlo Casino

text: During this initial period, the casino had been moved several times, until it finally ended up in the area called "Les Spelugues" (). Construction at this site began on 13 May 1858 to designs of the Parisian architect Gobineau de la Bretonnerie and was completed in 1863. Gobineau de la Bretonnerie also designed the neighboring Hôtel de Paris Monte-Carlo (constructed in 1862).


title: Monte Carlo Casino

text: Although the casino began to make a profit in 1859, Daval was not up to the task. Just like his predecessors, he was incompetent and lacked the ability to bring the gambling enterprise to the scale envisioned by Princess Caroline. Frustrated, she dispatched her private secretary M. Eyneaud to Germany, hoping to recruit François Blanc, a French entrepreneur and operator of the Bad Homburg casino. Blanc declined the offer. It took a lot of time and persuasion on the part of Princess Caroline to convince the Blancs to move to Monaco. Princess Caroline even appealed to Madame Blanc, whom she befriended during her first visit to Bad Homburg, with a suggestion that Monaco's mild climate would be good for Madame Blanc's ill health.


title: Monte Carlo Casino

text: Finally, in 1863 François Blanc agreed to take over Monaco's casino business. To manage the new venture, a company— the Societe des Bains de Mer et du Cercle des Etrangers— was formed with capital of 15 million francs. Among the prominent investors were Charles-Bonaventure-François Theuret, Bishop of Monaco, and Cardinal Pecci, the future Pope Leo XIII. Blanc became the single majority stockholder in the company and received a 50-year concession, which would last until 1913. Blanc used his connections to quickly raise the required capital, and began the massive construction. On Blanc's insistence, the "Spelugues" area where the gambling complex was located was renamed to make it sound more attractive to casino visitors. A few suggestions were considered, and the name Monte Carlo was chosen in Prince Charles' honor.


title: Monte Carlo Casino

text: In 1878–79, the casino building was transformed and expanded to designs of Jules Dutrou (1819–1885) and Charles Garnier, the architect who had designed the Paris opera house now known as the Palais Garnier. François Blanc knew Garnier because Blanc had provided a loan of at least 4.9 million gold francs to the cash-strapped government of the French Third Republic, so that the opera house, which had been started in 1861, could be completed. It had finally opened in 1875. The alterations to the Casino de Monte Carlo included the addition of a concert hall (designed by Garnier and later named the Salle Garnier), located on the side of the casino facing the sea, and the redesign and expansion of the gaming rooms and public spaces, mostly carried out by Dutrou on the side of the casino facing the Place du Casino, where the Hôtel de Paris Monte-Carlo and the Café de Paris were also located.


title: Monte Carlo Casino

text: In 1880–81, the casino was expanded again, to the east of Dutrou's Moorish Room, by the addition of the Trente-et-Quarante Gaming Room, also designed by Garnier. Subsequent additions and expansions, and the remodeling of the Trente-et-Quarante Gaming Room into the Salle des Américains, have mostly obliterated Garnier's contributions to this part of the casino, except for some ceiling decorations. In 1898–99, the Salle Garnier was remodeled by architect Henri Schmit, primarily in the stage area, so that it would be more suitable for opera and ballet performances. However, much of Garnier's original facade and the interior design of the auditorium itself remain intact. Despite all of the later additions and modifications, the casino still has a distinctly Beaux Arts style.


title: Monte Carlo Casino

text: Until recently, the Casino de Monte-Carlo has been the primary source of income for the House of Grimaldi and the Monegasque economy.


title: Monte Carlo Casino

text: The most famous example of the gambler's fallacy occurred in a game of roulette at the Casino de Monte-Carlo in the summer of 1913, when the ball fell in black 26 times in a row, an extremely uncommon occurrence. Gamblers lost millions of francs betting against black, reasoning incorrectly that the streak was causing an "imbalance" in the randomness of the wheel, and that it had to be followed by a long streak of red.


title: Kyle Kulinski

text: Kyle Edward Kulinski (born January 31, 1988) is an American political commentator and media host. Kulinski is the host and producer of "The Kyle Kulinski Show" on his YouTube channel "Secular Talk" and is a co-host with his partner Krystal Ball on the progressive podcast "Krystal Kyle & Friends".


title: Kyle Kulinski

text: A self-described left-wing populist and social democrat, Kulinski is a co-founder of Justice Democrats, a progressive political action committee whose candidates refuse donations from corporate PACs.


title: Kyle Kulinski

text: Kulinski was born on January 31, 1988 to a family of Polish and Italian descent. He was born and raised in the New York City suburbs of Westchester County, New York. He graduated from New Rochelle High School in 2006 and Iona College in 2010 with a bachelor's degree in political science and a minor in psychology.


title: Kyle Kulinski

text: Kulinski credits his father's premature death due to inadequate healthcare, the 2003 invasion of Iraq in his teenage years, and studying the works of Noam Chomsky as helping to shape his political views.