title: Empire State of Mind

text: The single was also performed by Jay-Z and Keys at the American Music Awards (AMA) on November 22, 2009. They began their performance of "Empire State of Mind" with a rendition of Frank Sinatra's "New York, New York". Keys played on a piano on a stage with blue lights in front of a backdrop that had tall buildings. Also, the words "New York" scrolled across screens on the stage. Towards the end of the song, Keys sang with Jay-Z at the front of the stage while holding up an "I love you" sign. Todd Martens of the "Los Angeles Times" felt that the song had "worn out its welcome", adding: "Yes, we know New York is cool. Bars are open late and the public transportation is swell and all, but performing this love letter to New York in Los Angeles? We're tired of it." However, Jeremy Blacklow of "Access Hollywood" had a more positive feeling towards the performance, describing it as being "so great" in his live blog for the award ceremony. "Empire State of Mind" was performed by Jay-Z and Alicia Keys at the 2010 BRIT Awards on February 16, 2010. "The Guardian" wrote that Jay-Z and Alicia Keys "dazzled with their rendition of "Empire State of Mind"". According to "Metro", Jay-Z and Alicia Keys "blew the place away" with their performance and "Jay-Z was given a welcome befitting a cultural hero" while "Keys oozed elegance and soul as her startlingly powerful voice stopped everyone in their tracks". "The Nation" opined that the pair "delivered a powerful rendition" of the song.


title: Empire State of Mind

text: In March, Jay-Z joined Keys onstage during one of her Freedom Tours New York concerts to perform "Empire State of Mind", while images of New York were shown throughout the concert arena. Jay-Z performed "Empire State of Mind" as well as three of his other singles, at California's Coachella Music Festival in April 2010. Jay-Z performed the song live on an episode of "Saturday Night Live" on May 9, 2010. Jay-Z performed the song with a medley of his other singles, including "On to the Next One". Jay-Z wore a white T-shirt with a black leather vest while performing the song on a stage light by blue lights, with musicians playing instruments in the far back. Caitlyn Millat of San Diego's NBC felt that Jay-Z "brought the house down" during his performances of the melodies. Rodriguez of MTV News said that Bridget Kelly, who sang Keys' part, "turned more than a few heads" because the outfit she was wearing was "tighter than her boss' rhyme".


title: Empire State of Mind

text: Jay-Z and Keys performed the song during Keys' "Here in Times Square" concert special, televised on BET.


title: Empire State of Mind

text: Following the release of "Empire State of Mind" in January 2010, Keys stated that she was planning to release a second version of the song as a single the following month, featuring only her vocals. The track, entitled "Empire State of Mind (Part II) Broken Down", appeared on Keys' fourth studio album "The Element of Freedom" which was released in December 2009. The original version, entitled "Empire State of Mind Part 2", included both Keys' vocals and a new rap verse from Jay-Z, but the final product did not include Jay-Z. Discussing the record, Keys said that it acts as a dichotomy of strength and vulnerability, commenting that "The music is really strong, and the drums are really aggressive, but my voice is vulnerable and delicate".


title: Empire State of Mind

text: "Empire State of Mind (Part II) Broken Down" was generally well received by contemporary music critics in their reviews for "The Element of Freedom". Allison Stewart of "The Washington Post" noted that the track, which is a pop ballad, had replaced "Empire State of Mind" sports team references and ruminations with "even milder and less controversial string of generalities", highlighting Keys' version's lyrics "If I could make it here/I could make it anywhere". The song peaked at number four in the United Kingdom, number forty on the Canadian Hot 100, and number sixty-nine in Sweden. It also debuted on the "Billboard" R&B charts at number seventy-seven and peaked at number fifty-five on the "Billboard" Hot 100 without an official release.


title: Empire State of Mind

text: Comedy website CollegeHumor parodied the song in a video titled "Galactic Empire State of Mind" which re-writes the lyrics to follow the events of the first three Star Wars films from the perspective of Darth Vader. The video has been viewed nearly four million times on YouTube.


title: Empire State of Mind

text: The music video for "Newport (Ymerodraeth State of Mind)" parodies the song, replacing references to the "Empire State" of New York with of the smaller Welsh city of Newport. In the Welsh language "Ymerodraeth" means "empire". "Newport (Ymerodraeth State of Mind)" was directed by British filmmaker MJ Delaney and featured London-based actors Alex Warren and Terema Wainwright, rapping and singing respectively. Days after its release Delaney said: "I hope Jay-Z and Alicia get to see the video as long as their publishing people don't force us to take it offline. It's only tongue in cheek." Its participants were invited to appear on national television news and their work was reported in national newspapers. Their work was also so well received in Wales that they were invited to the reopening of the Newport Transporter Bridge. It achieved viral video status when it reached nearly a million hits in 3 days and, by August 2010, nearly 2.5 million people had watched it on YouTube. In July both Warren and Wainwright met with Universal Records (the music publishers) to discuss releasing the track as a single, with some of the proceeds going to the mental health charity Newport Mind. But the seven co-writers of "Empire State of Mind" refused to give permission for the Newport single, a situation which led to the video being removed from YouTube on August 10.


title: Empire State of Mind

text: "Empire State of Mind" was covered by the cast of the US television series "Glee" for the second season premiere episode "Audition" on September 21, 2010. In the episode the fictional William McKinley High School glee club, upon learning that Nationals will be held in New York, decide to perform "Empire State of Mind" at the school courtyard, in the hopes it will pique the interest of their schoolmates. MTV's Kyle Anderson felt that the choreography of "Empire State of Mind" compensated for any awkwardness in its delivery. Aly Semigran, also writing for the same publication, thought the cast's performance was lacking the gravitas of the original version, but reported that Keys had deemed the "Glee" cover "amazing". Lisa de Moraes of "The Washington Post" found the song's performance to be "maybe-trying-too-hard". Music critic Tom Stack, of "Entertainment Weekly", had a more positive assessment of "Glee"s take on it in the episode, stating that from the wardrobe to the choreography, it was "spectacular" and elating. He gave it a letter grade of "A". MTV Buzzworthy wrote that "[t]hings get a little dicey when the male cast members make their way through Jay's rapped first verse". "Glee"s cover version was released as a single and debuted at number twenty-one on the "Billboard" Hot 100, taking the title for biggest jump of that week. It also charted number twenty in Australia.


title: Empire State of Mind

text: In 2010, American alternative dance band LCD Soundsystem played "Empire State of Mind" in concert, performing a verse of the song as a duet between James Murphy and keyboardist Nancy Whang. In May 2011, at 64th Cannes Film Festival, British singer-songwriter Jamie Cullum performed a piano medley of Frank Sinatra's "New York, New York" and "Empire State of Mind" in honour of Robert De Niro. In February 2012, British singer Ed Sheeran did a soulful acoustic rendition of the song at BBC Radio 1's Live Lounge. Sheeran later sang it as a duet with Jason Mraz at the Jingle Ball Viewing Party in December 2012. In April 2012, British glam rock band Sweet released an updated version of the Hello and Ace Frehley hit single "New York Groove" that incorporated the chorus of "Empire State of Mind" into its own chorus.


title: Empire State of Mind

text: The song was also parodied in "The Simpsons" episode "The Food Wife" as "Bloggin' a Food Blog", sung by Tim Heidecker, Eric Wareheim and Carmen Carter.


title: Empire State of Mind

text: Neil Patrick Harris, Audra McDonald, and Lin-Manuel Miranda performed a parody of "Empire State of Mind" to close the 67th Tony Awards, with modified lyrics to recap the awards show.


title: Empire State of Mind

text: An homage to the song, called "Screw You from New York" was made by The Late Show with Stephen Colbert to mock Trump for withholding a Covid vaccine from New York State.


title: Empire State of Mind

text: The song was trending in 2021 on TikTok after Joshua Block, known as "World of T-Shirts", recorded himself singing the song in front of Times Square.


title: Robin Scherbatsky

text: Robin Charles Scherbatsky Jr. is a fictional character created by Carter Bays and Craig Thomas for the CBS television series "How I Met Your Mother", portrayed by Cobie Smulders.


title: Robin Scherbatsky

text: Robin is the on and off love interest of Barney Stinson (Neil Patrick Harris) and Ted Mosby (Josh Radnor), and a close friend to Lily Aldrin (Alyson Hannigan) and Marshall Eriksen (Jason Segel).


title: Robin Scherbatsky

text: The creators of "How I Met Your Mother", Carter Bays and Craig Thomas, always intended for Robin Scherbatsky not to be "The Mother" of Ted Mosby's children. Rather, Ted perceives Robin as the perfect woman, but "it’s [still] not his final love story." Bays and Thomas have said that "a pretty famous actress" turned down the role of Robin; they revealed in February 2014 that it was Jennifer Love Hewitt. They then cast Cobie Smulders, an unknown actor. Bays and Thomas later said: "Thank God we did for a million reasons... when Ted’s seeing her for the first time, America’s seeing her for the first time – the intriguingness of that propelled the show going forward and kept the show alive."


title: Robin Scherbatsky

text: Robin Charles Scherbatsky Jr. was born on 23 July 1980 to a Canadian father, Robin Charles Scherbatsky Sr. (Ray Wise), and an English mother, Genevieve Scherbatsky (Tracey Ullman), in Vancouver, British Columbia. She has a teenage sister named Katie (Lucy Hale). She has a difficult relationship with her father, who raised her as if she was a boy. She is a fan of the Vancouver Canucks, a professional National Hockey League (NHL) ice hockey club based in Vancouver.


title: Robin Scherbatsky

text: Robin had a minor career as a bubblegum pop singer under the stage name of Robin Sparkles, with one hit single, "Let's Go to the Mall." After an accompanying music video and the ensuing year-long mall tour, she developed a serious aversion to shopping malls that lasted for years. Robin followed "Let's Go to the Mall" with the "artistic follow-up" "Sandcastles in the Sand", which tanked.


title: Robin Scherbatsky

text: As Robin Sparkles, she also appeared on the Canadian educational children's show "Space Teens" with Alan Thicke and Jessica Glitter (Nicole Scherzinger), about two teen girls traveling through space in a curling stone–shaped spaceship who "solve mysteries using math". The aforementioned show was heavy with unintentional sexual innuendo, such as the song "Two Beavers Are Better Than One". Robin attempted to shift from teen pop to grunge by adopting a new stage name, "Robin Daggers", and penning a track entitled "P.S. I Love You", a dark, angry love song about her infatuation with Paul Shaffer (in an episode parodying Alanis Morissette and her single "You Oughta Know") Robin performed the song at the 84th Grey Cup, effectively ending her career in music. As an adult, Robin is embarrassed by her teenage stardom.


title: Robin Scherbatsky

text: After moving to New York City, Robin became a news anchor and later became a host of her own early-morning talk show.


title: Robin Scherbatsky

text: Robin lives in the Park Slope area of Brooklyn; she meets Ted Mosby, the show's main character, and they are immediately attracted to each other. They go on a date in which Ted steals a blue French horn for her, but Ted spoils his chances with her by impulsively saying he is in love with her. They agree to remain friends, but their relationship is complicated by lingering romantic feelings. Robin is reluctant to date Ted because he wants to get married and settle down, but they become a couple anyway at the end of season one. They break up at the end of season two, While it is difficult at first to remain in each other's lives, they eventually become close, trusted friends. At the end of the fifth season, she moves back in to Ted's apartment after her boyfriend Don (Benjamin Koldyke) breaks up with her and moves to Chicago.


title: Robin Scherbatsky

text: Although she is a reporter for "fluff news pieces" at the end of news segments at the time of first meeting Ted, over the series she works her way up to be lead news anchor . She briefly takes a prominent anchoring position in Japan, only to return to New York and, with help from Barney, host her own talk show.


title: Robin Scherbatsky

text: When an old boyfriend humiliates her, Barney comforts her, and they have sex. This initially causes friction between her and Ted, but he ultimately accepts it. Barney and Robin have what they believe is a no-strings-attached sexual relationship for a few months, but they become an official couple after some aggressive prodding from Lily. They soon realize that they don't work as a couple, however, and break up. They remain friends, but it is implied Robin never truly lets Barney go. Despite spending most of "Challenge Accepted" plotting with Barney to find a way to prevent Ted from pursuing a meaningless relationship and rekindling her relationship with him in the process, she also pressures Barney into approaching Nora (Nazanin Boniadi), a woman he likes. However, when Barney asks Nora for a cup of coffee, Robin realizes she may still have feelings for him.


title: Robin Scherbatsky

text: In the season 7 premiere episode "The Best Man", Lily confronts Robin about her feelings for Barney, and advises her to tell him. She is about to do so when Barney pulls her onto the dance floor at a wedding. Whatever tension there is between them is broken when Barney receives a call from Nora; Robin helps and feeds him the words that she had intended to say to him, which he uses to convince Nora to meet him again. In "The Stinson Missile Crisis", Robin assaults a woman setting out to destroy Barney's relationship with Nora and is sent to court-mandated therapy. They start dating shortly after. Their relationship is tested when Robin cheats on him with Barney, and she decides to break up with Kevin. She changes her mind when Kevin tells her how much he cares for her, and they stay together. After Kevin proposes to her, Robin thinks she is ready to settle down, but he takes back his proposal when she says that she is unable and unwilling to have children.


title: Robin Scherbatsky

text: In the seventh season, Robin discovers that she is unable to have children. Although she had always believed she did not want to have children, she is devastated by the knowledge that she no longer has the option. She lies to the gang about why she is depressed . Ted senses that something more serious is going on, however, and he comforts her as she cries.


title: Robin Scherbatsky

text: In the episode "Tailgate", Robin is put in charge of a New Year's Countdown show on her news station. The host, Sandy Rivers (Alexis Denisof), gets drunk live on the show and Robin is forced to replace him. Just before midnight, in the season finale, she revealed that she will be the bride at Barney's wedding.


title: Robin Scherbatsky

text: Her romantic feelings for Barney resurface in the eighth season, when he begins dating Patrice (Ellen D. Williams), a cheerful coworker for whom she has an irrational hatred. When Barney announces that he is going to propose to Patrice, Robin is heartbroken. However, in "The Final Page", Barney reveals that his courtship with Patrice was an elaborate ruse designed to get Robin back; he then proposes. Robin accepts.


title: Robin Scherbatsky

text: The final season of the show depicts the 56 hours before her wedding to Barney. On her wedding day, she gets cold feet when she learns that Ted went to great lengths to find a locket she had buried years before; she takes it as a "sign from the universe" that she should be with Ted. Wanting her to be happy, Ted tells her that he no longer loves her in that way. She goes through with the wedding after Barney vows to always be honest with her.


title: Robin Scherbatsky

text: The series finale, "Last Forever", reveals that Robin and Barney divorced after three years . Robin leaves the group upon realizing that she can't bear to be around Barney, who has resumed his womanizing lifestyle, or Ted, who is now happily involved with Tracy McConnell (Cristin Milioti). She and the gang drift apart over the ensuing years, but she is there for Ted and Tracy's wedding, where she makes her peace with Barney


title: Robin Scherbatsky

text: In "Timing is Everything", the first season finale of spinoff "How I Met Your Father", which takes place in 2022, Robin gives Sophie Tompkins advice about fear.


title: Robin Scherbatsky

text: By 2030, Robin is a very successful television news anchor and lives in New York. The last scene of the show depicts Robin looking outside her window to see Ted, who is now a widower and wants another chance with her, holding out the blue French horn from their first date. She smiles at him with tears in her eyes. The series' alternate ending implies that following Ted's wedding, Barney and Robin have since gotten back together.


title: Sidney Prescott

text: Sidney Prescott is a fictional character and the protagonist of the "Scream" franchise. The character was created by Kevin Williamson and is portrayed by Canadian actress Neve Campbell. She first appeared in "Scream" (1996) followed by four sequels: "Scream 2" (1997), "Scream 3" (2000), "Scream 4" (2011), and "Scream" (2022). The character appears in the "Scream" films as the target of a series of killers who adopt the Ghostface persona, a ghost mask and black cloak, to pursue her. In each film, the Ghostface killers often murder people close to Sidney and taunt her by phone with threats and intimate knowledge of her life or the murder of her mother, leading to a final confrontation where the true killer is revealed.


title: Sidney Prescott

text: The killers that target Sidney have varying motivations ranging from revenge in "Scream", "Scream 2", and "Scream 3" to the fame that will come from killing her in "Scream 4", due to the fame she herself has obtained as a survivor of the murder spree in the original 3 films. She first becomes the focus of her boyfriend Billy Loomis (Skeet Ulrich) and his friend Stu Macher (Matthew Lillard), Billy seeking revenge for his mother's abandonment following his father's affair with Sidney's mother, Maureen Prescott (Lynn McRee). "Scream 3" later reveals that Billy learned of this affair through Roman Bridger (Scott Foley), Sidney's half-brother, himself seeking revenge for his abandonment and rejection by Maureen, sparking the chain of events that permeate each film.


title: Sidney Prescott

text: Drew Barrymore was cast as Sidney Prescott but scheduling conflicts led to her taking a smaller role, with the lead being offered instead to Campbell, who at the time was starring in the television series "Party of Five". Campbell was hesitant to take another horror role after finishing work on "The Craft" (1996), but took the opportunity as it would be her first leading role in a feature film. Campbell reprised the role in "Scream 2" and "Scream 3" though her own scheduling conflicts meant she could only film for a short period of time while the third film was in production. This resulted in her character's role being reduced significantly from prior installments and focus was shifted onto the series' other lead characters, Gale Weathers (Courteney Cox) and Dewey Riley (David Arquette). Campbell initially refused requests to return for "Scream 4", with scripts written with her character's absence in mind, but ultimately agreed to return.


title: Sidney Prescott

text: The character is depicted as an intelligent, resourceful young woman who slowly becomes stronger over the course of the series as she attempts to overcome the threats and deaths around her. Neve Campbell's role as Sidney Prescott has received significant critical praise throughout the series, earning her the title of scream queen in the 1990s and won her the Saturn Award for Best Actress in 1997 for "Scream" and the MTV Award for Best Female Performance in 1998 for her role in "Scream 2".


title: Sidney Prescott

text: Sidney Prescott first appeared in the 1996 film "Scream" as a teenager attending the fictional Woodsboro High School. After a series of brutal murders occur on the anniversary of her mother's death, the killer begins targeting Sidney herself with attacks and taunting phone calls. Her character has appeared in each successive film in the series, her role initially that of the victim but growing into heroine where she personally confronts each killer and defeats them.


title: Sidney Prescott

text: Sidney Prescott's first cinematic appearance was in the film "Scream" (1996) as a 17-year-old high school senior in the fictional town of Woodsboro, California. During a spree of grisly murders, she begins to receive taunting and threatening phone calls from Ghostface, who claims to have knowledge of the brutal rape and murder of Maureen Prescott (Lynn McRee), Sidney's mother, which occurred one year prior to the events of the film, a murder that is blamed on Cotton Weary (Liev Schreiber). Suspicion falls on several characters before her boyfriend Billy Loomis (Skeet Ulrich) and his friend Stu Macher (Matthew Lillard) are revealed to both be the killers. Billy states his motivation as revenge following his mother abandoning him over his father's affair with Maureen. With help from Gale Weathers (Courteney Cox), Sidney is able to fight back against Stu and Billy, even using the killer's own tricks against them, and manages to kill them both and survive the events of the film.


title: Sidney Prescott

text: "Scream 2" (1997) picks up two years later. In her second appearance, Sidney is a student at the fictional Windsor College where a copycat series of Ghostface murders occur. The killers again taunt 19-year-old Sidney and murder her friends including fellow Woodsboro survivor, Randy Meeks before her friend Mickey (Timothy Olyphant) reveals himself as the killer and murders her new boyfriend, Derek (Jerry O'Connell), in front of her. Mickey states his motivation as the infamy that will come from his exploits including the murder of Sidney. He is the accomplice to Mrs. Loomis (Laurie Metcalf), seeking revenge against Sidney for the death of her son Billy. However, Mrs. Loomis betrays and kills Mickey, intending to disappear without trace after killing Sidney, but before she can enact her plan, Cotton intervenes and shoots her, saving Sidney, who then shoots Mrs. Loomis in the head, killing her.


title: Sidney Prescott

text: The third appearance of Sidney occurs in "Scream 3" (2000), set two years after the events of "Scream 2". Another murder spree begins in Hollywood, with the killer leaving photos of a young Maureen Prescott at the crime scenes. Sidney, now a reclusive crisis counselor for women, has been in hiding following the events of "Scream" and "Scream 2" but is drawn to the set of "Stab 3", the film within a film based on Sidney and her experiences, after the new Ghostface discovers her location. Ghostface claims responsibility for the murder of Maureen Prescott and is unmasked as the thirty-year-old director of "Stab 3", Roman Bridger, Sidney's previously unknown half-brother. Roman reveals that their mother was gang raped and impregnated with him during a two-year period where she moved to Hollywood to become an actress, before she met Sidney's father, Neil Prescott (Lawrence Hecht). After being given up for adoption, an adult Roman sought her out over four years ago, only for her to reject him. Roman began stalking Maureen, filming her adulterous liaisons with other men, including the father of Billy Loomis, and used this footage to convince Billy to murder Maureen, unknowingly setting in motion the events of "Scream" and "Scream 2". Sidney denounces Roman for his actions and manages to outwit and defeat him after a vicious fight, while Dewey Riley (David Arquette) ultimately shoots and kills Roman, and finally moves on with her life.


title: Sidney Prescott

text: Sidney's fourth appearance is in "Scream 4" (2011), set eleven years after the events of "Scream 3". After returning to the town of Woodsboro to publicize her new book, "Out of Darkness"—a self-help book about overcoming the events of her life—a new Ghostface begins attacking the town and leaves evidence in Sidney's car. Becoming a suspect in the murders, the 32-year-old survivor stays in town with her young teenage cousin Jill Roberts (Emma Roberts) and maternal aunt Kate (Mary McDonnell), but the family becomes embroiled in the Ghostface murder spree. Sidney tries to rescue Jill, who is staying at her best friend, Kirby Reed (Hayden Panettiere)'s house for an afterparty, but is attacked only to discover that Jill herself is the killer. Jill's accomplice is her secret boyfriend, Charlie Walker (Rory Culkin), having left Kirby to bleed out. Envious of her cousin's fame, Jill explains how she has remade and outdone the events of Billy and Stu's murder spree to make herself the Sidney of a "new generation" with all the associated fame, including the act of filming her own killings. Jill betrays and kills Charlie, and stabs Sidney, before brutalizing herself to appear as the "sole survivor", but after arriving at the hospital, she discovers Sidney has narrowly survived, having received treatment in the ICU. When Jill attempts to finally kill her cousin, Sidney manages to outsmart her deranged cousin and eventually shoot her in the heart, killing her, while declaring that Jill forgot the first rule of horror remakes, which was never to mess with the original.


title: Sidney Prescott

text: The character's most recent incarnation is in the fifth film, simply titled "Scream" (2022). Set twenty-five years after the conclusion of the original film, Sidney—in her fifth appearance—is a 42-year-old married mother of three. She is revealed to have returned to her life away from Woodsboro, and in the ten years since the events of "Scream 4", she reconnected with and started a family with her now-husband, Mark Kincaid (Patrick Dempsey). She is phoned by her now-estranged ally, Dewey and warned to stay away from Woodsboro following the return of Ghostface yet again—now targeting relatives of Billy Loomis and Stu Macher. Despite this, she returns to her hometown after hearing about Dewey’s murder, and consoles Gale in the hospital. Billy's daughter Sam Carpenter (Melissa Barrera) rejects their offer for help to bring down the killer once and for all, but a skeptical Sidney nonetheless places a tracking device on the car of Sam's boyfriend Richie Kirsch (Jack Quaid), leading her and Gale to the former home of Stu, now housed by Amber Freeman (Mikey Madison). They are met by a distressed Amber who reveals herself as one of the killers after an unsuccessful attempt to disguise herself as a stab victim. Sidney enters the house alone to find Amber and is taunted by the other killer, though she isn't fazed at all by the taunting phone call and hangs up on him; the other killer is later revealed to be Richie. Following a confrontation with the killers, Sidney is stabbed by Amber. However, with the help of an injured Gale, the pair subdue and light Amber on fire, before she is shot in the head by Tara (Jenna Ortega), Sam's teenage half-sister. After Sam kills Richie, Sidney provides mental reassurance for her, as Sidney and Gale wait for the ambulance transportation to the hospital for her injuries.


title: Sidney Prescott

text: In a 2022 interview promoting the fifth "Scream" film, Campbell described Sidney as a symbol of strength and a person who refuses to be a victim. When asked about Sidney's cultural impact, she inferred that the character offered significant meaning to fans. She identified the fans who related to Sidney as being people who felt "misunderstood" and "shut down some way in their life [and] had to push a glass ceiling", or been subjected to bullying. She expressed appreciation for the character's role as a symbol of resilience and hope for anyone who struggles with bullying, especially in their youth and that her actions in the films give fans and audience goers the "confidence that they can overcome".


title: Sidney Prescott

text: Like with "Dawson's Creek", Sidney's character was partly rooted in writer Kevin Williamson's own experiences. Referring to her trust issues, Williamson in a 2021 interview stated, “One of the things I’ve wrestled with is trust, and Sidney trusted no one,” he explains. “Did she really know her mother? Is her boyfriend who he says he is? In the end she wasn’t even trusting herself.” He further commented on an LGBT allegory for the character, stating the final girl trope spoke to Williamson's own sexuality. He stated, “As a gay kid, I related to the final girl and to her struggle because it’s what one has to do to survive as a young gay kid, too. You’re watching this girl survive the night and survive the trauma she’s enduring. Subconsciously, I think the "Scream" movies are coded in gay survival.”


title: Sidney Prescott

text: Born in 1979, Sidney grows up an only child, though "Scream 3" depicts a revelation that she is actually the secondborn child of Maureen Prescott (née Roberts) following Roman Bridger (Scott Foley) nine years prior. Sidney's residence in the fictional town of Woodsboro is known as 34 Elm Street, a nod to "Scream" director Wes Craven's previously directed horror film "A Nightmare on Elm Street" (1984).


title: Sidney Prescott

text: The name of Sidney's childhood home—34 Elm—was given dialogue and visual confirmation in the fifth film, "Scream" (2022); co-director Matt Bettinelli-Olpin stated that the first reference to this is Tara Carpenter (Jenna Ortega)'s namecalling the address when referring to the "Stab" movie-within-a-movie version of the character (portrayed by Tori Spelling) in "Scream 2"), and later an additional scene in the fifth film depicts two characters driving down by the block as they enter Woodsboro. Originally, a scene scripted by Williamson and filmed by Craven in the original 1996 film cut this reference due to time constraints. In the cut scene, Sidney is shown typing out the address in writing during her distress call to the online 911 system.


title: Sidney Prescott

text: The third film, penned by Ehren Kruger introduces a future, long-term romance character for Sidney, a homicide detective named Mark Kincaid (portrayed by Patrick Dempsey). He narrowly survives the third act saving Sidney from being stabbed after serving as a red herring in the film. While initially intended to be brought back for "Scream 4", scheduling conflicts prevented this, and thus the Sidney character was single in the film. In a 2012 interview, Campbell referred to the relationship as "sort of pseudo-love interests" after working with Dempsey again. In the fifth film, Sidney's husband also has the name Mark, and it was assumed to be the character portrayed by Dempsey two films prior. This was confirmed by Bettinelli-Olpin in a January 2022 interview. Campbell admitted to being unaware that the husband named Mark was actually Dempsey's character.


title: Sidney Prescott

text: The fifth film reveals Sidney became a mother of three children between the events of the fourth and fifth films, set ten years apart. Her children with Dempsey's character include a newborn or toddler in a baby stroller, as well as two school-aged daughters that Sidney plans to take to school after she goes for an exercise run. In 2022, the directors released the first draft written on March 2, 2020, six months before filming began, which describes the two daughters being aged six and eight years old. In the first draft, Mark and the children make an appearance. Her third child, however, is absent from this first draft.


title: Sidney Prescott

text: The role of Sidney Prescott was initially given to actress Drew Barrymore after Barrymore herself approached the production, having read the script, to request the role and was signed to the film before a director had even been found. Wes Craven, after being hired as director, commented that he was able to have bigger actors in the film than his budget allowed because of Barrymore's desire to be involved, which he believed helped attract other big names to the production. While early development on the film took place, however, Barrymore's schedule commitments meant she was no longer able to remain in the demanding leading role, but still wishing to take part she volunteered to play the smaller role of Casey Becker, who dies early in the film, with her scene being filmed in five days. Following Barrymore's abdication of the role, actresses Melissa Joan Hart, Alicia Witt and Brittany Murphy auditioned for the part. The production also offered the role to Reese Witherspoon although she ultimately never auditioned. Molly Ringwald and Tori Spelling were also considered for the role. It was Canadian actress Neve Campbell who was given the lead of Sidney Prescott after Craven saw her in the television series "Party of Five", believing she could best embody a character who was "innocent" but also able to handle herself while dealing with the demanding physicality and emotions of the role. Campbell herself was reluctant to undertake a role in another horror film so soon after taking part in "The Craft" (1996), but agreed to "Scream" as it would be her first leading role and she "adored" the character saying "She's a fantastic character for any kind of movie." Campbell and her on-screen boyfriend Skeet Ulrich had previously starred together in "The Craft" which they believed helped make their performance of the relationship between Sidney and Ulrich's character, Billy Loomis, more natural.


title: Sidney Prescott

text: Kevin Williamson had submitted treatments for two possible sequels to "Scream" before the film was even released and so Campbell had been contracted for "Scream 2" when she signed on to the original film as she played the only character guaranteed to survive the film. However, scheduling became an issue for Campbell and the production as, at the time, she was still starring in "Party of Five".


title: Sidney Prescott

text: For "Scream 3", Craven insisted that convincing Campbell and the other principal cast to return was not a problem, but scheduling Campbell's availability with the film's production again became an issue, with Campbell starring not only in "Party of Five" but three other feature films. Her availability was limited enough that she was only available for 20 days of filming which resulted in a significantly reduced role for her character and a shift in focus to Cox and Arquette's characters of Gale Weathers and Dewey Riley respectively.


title: Sidney Prescott

text: When production of "Scream 4" was announced, nearly ten years after the last installment of the series, Campbell initially refused offers to reprise her role as Sidney, forcing early script drafts to be written in consideration of her absence while again shifting focus on to Cox and Arquette's roles. However, by September 2009, Campbell was confirmed as reprising her role in the film. Early versions of Williamson's "Scream 4" script involved Campbell's character being attacked in the opening, a key point of contention for Bob Weinstein, head of "Scream" developer Dimension Films, who had it removed.


title: Sidney Prescott

text: On June 6, 2022, Campbell stated she would not be returning for "Scream VI" after contract and salary negotiations had stalled with Paramount Pictures; she stated, "As a woman I have had to work extremely hard in my career to establish my value, especially when it comes to "Scream". I felt the offer that was presented to me did not equate to the value I have brought to the franchise."


title: Sidney Prescott

text: On her character of Sidney Prescott, Neve Campbell spoke positively, saying she "adored" the character and "She's a fantastic character for any kind of movie." In 1997, the "Scream" role won Campbell the Saturn Award for Best Actress and an MTV Movie Award for Best Female Performance nomination. The following year, she went on to win the 1998 Best Female Performance for "Scream 2" and received a second Best Actress nomination from the Saturn Awards, losing to Jodie Foster for "Contact" (1997). She received a third and final Best Female Performance nomination from MTV in 2000 for the character in "Scream 3" but lost to fellow Scream alum Sarah Michelle Gellar for "Cruel Intentions" (1999).


title: Sidney Prescott

text: John Muir, author of "Wes Craven: The Art of Horror", praised the development of Sidney Prescott in "Scream 2" labeling her character, amongst others, "beloved".


title: Sidney Prescott

text: Roger Ebert, heavily critical of the cast and film of "Scream 3", singled out Campbell's role for praise saying "The camera loves her. She could become a really big star and then giggle at clips from this film at her AFI tribute". Harry Knowles of Ain't It Cool News was considerably less complimentary of Campbell, saying "She adds ZERO coolness. Zero talent. And Zero charisma to ["Scream 3"]."


title: Sidney Prescott

text: Bryan Enk and Adam Swiderski of UGO ranked Neve Campbell as the 8th greatest Scream Queen for her role as Sidney Prescott, saying "in the 1990s, Neve was pretty much the number-one scream queen around."


title: Ātman (Hinduism)

text: Ātman (; ) is a Sanskrit word that refers to the (universal) Self or self-existent essence of individuals, as distinct from ego ("Ahamkara"), mind ("Citta") and embodied existence ("Prakṛti"). The term is often translated as soul, but is better translated as "Self," as it solely refers to pure consciousness or witness-consciousness, beyond identification with phenomena. In order to attain moksha (liberation), a human being must acquire self-knowledge ("Atma Gyaan or Brahmajnana").


title: Ātman (Hinduism)

text: "Atman" is a central concept in the various schools of Indian philosophy, which have different views on the relation between "Atman", individual Self ("Jīvātman"), supreme Self ("Paramātmā") and, the Ultimate Reality ("Brahman"), stating that they are: completely identical (Advaita, Non-Dualist), completely different (Dvaita, Dualist), or simultaneously non-different and different (Bhedabheda, Non-Dualist + Dualist).


title: Ātman (Hinduism)

text: The six orthodox schools of Hinduism believe that there is "Ātman" in every living being ("jiva"), which is distinct from the body-mind complex. This is a major point of difference with the Buddhist doctrine of "Anatta", which holds that in essence there is no unchanging essence or Self to be found in the empirical constituents of a living being, staying silent on "what" it is that is liberated.


title: Ātman (Hinduism)

text: "Ātman" ("Atma", आत्मा, आत्मन्) is a Sanskrit word that refers to "essence, breath." It is derived from the Proto-Indo-European word "" (a root meaning "breath" with Germanic cognates: Dutch "adem", Old High German "atum" "breath," Modern German "atmen" "to breathe" and "Atem" "respiration, breath", Old English "eþian").


title: Ātman (Hinduism)

text: "Ātman", sometimes spelled without a diacritic as "atman" in scholarly literature, means "real Self" of the individual, "innermost essence." While often translated as "soul," it is better translated as "self."


title: Ātman (Hinduism)

text: In Hinduism, "Atman" refers to the self-existent essence of human beings, the observing pure consciousness or witness-consciousness as exemplified by the Purusha of Samkhya. It is distinct from the ever-evolving embodied individual being ("jivanatman") embedded in material reality, exemplified by the prakriti of Samkhya, and characterized by "Ahamkara" (ego, non-spiritual psychological I-ness Me-ness), mind ("citta", "manas"), and all the defiling "kleshas" (habits, prejudices, desires, impulses, delusions, fads, behaviors, pleasures, sufferings and fears). Embodied personality and "Ahamkara" shift, evolve or change with time, while "Atman" doesn't. It is "pure, undifferentiated, self-shining consciousness."


title: Ātman (Hinduism)

text: As such, it is different from non-Hindu notions of soul, which includes consciousness but also the mental abilities of a living being, such as reason, character, feeling, consciousness, memory, perception and thinking. In Hinduism, these are all included in embodied reality, the counterpart of "Atman".


title: Ātman (Hinduism)

text: Atman, in Hinduism, is considered as eternal, imperishable, beyond time, "not the same as body or mind or consciousness, but... something beyond which permeates all these". "Atman" is the unchanging, eternal, innermost radiant Self that is unaffected by personality, unaffected by ego; "Atman" is that which is ever-free, never-bound, the realized purpose, meaning, liberation in life. As Puchalski states, "the ultimate goal of Hindu religious life is to transcend individually, to realize one's own true nature", the inner essence of oneself, which is divine and pure.


title: Ātman (Hinduism)

text: The earliest use of the word "Ātman" in Indian texts is found in the Rig Veda (RV X.97.11). Yāska, the ancient Indian grammarian, commenting on this Rigvedic verse, accepts the following meanings of "Ātman": the pervading principle, the organism in which other elements are united and the ultimate sentient principle.


title: Ātman (Hinduism)

text: Other hymns of Rig Veda where the word "Ātman" appears include I.115.1, VII.87.2, VII.101.6, VIII.3.24, IX.2.10, IX.6.8, and X.168.4.


title: Ātman (Hinduism)

text: "Ātman" is a central topic in all of the Upanishads, and "know your Ātman" is one of their thematic foci. The Upanishads say that "Atman" denotes "the ultimate essence of the universe" as well as "the vital breath in human beings", which is "imperishable Divine within" that is neither born nor does it die. Cosmology and psychology are indistinguishable, and these texts state that the core of every person's Self is not the body, nor the mind, nor the ego, but "Ātman". The Upanishads express two distinct, somewhat divergent themes on the relation between Atman and Brahman. Some teach that Brahman (highest reality; universal principle; being-consciousness-bliss) is identical with "Ātman", while others teach that "Ātman" is part of Brahman but not identical to it. This ancient debate flowered into various dual and non-dual theories in Hinduism. The Brahmasutra by Badarayana (~100 BCE) synthesized and unified these somewhat conflicting theories, stating that "Atman" and Brahman are different in some respects, particularly during the state of ignorance, but at the deepest level and in the state of self-realization, "Atman" and Brahman are identical, non-different (advaita). According to Koller, this synthesis countered the dualistic tradition of Samkhya-Yoga schools and realism-driven traditions of Nyaya-Vaiseshika schools, enabling it to become the foundation of Vedanta as Hinduism's most influential spiritual tradition.


title: Ātman (Hinduism)

text: The "Brihadaranyaka Upanishad" (800-600 BCE) describes "Atman" as that in which everything exists, which is of the highest value, which permeates everything, which is the essence of all, bliss and beyond description. In hymn 4.4.5, Brihadaranyaka Upanishad describes "Atman" as "Brahman", and associates it with everything one is, everything one can be, one's free will, one's desire, what one does, what one doesn't do, the good in oneself, the bad in oneself.


title: Ātman (Hinduism)

text: This theme of "Ātman", that the essence and Self of every person and being is the same as Brahman, is extensively repeated in Brihadāranyaka Upanishad. The Upanishad asserts that this knowledge of "I am Brahman", and that there is no difference between "I" and "you", or "I" and "him" is a source of liberation, and not even gods can prevail over such a liberated man. For example, in hymn 1.4.10,


title: Ātman (Hinduism)

text: The "Chandogya Upanishad" (7th-6th c. BCE) explains "Ātman" as that which appears to be separate between two living beings but isn't, that essence and innermost, true, radiant self of all individuals which connects and unifies all. Hymn 6.10 explains it with the example of rivers, some of which flow to the east and some to the west, but ultimately all merge into the ocean and become one. In the same way, the individual souls are pure being, states the "Chandogya Upanishad"; an individual soul is pure truth, and an individual soul is a manifestation of the ocean of one universal soul.


title: Ātman (Hinduism)

text: Along with the "Brihadāranyaka", all the earliest and middle Upanishads discuss "Ātman" as they build their theories to answer how man can achieve liberation, freedom and bliss. The "Katha Upanishad" (5th to 1st century BCE), for example, explains "Atman" as the imminent and transcendent innermost essence of each human being and living creature, that this is one, even though the external forms of living creatures manifest in different forms. For example, hymn 2.2.9 states,


title: Ātman (Hinduism)

text: Katha Upanishad, in Book 1, hymns 3.3 to 3.4, describes the widely cited proto-Samkhya analogy of chariot for the relation of "Soul, Self" to body, mind and senses. Stephen Kaplan translates these hymns as, "Know the Self as the rider in a chariot, and the body as simply the chariot. Know the intellect as the charioteer, and the mind as the reins. The senses, they say are the horses, and sense objects are the paths around them". The Katha Upanishad then declares that "when the Self [Ātman] understands this and is unified, integrated with body, senses and mind, is virtuous, mindful and pure, he reaches bliss, freedom and liberation".


title: Ātman (Hinduism)

text: Atman is a metaphysical and spiritual concept for Hindus, often discussed in their scriptures with the concept of Brahman. All major orthodox schools of Hinduism – Samkhya, Yoga, Nyaya, Vaisesika, Mimamsa, and Vedanta – accept the foundational premise of the Vedas and Upanishads that "Ātman exists." In Hindu philosophy, especially in the Vedanta school of Hinduism, "Ātman" is the first principle. Jainism too accepts this premise, although it has its own idea of what that means. In contrast, both Buddhism and the Charvakas deny that there is anything called "Ātman/soul/self".


title: Ātman (Hinduism)

text: In Samkhya, the oldest school of Hinduism, Puruṣa, the witness-consciousness, is "Atman". It is absolute, independent, free, imperceptible, unknowable through other agencies, above any experience by mind or senses and beyond any words or explanations. It remains pure, "nonattributive consciousness". Puruṣa is neither produced nor does it produce. No appellations can qualify purusha, nor can it substantialized or objectified. It "cannot be reduced, can't be 'settled'." Any designation of purusha comes from prakriti, and is a limitation. Unlike Advaita Vedanta, and like Purva-Mīmāṃsā, Samkhya believes in plurality of the puruṣas.


title: Ātman (Hinduism)

text: Samkhya considers ego ("asmita", "ahamkara") to be the cause of pleasure and pain. Self-knowledge is the means to attain "kaivalya", the separation of "Atman" from the body-mind complex.


title: Ātman (Hinduism)

text: The Yogasutra of Patanjali, the foundational text of Yoga school of Hinduism, mentions "Atma" in multiple verses, and particularly in its last book, where Samadhi is described as the path to self-knowledge and kaivalya. Some earlier mentions of "Atman" in Yogasutra include verse 2.5, where evidence of ignorance includes "confusing what is not Atman as Atman".


title: Ātman (Hinduism)

text: In verses 2.19-2.20, Yogasutra declares that pure ideas are the domain of Atman, the perceivable universe exists to enlighten Atman, but while Atman is pure, it may be deceived by complexities of perception or mind. These verses also set the purpose of all experience as a means to self-knowledge.


title: Ātman (Hinduism)

text: In Book 4, Yogasutra states spiritual liberation as the stage where the yogin achieves distinguishing self-knowledge, he no longer confuses his mind as Atman, the mind is no longer affected by afflictions or worries of any kind, ignorance vanishes, and "pure consciousness settles in its own pure nature".


title: Ātman (Hinduism)

text: The Yoga school is similar to the Samkhya school in its conceptual foundations of "Ātman". It is the self that is discovered and realized in the Kaivalya state, in both schools. Like Samkhya, this is not a single universal "Ātman". It is one of the many individual selves where each "pure consciousness settles in its own pure nature", as a unique distinct soul/self. However, Yoga school's methodology was widely influential on other schools of Hindu philosophy. Vedanta monism, for example, adopted Yoga as a means to reach "Jivanmukti" – self-realization in this life – as conceptualized in Advaita Vedanta. Yoga and Samkhya define "Ātman" as an "unrelated, attributeless, self-luminous, omnipresent entity", which is identical with consciousness.


title: Ātman (Hinduism)

text: Early atheistic Nyaya scholars, and later theistic Nyaya scholars, both made substantial contributions to the systematic study of "Ātman". They posited that even though "self" is intimately related to the knower, it can still be the subject of knowledge. John Plott states that the Nyaya scholars developed a theory of negation that far exceeds Hegel's theory of negation, while their epistemological theories refined to "know the knower" at least equals Aristotle's sophistication. Nyaya methodology influenced all major schools of Hinduism.


title: Ātman (Hinduism)

text: The Nyaya scholars defined "Ātman" as an imperceptible substance that is the substrate of human consciousness, manifesting itself with or without qualities such as desires, feelings, perception, knowledge, understanding, errors, insights, sufferings, bliss, and others. Nyaya school not only developed its theory of "Atman", it contributed to Hindu philosophy in a number of ways. To the Hindu theory of "Ātman", the contributions of Nyaya scholars were twofold. One, they went beyond holding it as "self evident" and offered rational proofs, consistent with their epistemology, in their debates with Buddhists, that "Atman exists". Second, they developed theories on what "Atman is and is not". As proofs for the proposition 'self exists', for example, Nyaya scholars argued that personal recollections and memories of the form "I did this so many years ago" implicitly presume that there is a self that is substantial, continuing, unchanged, and existent.


title: Ātman (Hinduism)

text: Nyayasutra, a 2nd-century CE foundational text of Nyaya school of Hinduism, states that Atma is a proper object of human knowledge. It also states that Atman is a real substance that can be inferred from certain signs, objectively perceivable attributes. For example, in book 1, chapter 1, verses 9 and 10, Nyayasutra states


title: Ātman (Hinduism)

text: Book 2, chapter 1, verses 1 to 23, of the Nyayasutras posits that the sensory act of looking is different from perception and cognition–that perception and knowledge arise from the seekings and actions of "Ātman". The Naiyayikas emphasize that "Ātman" has qualities, but is different from its qualities. For example, desire is one of many qualities of "Ātman", but "Ātman" does not always have desire, and in the state of liberation, for instance, the "Ātman" is without desire.


title: Ātman (Hinduism)

text: The Vaisheshika school of Hinduism, using its non-theistic theories of atomistic naturalism, posits that "Ātman" is one of the four eternal non-physical substances without attributes, the other three being "kala" (time), "dik" (space) and "manas" (mind). Time and space, stated Vaiśeṣika scholars, are "eka" (one), "nitya" (eternal) and "vibhu" (all pervading). Time and space are indivisible reality, but human mind prefers to divide them to comprehend past, present, future, relative place of other substances and beings, direction and its own coordinates in the universe. In contrast to these characteristics of time and space, Vaiśeṣika scholars considered "Ātman" to be many, eternal, independent and spiritual substances that cannot be reduced or inferred from other three non-physical and five physical "dravya" (substances). Mind and sensory organs are instruments, while consciousness is the domain of "atman, soul, self".


title: Ātman (Hinduism)

text: The knowledge of "Ātman", to Vaiśeṣika Hindus, is another knowledge without any "bliss" or "consciousness" "moksha" state that Vedanta and Yoga school describe.


title: Ātman (Hinduism)

text: "Ātman", in the ritualism-based Mīmāṃsā school of Hinduism, is an eternal, omnipresent, inherently active essence that is identified as I-consciousness. Unlike all other schools of Hinduism, Mimamsaka scholars considered ego and "Atman" as the same. Within Mimamsa school, there was divergence of beliefs. Kumārila, for example, believed that "Atman" is the object of I-consciousness, whereas Prabhakara believed that "Atman" is the subject of I-consciousness. Mimamsaka Hindus believed that what matters is virtuous actions and rituals completed with perfection, and it is this that creates merit and imprints knowledge on "Atman", whether one is aware or not aware of "Atman". Their foremost emphasis was formulation and understanding of laws/duties/virtuous life ("dharma") and consequent perfect execution of "kriyas" (actions). The Upanishadic discussion of "Atman", to them, was of secondary importance. While other schools disagreed and discarded the "Atma" theory of Mimamsa, they incorporated Mimamsa theories on ethics, self-discipline, action, and dharma as necessary in one's journey toward knowing one's "Atman".


title: Ātman (Hinduism)

text: Advaita Vedanta (non-dualism) sees the "spirit/soul/self" within each living entity as being fully identical with Brahman. The Advaita school believes that there is one soul that connects and exists in all living beings, regardless of their shapes or forms, and there is no distinction, no superior, no inferior, no separate devotee soul ("Atman"), no separate god soul (Brahman). The oneness unifies all beings, there is divine in every being, and that all existence is a single reality, state the Advaita Vedanta Hindus. In contrast, devotional sub-schools of Vedanta such as Dvaita (dualism) differentiate between the individual "Atma" in living beings, and the supreme "Atma" ("Paramatma") as being separate.


title: Ātman (Hinduism)

text: Advaita Vedanta philosophy considers "Atman" as self-existent awareness, limitless and non-dual. To Advaitins, the "Atman" is the Brahman, the Brahman is the "Atman", each self is non-different from the infinite. "Atman" is the universal principle, one eternal undifferentiated self-luminous consciousness, the truth asserts Advaita Hinduism. Human beings, in a state of unawareness of this universal self, see their "I-ness" as different from the being in others, then act out of impulse, fears, cravings, malice, division, confusion, anxiety, passions, and a sense of distinctiveness. To Advaitins, Atman-knowledge is the state of full awareness, liberation, and freedom that overcomes dualities at all levels, realizing the divine within oneself, the divine in others, and in all living beings; the non-dual oneness, that God is in everything, and everything is God. This identification of individual living beings/souls, or "jiva-atmas", with the 'one Atman' is the non-dualistic Advaita Vedanta position.


title: Ātman (Hinduism)

text: The monist, non-dual conception of existence in Advaita Vedanta is not accepted by the dualistic/theistic Dvaita Vedanta. Dvaita Vedanta calls the "Atman" of a supreme being as "Paramatman", and holds it to be different from individual "Atman". Dvaita scholars assert that God is the ultimate, complete, perfect, but distinct soul, one that is separate from incomplete, imperfect "jivas" (individual souls). The Advaita sub-school believes that self-knowledge leads to liberation in this life, while the Dvaita sub-school believes that liberation is only possible in after-life as communion with God, and only through the grace of God (if not, then one's "Atman" is reborn). God created individual souls, state Dvaita Vedantins, but the individual soul never was and never will become one with God; the best it can do is to experience bliss by getting infinitely close to God. The Dvaita school, therefore, in contrast to the monistic position of Advaita, advocates a version of monotheism wherein Brahman is made synonymous with Vishnu (or Narayana), distinct from numerous individual Atmans. The Dvaita school, states Graham Oppy, is not strict monotheism, as it does not deny existence of other gods and their respective "Atman".


title: Ātman (Hinduism)

text: Applying the disidentification of 'no-self' to the logical end, Buddhism does not assert an unchanging essence, any "eternal, essential and absolute something called a soul, self or atman," According to Jayatilleke, the Upanishadic inquiry fails to find an empirical correlate of the assumed Atman, but nevertheless assumes its existence, and, states Mackenzie, Advaitins "reify consciousness as an eternal self." In contrast, the Buddhist inquiry "is satisfied with the empirical investigation which shows that no such Atman exists because there is no evidence" states Jayatilleke.


title: Ātman (Hinduism)

text: While Nirvana is liberation from the "kleshas" and the disturbances of the mind-body complex, Buddhism eludes a definition of "what" it is that is liberated. According to Johannes Bronkhorst, "it is possible that original Buddhism did not deny the existence of soul," but did not want to talk about it, as they could not say that "the soul is essentially not involved in action, as their opponents did." While the skandhas are regarded is impermanent ("anatman") and sorrowfull ("dukkha"), the existence of a permanent, joyful and unchanging self is neither acknowledged nor explicitly denied. Liberation is not attained by knowledge of such a self, but by " turning away from what might erroneously be regarded as the self."


title: Ātman (Hinduism)

text: According to Harvey, in Buddhism the negation of temporal existents is applied even more rigorous than in the Upanishads:


title: Ātman (Hinduism)

text: Nevertheless, Atman-like notions can also be found in Buddhist texts chronologically placed in the 1st millennium of the Common Era, such as the Mahayana tradition's "Tathāgatagarbha sūtras" suggest self-like concepts, variously called "Tathagatagarbha" or "Buddha nature". In the Theravada tradition, the Dhammakaya Movement in Thailand teaches that it is erroneous to subsume nirvana under the rubric of "anatta" (non-self); instead, nirvana is taught to be the "true self" or "dhammakaya". Similar interpretations have been put forth by the then Thai Sangharaja in 1939. According to Williams, the Sangharaja's interpretation echoes the "tathāgatagarbha" sutras.


title: Ātman (Hinduism)

text: The notion of Buddha-nature is controversial, and "eternal self" concepts have been vigorously attacked. These "self-like" concepts are neither self nor sentient being, nor soul, nor personality. Some scholars posit that the "Tathagatagarbha Sutras" were written to promote Buddhism to non-Buddhists. The Dhammakaya Movement teaching that nirvana is atta (atman) has been criticized as heretical in Buddhism by Prayudh Payutto, a well-known scholar monk, who added that 'Buddha taught nibbana as being non-self". This dispute on the nature of teachings about 'self' and 'non-self' in Buddhism has led to arrest warrants, attacks and threats.


title: Ātman (Hinduism)

text: The "Atman" theory in Upanishads had a profound impact on ancient ethical theories and dharma traditions now known as Hinduism. The earliest Dharmasutras of Hindus recite "Atman" theory from the Vedic texts and Upanishads, and on its foundation build precepts of dharma, laws and ethics. "Atman" theory, particularly the Advaita Vedanta and Yoga versions, influenced the emergence of the theory of "Ahimsa" (non-violence against all creatures), culture of vegetarianism, and other theories of ethical, dharmic life.


title: Ātman (Hinduism)

text: The Dharmasutras and Dharmasastras integrate the teachings of "Atman" theory. Apastamba Dharmasutra, the oldest known Indian text on dharma, for example, titles Chapters 1.8.22 and 1.8.23 as "Knowledge of the Atman" and then recites,


title: Ātman (Hinduism)

text: The ethical prohibition against harming any human beings or other living creatures (Ahimsa, अहिंसा), in Hindu traditions, can be traced to the "Atman" theory. This precept against injuring any living being appears together with Atman theory in hymn 8.15.1 of Chandogya Upanishad (ca. 8th century BCE), then becomes central in the texts of Hindu philosophy, entering the dharma codes of ancient "Dharmasutras" and later era "Manu-Smriti". Ahimsa theory is a natural corollary and consequence of "Atman is universal oneness, present in all living beings. Atman connects and prevades in everyone. Hurting or injuring another being is hurting the Atman, and thus one's self that exists in another body". This conceptual connection between one's "Atman", the universal, and Ahimsa starts in Isha Upanishad, develops in the theories of the ancient scholar Yajnavalkya, and one which inspired Gandhi as he led non-violent movement against colonialism in early 20th century.


title: Ātman (Hinduism)

text: The Atman concept and its discussions in Hindu philosophy parallel with "psuchê" (soul) and its discussion in ancient Greek philosophy. Eliade notes that there is a capital difference, with schools of Hinduism asserting that liberation of "Atman" implies "self-knowledge" and "bliss". Similarly, the self-knowledge conceptual theme of Hinduism ("Atman jnana") parallels the "know thyself" conceptual theme of Greek philosophy. Max Müller summarized it thus,


title: Artificial leather

text: Artificial leather, also called synthetic leather, is a material intended to substitute for leather in upholstery, clothing, footwear, and other uses where a leather-like finish is desired but the actual material is cost


title: Artificial leather

text: prohibitive or unsuitable. Artificial leather is known under many names, including "leatherette", "imitation leather", "faux leather", "vegan leather", "PU leather", and "pleather".


title: Artificial leather

text: A current method is to use an embossed release paper known as "casting paper" as a form for the surface finish, often mimicking the texture of top-grain leather. This embossed release paper holds the final texture in negative. For the manufacture, the release paper is coated with several layers of plastic e.g. pvc or polyurethane, possibly including a surface finish, a colour layer, a foam layer, an adhesive, a fabric layer, a reverse finish. Depending on the specific process, these layers may be wet or partially cured at the time of integration. The artificial leather is cured, then the release paper is removed and possibly reused.


title: Artificial leather

text: One of the earliest artificial leathers was Presstoff. Invented in 19th century Germany, it was made of specially layered and treated paper pulp. It gained its widest use in Germany during the Second World War in place of leather, which under wartime conditions was rationed. Presstoff could be used in almost every application normally filled by leather, excepting items like footwear that were repeatedly subjected to flex wear or moisture. Under these conditions, Presstoff tends to delaminate and lose cohesion.


title: Artificial leather

text: Another early example was Rexine, a leathercloth fabric produced in the United Kingdom by Rexine Ltd of Hyde, near Manchester. It was made of cloth surfaced with a mixture of nitrocellulose, camphor oil, alcohol, and pigment, embossed to look like leather. It was used as a bookbinding material and upholstery covering, especially for the interiors of motor vehicles and the interiors of railway carriages produced by British manufacturers beginning in the 1920s, its cost being around a quarter that of leather.


title: Artificial leather

text: Poromerics are made from a plastic coating (usually a polyurethane) on a fibrous base layer (typically a polyester). The term poromeric was coined by DuPont as a derivative of the terms "porous" and "polymeric". The first poromeric material was DuPont's Corfam, introduced in 1963 at the Chicago Shoe Show. Corfam was the centerpiece of the DuPont pavilion at the 1964 New York World's Fair in New York City. After spending millions of dollars marketing the product to shoe manufacturers, DuPont withdrew Corfam from the market in 1971 and sold the rights to a company in Poland.


title: Artificial leather

text: Leatherette is also made by covering a fabric base with a plastic. The fabric can be made of natural or synthetic fiber which is then covered with a soft polyvinyl chloride (PVC) layer. Leatherette is used in bookbinding and was common on the casings of 20th century cameras.


title: Artificial leather

text: Cork leather is a natural-fiber alternative made from the bark of cork oak trees that has been compressed, similar to Presstoff.


title: Artificial leather

text: The production of the PVC used in the production of many artificial leathers requires a plasticizer called a phthalate to make it flexible and soft. PVC requires petroleum and large amounts of energy thus making it reliant on fossil fuels. During the production process carcinogenic byproducts, dioxins, are produced which are toxic to humans and animals. Dioxins remain in the environment long after PVC is manufactured. When PVC ends up in a landfill it does not decompose like genuine leather and can release dangerous chemicals into the water and soil.


title: Artificial leather

text: The production of some artificial leathers requires plastic, with others only requiring plant-based materials; the inclusion of artificial materials in the production of artificial leathers notably raises sustainability issues. However, some reports state that the manufacture of artificial leather is still more sustainable than that of real leather, with the Environmental Profit & Loss, a sustainability report developed in 2018 by Kering, stating that the impact of vegan-leather production can be up to a third lower than real leather.


title: Artificial leather

text: Artificial leathers are often used in clothing fabrics, furniture upholstery, water craft upholstery, and automotive interiors.


title: Artificial leather

text: Depending on the construction, the artificial leather may be porous and breathable, or may be impermeable and waterproof.


title: Artificial leather

text: Porous artificial leather with a non-woven microfibre backing is a popular choice for clothing, and is comfortable to wear.


title: Artificial leather

text: One of its primary advantages, especially in cars, is that it requires little maintenance in comparison to leather, and does not crack or fade easily, though the surface of some artificial leathers may rub and wear off with time.


title: John William Waterhouse

text: John William Waterhouse (6 April 184910 February 1917) was an English painter known for working first in the Academic style and for then embracing the Pre-Raphaelite Brotherhood's style and subject matter. His artworks were known for their depictions of women from both ancient Greek mythology and Arthurian legend.


title: John William Waterhouse

text: Born in Rome to English parents who were both painters, Waterhouse later moved to London, where he enrolled in the Royal Academy of Art. He soon began exhibiting at their annual summer exhibitions, focusing on the creation of large canvas works depicting scenes from the daily life and mythology of ancient Greece. Many of his paintings are based on authors such as Homer, Ovid, Shakespeare, Tennyson, or Keats.


title: John William Waterhouse

text: Waterhouse's work is displayed in many major art museums and galleries, and the Royal Academy of Art organised a major retrospective of his work in 2009.


title: John William Waterhouse

text: Waterhouse was born in the city of Rome to English painters William and Isabella Waterhouse in 1849, in the same year that the members of the Pre-Raphaelite Brotherhood, including Dante Gabriel Rossetti, John Everett Millais and William Holman Hunt, were first causing a stir in the London art scene. The exact date of his birth is unknown, though he was baptised on 6 April, and the later scholar of Waterhouse's work, Peter Trippi, believed that he was born between 1 and 23 January. His early life in Italy has been cited as one of the reasons many of his later paintings were set in ancient Rome or based upon scenes taken from Roman mythology.


title: John William Waterhouse

text: In 1854, the Waterhouses returned to England and moved to a newly built house in South Kensington, London, which was near to the newly founded Victoria and Albert Museum. Waterhouse, or 'Nino' as he was nicknamed, coming from an artistic family, was encouraged to become involved in drawing, and often sketched artworks that he found in the British Museum and the National Gallery. In 1871 he entered the Royal Academy of Art school, initially to study sculpture, before moving on to painting.


title: John William Waterhouse

text: Waterhouse's early works were not Pre-Raphaelite in nature, but were of classical themes in the spirit of Alma-Tadema and Frederic Leighton. These early works were exhibited at the Dudley Gallery, and the Society of British Artists, and in 1874 his painting "Sleep and his Half-brother Death" was exhibited at the Royal Academy summer exhibition. The painting was a success and Waterhouse would exhibit at the annual exhibition every year until 1916, with the exception of 1890 and 1915. He then went from strength to strength in the London art scene, his 1876 piece "After the Dance" being given the prime position in that year's summer exhibition. Perhaps due to his success, his paintings typically became larger and larger in size.


title: John William Waterhouse

text: In 1883, Waterhouse married Esther Kenworthy, the daughter of an art schoolmaster from Ealing who had exhibited her own flower-paintings at the Royal Academy and elsewhere. In 1895 Waterhouse was elected to the status of full Academician. He taught at the St. John's Wood Art School, joined the St John's Wood Arts Club, and served on the Royal Academy Council.


title: John William Waterhouse

text: One of Waterhouse's best known subjects is "The Lady of Shalott", a study of Elaine of Astolat as depicted in the 1832 poem by Alfred, Lord Tennyson, who dies of a mysterious curse after looking directly at the beautiful Lancelot. He actually painted three different versions of this character, in 1888, 1894, and 1916. Another of Waterhouse's favorite subjects was Ophelia; the most familiar of his paintings of Ophelia depicts her just before her death, putting flowers in her hair as she sits on a tree branch leaning over a lake. Like "The Lady of Shalott" and other Waterhouse paintings, it deals with a woman dying in or near water. He may also have been inspired by paintings of Ophelia by Dante Gabriel Rossetti and John Everett Millais. He submitted his 1888 "Ophelia" painting in order to receive his diploma from the Royal Academy. (He had originally wanted to submit a painting titled "A Mermaid", but it was not completed in time.) After this, the painting was lost until the 20th century. It is now displayed in the collection of Lord Lloyd-Webber. Waterhouse would paint Ophelia again in 1894 and 1909 or 1910, and he planned another painting in the series, called "Ophelia in the Churchyard".


title: John William Waterhouse

text: Waterhouse could not finish the series of Ophelia paintings because he was gravely ill with cancer by 1915. He died two years later, and his grave can be found at Kensal Green Cemetery in London.


title: John William Waterhouse

text: In total, he produced 118 paintings. See List of paintings by John William Waterhouse for an almost complete list.


The United States Army Special Operations Command (Airborne) (USASOC ( )) is the command charged with overseeing the various special operations forces of the United States Army. Headquartered at Fort Bragg, North Carolina, it is the largest component of the United States Special Operations Command. It is an Army Service Component Command. Its mission is to organize, train, educate, man, equip, fund, administer, mobilize, deploy and sustain Army special operations forces to successfully conduct worldwide special operations.


title: United States Army Special Operations Command

text: The 1st Special Forces Command (Airborne) is a division-level special operation forces command within the US Army Special Operations Command. The command was established on 30 September 2014, grouping together the Army special forces, psychological operations, civil affairs, and other support troops into a single organization operating out of its new headquarters building at Fort Bragg, NC.


text: Established in 1952, the Special Forces Groups, also known as the Green Berets, was established as a special operations force of the United States Army designed to deploy and execute nine doctrinal missions: unconventional warfare, foreign internal defense, direct action, counter-insurgency, special reconnaissance, counter-terrorism, information operations, counterproliferation of weapon of mass destruction, and security force assistance. These missions make special forces unique in the U.S. military because they are employed throughout the three stages of the operational continuum: peacetime, conflict, and war. Often SF units are required to perform additional, or collateral, activities outside their primary missions. These collateral activities are coalition warfare/support, combat search and rescue, security assistance, peacekeeping, humanitarian assistance, humanitarian de-mining, and counter-drug operations. Their unconventional warfare capabilities provide a viable military option for a variety of operational taskings that are inappropriate or infeasible for conventional forces, making it the U.S. military's premier unconventional warfare force.


text: Today, there are seven special forces groups, each one is primarily responsible for operations within a specific area of responsibility:


text: The mission of the 4th Psychological Operations Group (Airborne) and 8th Psychological Operations Group (Airborne), a.k.a. PSYOP units, are to provide fully capable strategic influence forces to Combatant Commanders, U.S. Ambassadors, and other agencies to synchronize plans and execute inform and influence activities across the range of military operations via geographically focused PSYOP battalions.


text: Psychological operations are a part of the broad range of U.S. political, military, economic and ideological activities used by the U.S. government to secure national objectives. Used during peacetime, contingencies, and declared war, these activities are not forms of force but are force multipliers that use nonviolent means in often violent environments. Persuading rather than compelling physically, they rely on logic, fear, desire, or other mental factors to promote specific emotions, attitudes or behaviors.


text: The ultimate objective of U.S. PSYOP is to convince enemy, neutral, and friendly nations and forces to take action favorable to the United States and its allies. The ranks of the PSYOP include regional experts and linguists who understand political, cultural, ethnic, and religious subtleties and use persuasion to influence perceptions and encourage desired behavior. With functional experts in all aspects of tactical communications, PSYOP offers joint force commanders unmatched abilities to influence target audiences as well as strategic influence capabilities to U.S. diplomacy.


text: In addition to supporting commanders, PSYOP units provide interagency strategic influence capabilities to other U.S. government agencies. In operations ranging from humanitarian assistance to drug interdiction, PSYOP enhances the impact of those agencies' actions. Their activities can be used to spread information about ongoing programs and to gain support from the local populace.


text: The 95th Civil Affairs Brigade (Special Operations) (Airborne) (SO) (A) enables military commanders and U.S. Ambassadors to improve relationships with various stakeholders in a local area to meet the objectives of the U.S. government. 95th Civil Affairs Brigade (Airborne) teams work with U.S. Department of State country teams, government and nongovernmental organizations at all levels and with local populations in peaceful, contingency and hostile environments. 95th Civil Affairs Brigade (Airborne) units can rapidly deploy to remote areas with small villages and larger population centers around the world.


text: They help host nations assess the needs of an area, bring together local and non-local resources to ensure long-term stability, and ultimately degrade and defeat violent extremist organizations and their ideologies. They may be involved in disaster prevention, management, and recovery, and with human and civil infrastructure assistance programs.


text: The 95th Civil Affairs Brigade (Airborne) conducts its mission via five geographically focused operational battalions:


text: The soldiers in these units are adept at working in foreign environments and conversing in one of about 20 foreign languages with local stakeholders. Brigade teams may work for months or years in remote areas of a host nation. Their low profile and command structure allow them to solidify key relationships and processes, to address root causes of instability that adversely affect the strategic interests of the United States.


text: The 528th Sustainment Brigade (SO) (A) is responsible for providing logistical, medical, signal, and intelligence support for Army special operations forces worldwide in support of contingency missions and war fighting commanders. Headquartered at Fort Bragg, North Carolina, the 528th Sustainment Brigade (SO) (A) sets the operational level logistics conditions to enable Army Special Operation Forces (ARSOF) using multiple Support Operations teams and three battalions.


text: The Support Operations teams embed each regional theaters' staff to support planning and coordination with theater Army, U.S. Special Operations Command and U.S. Army Special Operations Command to ensure support during operations and training. Support Operations consists of four detachments: current operations, which manages five geographically aligned ARSOF Liaison Elements (ALEs), a future operations detachment, a commodity managers detachment, and an ARSOF support operations element.


text: The 528th's Special Troops Battalion (A) provides rapidly deployable combat service support and health service support to ARSOF and consists of a headquarters company with an organic rigger detachment, a special operations medical detachment with four Austere Resuscitative Surgical Teams (ARSTs), the 197th Special Troops Support Company from the Texas Army National Guard, and 1/528th Forward Support Company from the West Virginia Army National Guard.


text: The 112th Special Operations Signal Battalion (A) specialize in communication, employing innovative telecommunications technologies to provide Special Operations Joint Task Force (SOJTF) commanders with secure and nonsecure voice, data and video services. The 112th's signals expertise allows ARSOF to "shoot, move and communicate" on a continuous basis. Soldiers assigned to 112th are taught to operate and maintain a vast array of unique equipment not normally used by their conventional counterparts. To meet the needs of ARSOF, the 112th deploys communications packages that are rapidly deployable on a moment's notice. Soldiers assigned to 112th are airborne qualified.


text: The 389th Military Intelligence Battalion (A) was established in March 2015 and conducts command and control of multi-disciplined intelligence operations in support of the 1st Special Forces Command (A) G2, component subordinate units, and mission partners via three companies: a headquarters company; an Analytical Support Company with a cytological support element and five geographically aligned regional support teams; a Mission Support Company with a Processing, Exploitation, and Dissemination (PED) detachment, a HUMINT and GEOINT detachment, and conducts the Special Warfare SIGINT Course; and an additional PED detachment at Fort Gordon. On order, it deploys and conducts intelligence operations as part of a Special Operations Joint Task Force (SOJTF).


text: The U.S. Army Special Operations Aviation Command (USASOAC), activated on 25 March 2011, organizes, mans, trains, resources and equips Army special operations aviation units to provide responsive, special operations aviation support to Special Operations Forces (SOF) and is the USASOC aviation staff proponent. Today, USASOAC consists of five distinct units: the 160th Special Operations Aviation Regiment (Airborne), the USASOC Flight Company (UFC), the Special Operations Training Battalion (SOATB), the Technology Applications Program Office (TAPO), and the Systems Integration Management Office (SIMO).


text: The 160th Special Operations Aviation Regiment (Airborne), newly subordinate to ARSOAC, provides aviation support to special operations forces. Known as "Night Stalkers," these soldiers are recognized for their proficiency in nighttime operations striking undetected during the hours of darkness and are recognized as the pioneers of the US Army's nighttime flying techniques. Today, Night Stalkers continue developing and employing new technology and tactics, techniques and procedures for the battlefield. They employ highly modified heavy assault versions of the MH-47 Chinook, medium assault and attack versions of the MH-60 Black Hawk, light assault and attack versions of the MH-6 Little Bird helicopters, and MQ-1C Gray Eagles via four battalions, two Extended-Range Multi-Purpose (ERMP) companies, a headquarters company, and a training company. The 1st Battalion, 2nd Battalion, the regiment, and its ERMP companies are stationed at Fort Campbell, 3rd Battalion is at Hunter Army Airfield, and 4th Battalion is at Joint Base Lewis–McChord.


text: The 75th Ranger Regiment, also known as the Rangers, is an airborne light-infantry special operations unit. The regiment is headquartered at Fort Benning, Georgia and is composed of a regimental airborne special troops battalion, a regimental airborne military intelligence battalion, and three airborne light-infantry battalions. The 1st Battalion is stationed at Hunter Army Airfield, 2nd Battalion at Joint Base Lewis-McChord, and 3rd Battalion is at Ft Benning along with the special troops battalion, the military intelligence battalion, and regimental headquarters.


text: Within the US special operations community, the 75th Ranger Regiment is unique with its ability to attack heavily defended targets of interest. The regiment specializes in air assault, direct action raids, seizure of key terrain (such as airfields), destroying strategic facilities, and capturing or killing high-profile individuals. Each battalion of the regiment can deploy anywhere in the world within 18 hours' notice. Rangers can conduct squad through regimental-size operations using a variety of insertion techniques including airborne, air assault, and ground infiltration. The regiment is an all-volunteer force with an intensive screening and selection process followed by combat-focused training. Rangers are resourced to maintain exceptional proficiency, experience and readiness.


text: The U.S. Army John F. Kennedy Special Warfare Center and School (SWCS) at Fort Bragg, North Carolina, is one of the Army's premier education institutions, managing and resourcing professional growth for soldiers in the Army's three distinct special-operations branches: Special Forces, Civil Affairs and Psychological Operations. The soldiers educated through SWCS programs are using cultural expertise and unconventional techniques to serve their country in far-flung areas across the globe. More than anything, these soldiers bring integrity, adaptability and regional expertise to their assignments.


text: On any given day, approximately 3,100 students are enrolled in SWCS training programs. Courses range from entry-level training to advanced warfighter skills for seasoned officers and NCOs. The 1st Special Warfare Training Group (Airborne) qualifies soldiers to enter the special operations community. The 2nd Special Warfare Training Group (Airborne) focuses on teaches special operators advanced tactical skills as they progress through their careers. The Joint Special Operations Medical Training Center, operating under the auspices of the Special Warfare Medical Group, is the central training facility for the Department of Defense special operations combat medics. Furthermore, SWCS leads efforts to professionalize the Army's entire special operations force through the Special Forces Warrant Officer Institute and the David K. Thuma Noncommissioned Officer Academy. While most courses are conducted at Fort Bragg, SWCS enhances its training by maintaining facilities and relationships with outside institutions across the country.


text: The 1st Special Forces Operational Detachment-Delta (1st SFOD-D), commonly referred to as Delta Force, Combat Applications Group (CAG), "The Unit", Army Compartmented Element, or within the Joint Special Operations Command (JSOC) as Task Force Green, is an elite special mission unit of the United States Army, under the organization of USASOC but is controlled by JSOC. It is used for hostage rescue and counterterrorism, as well as direct action and reconnaissance against high-value targets. 1st SFOD-D and its U.S. Navy and U.S. Air Force counterparts, DEVGRU, "SEAL Team 6", and the 24th Special Tactics Squadron, perform the most highly complex and dangerous missions in the U.S. military. These units are also often referred to as "Tier One" and "special mission units" by the U.S. government.


title: Wingsuit flying

text: Wingsuit flying (or wingsuiting) is the sport of skydiving using a webbing-sleeved jumpsuit called a wingsuit to add webbed area to the diver's body and generate increased lift, which allows extended air time by gliding flight rather than just free falling. The modern wingsuit, first developed in the late 1990s, uses a pair of fabric membranes stretched flat between the arms and flanks/thighs to imitate an airfoil, and often also between the legs to function as a tail and allow some aerial steering.


title: Wingsuit flying

text: Like all skydiving disciplines, a wingsuit flight almost always ends by deploying a parachute, and so a wingsuit can be flown from any point that provides sufficient altitude for flight and parachute deployment – a drop aircraft, or BASE-jump exit point such as a tall cliff or mountain top. The wingsuit flier wears parachuting equipment specially designed for skydiving or BASE jumping. While the parachute flight is normal, the canopy pilot must unzip arm wings (after deployment) to be able to reach the steering parachute toggles and control the descent path.


title: Wingsuit flying

text: Wingsuits are sometimes referred to as "birdman suits" (after the brand name of the makers of the first commercial wingsuit), "squirrel suits" (from their resemblance to flying squirrels' wing membrane), and "bat suits" (due to their resemblance to bat wings or perhaps the comicbook superhero's battle costume).


title: Wingsuit flying

text: An early attempt at wingsuit flying was made on 4 February 1912 by a 33-year-old tailor, Franz Reichelt, who jumped from the Eiffel Tower to test his invention of a combination of parachute and wing, which was similar to modern wingsuits. He misled the guards by saying that the experiment was going to be conducted with a dummy. He hesitated quite a long time before he jumped, and died when he hit the ground head first, opening a measurable hole in the frozen ground.


title: Wingsuit flying

text: A wingsuit was first used in the US in 1930 by a 19-year-old American, Rex G Finney of Los Angeles, California. The goal was to increase horizontal movement and maneuverability during a parachute jump. These early wingsuits used materials such as canvas, wood, silk, steel, and whalebone. They were not very reliable, although some "birdmen", such as Clem Sohn and Leo Valentin, claimed to have glided for miles.


title: Wingsuit flying

text: Batwings, a precursor to wingsuits, were showcased in the 1969 film, "The Gypsy Moths", starring Burt Lancaster and Gene Hackman.


title: Wingsuit flying

text: In the mid-1990s, the modern wingsuit was developed by Patrick de Gayardon of France, adapted from the model used by John Carta. In 1997, the Bulgarian Sammy Popov designed and built a wingsuit that had a larger wing between the legs and longer wings on the arms. He tested his prototype in a vertical wind tunnel in Las Vegas at Flyaway Las Vegas. Popov's wingsuit first flew in October 1998, but never went into commercial production. In 1998, Chuck "Da Kine" Priest' built a version that incorporated hard ribs inside the wing airfoils. Although these more rigid wings were better able to keep their shape in flight, this made the wingsuit heavier and more difficult to fly. Raggs' design also never went into commercial production. Flying together for the first time, Popov and Raggs showcased their designs side by side at the World Free-fall Convention at Quincy, Illinois, in August 1999. Both designs performed well. At the same event, jumpers performed formation wingsuit skydives with de Gayardon's, Popov's, and Raggs' suits.


title: Wingsuit flying

text: In 1999, Jari Kuosma of Finland and Robert Pečnik of Croatia teamed up to create a wingsuit that was safe and accessible to all skydivers. Kuosma established Bird-Man International Ltd. the same year. BirdMan's "Classic", designed by Pečnik, was the first wingsuit offered to the general skydiving public. BirdMan was the first manufacturer to develop an instructor program. Created by Kuosma, the instructor program's aim was to remove the stigma that wingsuits were dangerous and to provide wingsuit beginners (generally, skydivers with a minimum of 200 jumps) with a way to safely enjoy what was once considered the most dangerous feat in the skydiving world. With the help of Birdman instructors Scott Campos, Chuck Blue, and Kim Griffin, a standardized program of instruction was developed that prepared instructors. Wingsuit manufacturers Squirrel Wingsuits, TonySuits Wingsuits, Phoenix-Fly, Fly Your Body, and Nitro Rigging have also instituted coach training programs.


title: Wingsuit flying

text: A wingsuit pilot enters free fall wearing both a wingsuit and parachute equipment. The details of a wingsuit launch depend on whether it is a skydive from an aircraft, or a BASE jump from a fixed object.


title: Wingsuit flying

text: Exiting an aircraft in a wingsuit requires skills that differ depending on the location and size of the door. These techniques include the orientation relative to the aircraft and the airflow while exiting. It is also important that wingsuit pilots spread their legs and arms at the proper time to avoid hitting the tail or becoming unstable. The wingsuit immediately starts to fly upon exiting the aircraft in the relative wind generated by the forward speed of the aircraft.


title: Wingsuit flying

text: Exiting from a BASE jumping site, such as a cliff, requires a different technique. In these situations, a vertical drop using the forces of gravity generates the airspeed that wingsuits need to generate lift. This is also the case when exiting from a helicopter, a paraglider, or a hot air balloon. Unlike when exiting an airplane, it takes time to build up airspeed to inflate the wingsuit and provide aerodynamic control. So exiting the cliff in a proper orientation is critical.


title: Wingsuit flying

text: A wingsuit modifies the body area exposed to wind to increase the desired amount of lift and drag generated by the body. With training, wingsuit pilots can achieve sustained glide ratio of 3:1 or more. This means that for every meter dropped, three meters are gained moving forward. By adjusting body configuration, fliers can alter both their forward speed and fall rate. The pilot manipulates these flight characteristics by changing the shape of the torso, de-arching and rolling the shoulders and moving hips and knees, and by changing the angle of attack in which the wingsuit flies in the relative wind, and by the amount of tension applied to the fabric wings of the suit. The absence of a vertical stabilizing surface results in little damping around the yaw axis, so poor flying technique can result in a spin that requires active effort on the part of the skydiver to stop.


title: Wingsuit flying

text: A typical skydiver's terminal velocity in belly to earth orientation ranges from 180 to 225 km/h (110 to 140 mph). A wingsuit can reduce these speeds dramatically. A vertical instantaneous velocity of 40 km/h (25 mph) has been recorded. However the speed at which the body advances forward through the air is still much higher (up to 100 km/h [62 mph]).


title: Wingsuit flying

text: The glide ratios of older wingsuits made in the 1990s through the early 2010s were closer to 2:1.It was possible for expert flyers to achieve a 3:1 ratio but this was very difficult. However, advancements in modern wingsuits allow flyers to achieve a 3:1 ratio much more easily, allowing for higher speeds.


title: Wingsuit flying

text: Wingsuits can perform a flare in which airspeed is exchanged for additional lift. By first diving to build up speed, modern wingsuits can flare enough to gain altitude, but only for a short time.


title: Wingsuit flying

text: At a planned altitude above the ground in which a skydiver or BASE jumper typically deploys the parachute, wingsuit fliers will also deploy their parachutes. Before deployment, pilots adjust their flight configuration by flaring to reduce their air speed. The pilot then reaches back and throws a pilot chute to initiate the parachute deployment sequence. The parachute is flown to a controlled landing at the desired landing spot using typical skydiving or BASE jumping techniques.


title: Wingsuit flying

text: Wingsuit pilots often use tools including portable GPS receivers to record their flight path. This data can be analyzed later to evaluate flight performance in terms of fall rate, speed, and glide ratio. When jumping for the first time at a new location, BASE jumpers will often evaluate terrain using maps and laser range finders. By comparing a known terrain profile with previously recorded flight data, jumpers can objectively evaluate whether a particular jump is possible.


title: Wingsuit flying

text: BASE jumpers also use landmarks, along with recorded video of their flight, to determine their performance relative to previous flights and the flights of other BASE jumpers at the same site.


title: Wingsuit flying

text: Modern wingsuits use a combination of materials in order to create an airfoil shape. The main surface is typically made from ripstop nylon, with various materials used to reinforce the leading edge, and reduce drag.


title: Wingsuit flying

text: Beginner wingsuits have less surface area and lower internal pressure. This makes them easier to control and less likely to go unstable in flight. Less fabric material makes it easier to deploy the pilot chute at the end of the flight. With experience, pilots can choose to upgrade to more advanced suits that have more surface area and increased glide performance.


title: Wingsuit flying

text: The air foil shape is formed by pressure inside the wing and the construction of the suit. Internal ribs help form the shape. Having a smooth leading edge is especially important as it is the source of most lift and most drag. Reducing inlet drag while maintaining high internal suit pressure is also important in modern wingsuit design. The number of air inlets and their positions vary on different suit designs. Suits which are focused on freestyle flight often have inlets on the back surface of the suit to maintain internal pressure when pilots are "back flying" in a face up orientation.


title: Wingsuit flying

text: A 2010 redesign tested in a wind tunnel by the 8th Conference of the International Sports Engineering Association (ISEA) found that adding material to the wingsuit between the head/helmet area and connecting it to the wrist, thus increasing upper wings' size, would "...lower lift-to-drag ratio in most testing scenarios. The decrease in lift-to-drag ratio was due to the combination of an increased lift and a higher increased drag." Other innovations in the late 2000s and early 2010's helped increase the glide ratio further.


title: Wingsuit flying

text: As compared to skydiving from an airplane, BASE jumping involves jumping from a "fixed object" such as a cliff. BASE jumping in its modern form has existed since at least 1978, but it was not until 1997 that Patrick de Gayardon made some of the first-ever wingsuit BASE jumps combining the two disciplines. Compared to normal BASE jumping, wingsuit BASE jumping allows pilots to fly far away from the cliffs they jumped from, and drastically increase their freefall time before deploying a parachute. Since 2003, many BASE jumpers have started using wingsuits, giving birth to wingsuit BASE.


title: Wingsuit flying

text: A wingsuit BASE jump begins by jumping from a cliff. Within seconds, air inflates the suit into a semi-rigid airfoil shape. By holding a proper body position, the wingsuit flier is able to glide forward at a ratio of 3:1, meaning that they are moving forward three feet for every foot of descent (or 3 meters for every meter of descent).