text: A remaster of the game, titled "JoJo's Bizarre Adventure: All-Star Battle R", was announced on March 9, 2022 during a PlayStation "State of Play" livestream. It was created to celebrate the manga's 35th anniversary and the anime's 10th anniversary. The remaster features revised single-player modes, new gameplay mechanics, and additional playable characters and stages. Several characters from the first six parts have also received newly-recorded voice overs by their voice actors from the anime series, replacing some of the original voice cast from the game, with the characters' designs also updated to more closely resemble the anime.


title: JoJo's Bizarre Adventure: All Star Battle

text: On May 26, 2022, Bandai Namco Games released the Street Date Announcement trailer, which confirmed a September 2, 2022 release date for the game, as well as a season pass, a Digital Deluxe Edition and a Collector's Edition, which comes with the Digital Deluxe Edition bonus, the pre-order bonus, and a figure of Jolyne Cujoh in all regions, with an additional mug shot placard included in the European edition. In Europe and Japan, the season pass also comes bundled with the Collector's Edition, with the Japanese edition additionally including the game's official soundtrack in a digital-only format.


text: An early access demo of the game was available on the PlayStation 5 and PlayStation 4 on June 16, 2022. The demo featured 4 characters, with only online mode an practice mode being available. Access to the demo ended on June 22, 2022.


text: The remaster was released on September 2, 2022 for Nintendo Switch, PlayStation 4, PlayStation 5, Xbox One, Xbox Series X/S, and Microsoft Windows via Steam.


text: "Famitsu" gave "All Star Battle" a perfect 40/40. The game was a winner in the "Future" division of the 2012 "Japan Game Awards". The game sold over 500,000 pre-orders, and Namco Bandai producer Noriaki Niino thanked the fans of the manga series for making the game such a success. In an import review, Kotaku praised the game for its imagination and faithfulness to the source material, but acknowledged glaring problems such as balance issues and Campaign Mode's structure that leans towards microtransaction-type social games. In response to such criticisms domestically, CyberConnect2 released an update to the system to address balance problems on September 11, 2013, with a second update to further address these issues for October 2013; the recharge rate for Energy in Campaign Mode was also sped up to five minutes from 20 minutes starting September 6, 2013, without any announced final date and several items that would have been paid for were made free. Two more character balancing updates were released up through November 2013, during which time the Campaign Mode was updated to make five minutes the new permanent recharge rate. As of March 31, 2014, the game has shipped 700,000 copies.


title: Michael Conrad

text: Michael Conrad (October 16, 1925November 22, 1983) was an American actor perhaps best known for his portrayal of veteran cop Sgt. Phil Esterhaus on "Hill Street Blues", in which he ended the introductory roll call to each week's show with "Let's be careful out there". He won two Emmy Awards for Outstanding Supporting Actor in a Drama Series for "Hill Street Blues" in 1981 and 1982.


title: Michael Conrad

text: Conrad had a long acting career in television from the 1950s to the 1980s. In 1962 he appeared in the television series "Car 54, Where Are You?" in an uncredited part as a construction worker. He played Felton Grimes, the title character and murder victim, in the 1963 "Perry Mason" episode "The Case of the Bigamous Spouse", and in 1965 played the role of a villain named AC in "My Favorite Martian", "Martin's Revoltin' Development", and played the role of Paul in "The FBI" (season 1, episode 24), "The Man Who Went Mad by Mistake".


title: Michael Conrad

text: In 1972, Conrad played Michael Stivic's conventional Polish-American Uncle Casimir on two episodes of "All in the Family". The same year, he appeared, together with Richard Crenna and Alain Delon, in the French-language film "Un flic", directed by Jean-Pierre Melville. He also had a memorable role in the 1974 film "The Longest Yard", playing Nate Scarboro, a retired NFL tight end (New York Giants) who was also the head coach for "the Mean Machine", the team of prisoners put together by Burt Reynolds' character Paul Crewe to play the team of guards.


title: Michael Conrad

text: Conrad is perhaps best known for his role as Sgt. Philip Freemason Esterhaus on the 1981-1987 police drama "Hill Street Blues", a role he played for 71 episodes, always uttering his famous end of police roll call with the expression “let’s be careful out there”, until his death.


title: Michael Conrad

text: Conrad died from urethral cancer in November 1983 during the fourth season of "Hill Street Blues". The show's writers wrote his death into the show, although they credited the character's death to a different reason.


title: FC Liefering

text: FC Liefering GmbH is an Austrian association football club, originally from Liefering, a section of Salzburg. It currently plays in the Second League, the second tier of Austrian football. Since 2012, Liefering has been a reserve team for Austrian Football Bundesliga side FC Red Bull Salzburg.


title: FC Liefering

text: In December 2011 Red Bull Salzburg signed a cooperation with FC Pasching (Regionalliga Mitte) and USK Anif (Regionalliga West). The coach of the Juniors, Gerald Baumgartner, left Salzburg and became new coach of FC Pasching. Also players went to Pasching and Anif. After the 2011–12 season, the new coach Peter Hyballa left the club and became new head coach of SK Sturm Graz. Liefering's ongoing presence in the Erste Liga continues to create unrest, with average an attendance of under 500, many people believe the club is not good for the league. However the club promotes youth and has been a key factor in FC Red Bull Salzburg's 2016–17 UEFA Youth League side, who ultimately won the tournament.


title: FC Liefering

text: From the 2012–13 season the club, formerly known as "USK Anif", changed its name to "FC Liefering". Liefering are sometimes called "Red Bull Liefering" as they adapted the jerseys and team colors from Red Bull Salzburg and RB Leipzig. In the 2012–13 season they won the Regionalliga West and after two relegation matches they were promoted to the Austrian Football Second League.


title: FC Liefering

text: They are the farm team of FC Red Bull Salzburg. They are not eligible for promotion. In their first year, they finished 3rd, in the 2014–15 season they finished 2nd.


title: FC Liefering

text: In June 2015 coach Peter Zeidler left the team and became coach of FC Red Bull Salzburg. He was succeeded by Thomas Letsch, who also followed Zeidler to Salzburg for two matches after Zeidler was fired there.


title: FC Liefering

text: As a feeder club the team fields very young players. In the next two seasons the average age of the team was under twenty years. Players like Samuel Tetteh or Gideon Mensah came to Salzburg from Ghana, other talented players came from the Red Bull Football Academy like Hannes Wolf or Luca Meisl.


title: FC Liefering

text: In the 2016–17 season FC Red Bull Salzburg (U19) won the UEFA Youth League. Most of the players came from Liefering.


title: FC Liefering

text: In the 2020–21 season Bo Svensson became coach of FC Liefering. In winter he went to Mainz 05 and Matthias Jaissle became coach of the team. At the end of the season he was promoted to FC Red Bull Salzburg as head coach. He followed Jesse Marsch, who went to RB Leipzig. The season was the most successful in history. The team ended as runner-up, only one scored goal behind the champion FC Blau-Weiß Linz.


title: FC Liefering

text: After the season Kilian Schröcker, Fabian Windhager, Antonin Svoboda and Alexander Prass left the club.


title: FC Liefering

text: In the 2021–22 season Rene Aufhauser, former assistant coach with FC Red Bull Salzburg, became new head coach of FC Liefering. He also is coach of the UEFA Youth League team of Red Bull Salzburg. After finishing 6th Aufhauser left the club.


title: FC Liefering

text: For the 2022–23 season Fabio Ingolitsch, the coach of the U18 team became new headcoach of FC Liefering.


title: Fred Armisen filmography

text: He is known for his work on various television shows including "Saturday Night Live", "Portlandia", "Documentary Now!", "Moonbase 8", and "Big Mouth".


title: School of Rock (musical)

text: School of Rock is a rock musical with music by Andrew Lloyd Webber, lyrics by Glenn Slater and a book by Julian Fellowes. Based on the 2003 film of the same name, written by Mike White, the musical follows Dewey Finn, an out-of-work rock singer and guitarist who pretends to be a substitute teacher at a prestigious prep school. After identifying the musical talent in his students, Dewey forms a band of fifth-graders, in an attempt to win the upcoming Battle of the Bands contest.


title: School of Rock (musical)

text: The musical was announced in December 2014 and opened just under a year later on December 6, 2015. Before "School of Rock"s debut, staged concerts were held at the Gramercy Theatre in Manhattan in June 2015. It made its Broadway debut and world premiere at the Winter Garden Theatre on December 6, 2015, following previews that began on November 9, 2015, with direction by Laurence Connor and choreography by JoAnn M. Hunter, and starring Alex Brightman and Sierra Boggess as Dewey Finn and Rosalie Mullins, respectively. The musical made its West End debut at the Gillian Lynne Theatre on November 14, 2016.


title: School of Rock (musical)

text: The musical is based on the comedy film "School of Rock" (2003). That film was produced on a budget of $35 million, earning over $131 million in global box office receipts. The plot followed struggling rock singer and guitarist Dewey Finn, who is kicked out of the band No Vacancy and subsequently disguises himself as a substitute teacher at a prestigious prep school. After witnessing the musical talent in his students, Dewey forms a band of fifth-graders to attempt to win the upcoming Battle of the Bands.


title: School of Rock (musical)

text: In an April 2013 interview, Andrew Lloyd Webber first revealed that he had purchased the stage rights to Richard Linklater's film, and planned to make its adaptation into a musical his next project after completing the West End show "Stephen Ward", centering on the 1963 Profumo affair. The composer stated, "There may be songs for me in it, but it's obviously got songs in it as it stands," and that he would be going from "Stephen Ward", "sort of a chamber musical, to a musical about kids playing the guitar." In May 2014, it was revealed that the show was likely to receive its world premiere on Broadway rather than in London's West End due to more relaxed child labour laws in the United States and the fact that the American subject matter fitted Broadway. Webber also credits various locations of the original School of Rock that "...produce the sort of kids required who can actually perform in the show" and that Britain would need similar schools for the show to move to London.


title: School of Rock (musical)

text: On 18 December 2014, an official announcement was made of the musical, with a world premiere on Broadway set for Autumn 2015. This would be the first time since "Jesus Christ Superstar" in 1971 that a Lloyd Webber musical would premiere on Broadway rather than in the West End. It would also mark a return for the composer to the Winter Garden Theatre, where his "Cats" ran for 18 years.


title: School of Rock (musical)

text: Speaking of his vision for the musical, Lloyd Webber suggested that it would focus more on the stories of Dewey's young students than the film did, stating "It has to be a bit more rounded. I'd quite like to know more about the children and their parents." Speaking about the music he explained the need for additional music rather than simply using the film's full soundtrack: "you can't do heavy metal for hours and hours in the theatre – everyone would be screaming. So they have to be theatrical songs too. And we've obviously got to use the iconic songs from the original show. It would be a shame not to do a Stevie Nicks song."


title: School of Rock (musical)

text: The script of "School of Rock" was written by "Downton Abbey" creator Julian Fellowes and Laurence Connor was engaged as the initial director. JoAnn M. Hunter provided choreography, set and costume design was by Anna Louizos


title: School of Rock (musical)

text: The musical begins with a performance by the band "No Vacancy". The band's guitarist, Dewey Finn, repeatedly attempts to upstage the lead singer ("I'm Too Hot for You”) which leads to the band agreeing to kick him out for his antics after Dewey leaves the stage. The next morning, Dewey is awoken in his bedroom by his longtime friend, Ned Schneebly, and Ned's domineering girlfriend, Patty Di Marco. Patty demands rent from Dewey while Ned cowers behind her. After they leave, Dewey goes about his day, getting kicked out of his band and fired from his job at a record store, all while dreaming about getting his break and becoming a superstar ("When I Climb to the Top of Mount Rock"). Afterwards, Dewey receives a call from Rosalie Mullins, principal of the prestigious Horace Green School. She asks to speak to Ned, saying that the school has an open substitute teacher position that will pay over nine hundred dollars a week—enough to meet the rent. Pretending to be Ned, Dewey accepts the position.


title: School of Rock (musical)

text: At Horace Green, Rosalie does her best to keep everything running smoothly while greeting parents who come to drop off their children ("Horace Green Alma Mater"). Dewey arrives late both hungover and unprepared for the day, and the principal warns that "Ned" will be expected to meet the school's high standards ("Here at Horace Green"). Dewey enters his classroom and introduces himself as Mr. Schneebly. His thirteen students are immediately wary of him, and one of them, uptight Summer Hathaway, attempts to explain to him how the classes run, and Dewey is disgusted by the rigid system. With no food to treat his hangover, Dewey spends most of the day sleeping, leaving the students to run wild.


title: School of Rock (musical)

text: At the apartment, Patty asks Ned to go on a jog with her, but he declines, claiming he has a lot of papers to grade. Understanding, Patty goes. However, as soon as she's gone, Ned pulls out his "Guitar Hero" console and begins playing. When Dewey comes home, he joins Ned and they discuss various topics such as teaching and their old band ("Variation 7”). After their game, Dewey attempts to convince Ned to rejoin him in their music career, by reminding him of all the perks of being a rockstar ("Children of Rock”). However, Patty arrives and breaks up the men's reminiscing session. Angry at Dewey, Patty reminds him that he's nothing more than a dreamer who will never succeed in the rock business, and gives him an ultimatum: pay the rent in thirty days, or they will kick him out ("Give Up Your Dreams”).


title: School of Rock (musical)

text: The next day at school, Dewey argues with another teacher and hears music coming from one of the classrooms. Upon learning that his students are in music class with Rosalie ("Queen of the Night"), he inquires in amazement about what instruments they play. Dewey then tells his students that they're now a part of his new band set to compete in the Battle of the Bands. First, he puts together the instrumentals of his band: Zack on electric guitar, Katie on bass, Lawrence on a keyboard, and Freddy on drums. He also makes two of the girls—Shonelle and Marcy—backup singers, and two other girls—Madison and Sophie—roadies. Then he moves onto technical jobs. Mason is put in charge of lights, James is made the security officer, and an ecstatic Billy is made the band's stylist. Summer is angry that she hasn't been given a job and says "groupies are sluts" in response to Dewey's first suggestion. Dewey then makes her the band's manager. The only student left without a job is Tomika, the shy new girl ("You're in the Band"). Confident about their prospects, Dewey hands out famous CDs to the students to listen to as homework ("You're in the Band (Reprise)”).


title: School of Rock (musical)

text: The children go home, and a glimpse is seen in some of their home lives. Freddy tells his father about the music he was assigned to listen to, but his father belittles him, saying that he's not smart like the other children at Horace Green. In another part of town, Billy is reading a "Vogue" magazine disguised as "Sports Illustrated" on account of pressure from his father to take up football. Elsewhere, Tomika tells her fathers that she's not making friends or doing well in her new school, but her parents dismiss her since they love Horace Green. Finally, Zack attempts to talk to his father about his day, but his father is on a business call and shouts at Zack for trying to speak to him, telling him to go away. Frustrated, Zack, Tomika, Billy, Freddy, and the other students lament that they have so much to tell and offer their parents and the world, but they just won't listen to them yet ("If Only You Would Listen"). Later, Shonelle and Marcy say that they should call the band "School of Rock". Dewey loves it, and makes up a song to create the impression that he is prepared ("In the End of Time (A Cappella Version)").


title: School of Rock (musical)

text: In the Faculty Lounge, the other teachers complain that the children have become undisciplined under Dewey ("Faculty Quadrille"). In the classroom, the band continues practicing Dewey's new song ("In the End of Time (Practice Version)"). After playing, Dewey tells everyone they're doing great. However, Zack is playing in an uptight and rigid manner, and Dewey says that Zack needs to get angry at "the Man" in order to really rock. He explains that the man is responsible for everything wrong with the world, and Dewey and the kids get angry and shout about how they're going to stick it to the Man ("Stick it to the Man"). On account of being stuck in school, Dewey and the kids end up sneaking out of the building in order to make it to the Battle of the Bands auditions on time. The children and Dewey sadly arrive late at the auditions. With the manager about to leave, Summer convinces him to stay with a lie about a terminal illness and the class is able to compete ("In the End of Time (The Audition)"). They qualify and celebrate their success ("Stick it to the Man (Reprise)").


title: School of Rock (musical)

text: Thirty-six hours before the Battle of the Bands, the students are hard at work preparing for the event while Dewey attends a faculty conference. The students conclude that the one outstanding issue is the costumes, which Billy has yet to show anybody. He argues that they aren't finished yet, but Summer makes him show them anyway. Using Lawrence as an unwilling model, Billy shows everyone, and they hate them. Annoyed but not disheartened, Billy goes back to the drawing board ("Time to Play"). At the faculty meeting which Rosalie uses to stress the importance of parents' night, Dewey discovers that she is secretly a rocker, and loves Stevie Nicks. Dewey panics when he gets back to the classroom and begins to think of a cover. Tomika summons the courage to speak to him saying that she wants to sing. When Dewey asks why she didn't respond to the call for backup singers, she states that she's a lead singer. Although initially too nervous, Tomika begins to sing when others are not looking and captivates her audience ("Amazing Grace").


title: School of Rock (musical)

text: Upon hearing that Rosalie is coming, students quickly cover their instruments with Thanksgiving-themed items and Dewey breaks into a fake lesson. When she challenges this, Dewey accuses other teachers of being on crack before admitting that he uses music to teach "boring" subjects. After arguing that there are no boring subjects, Rosalie announces that she will be sitting in for the rest of Dewey's lesson. Nervous, Dewey pulls out his guitar and improvises a song about math ("Math Is a Wonderful Thing"). Rosalie is unimpressed, but Dewey decides to ask her out to a bar regardless. Later that night, Rosalie and Dewey meet at the bar, and, after having a few drinks, Dewey plays a Stevie Nicks song on the jukebox, causing Rosalie to let loose and laments about how she feels she has lost her inner music. Stating that Dewey has reminded her about it, she promises that if the parents' meeting goes well the next day, she will help Dewey and "School of Rock" go to the Battle of the Bands ("Where Did the Rock Go?"). Dewey impulsively kisses Rosalie, and they part ways.


title: School of Rock (musical)

text: Dewey arrives home just as Patty and Ned are going through the mail. Prompted by the discovery of Dewey's paycheck made out to Ned, Dewey explains his impersonation idea. Ned goes into a panic attack, but Dewey manages to calm him down and make him promise not to tell Patty. The next day, the students go to rehearse their song, but then Zack reveals that he wrote his own song for the band in his free time. Dewey is floored by Zack's talent, and has Zack teach the song to the rest of the band ("School of Rock (Band Practice)"). However, in the middle of the practice, Rosalie unwittingly brings the students' parents into the classroom, and they are appalled by what is going on. Focusing on the talent of each child, Dewey slowly convinces the parents to see the band in a positive light until Patty and Ned burst in. Having extracted the information from Ned, Patty reveals that Dewey is not Ned Schneebly and sends the parents into a rage. In the commotion, Dewey and the children escape going to the Battle of the Bands ("Dewey's Confession").


title: School of Rock (musical)

text: As Rosalie paces nervously in the halls, she finds Mason and reminds him that Dewey isn't who the students think he is. Mason counters that he is a role-model regardless of his name. Touched by this, Rosalie misleads the parents to buy the children more time. The children use this time to reinvigorate Dewey who has given up on his dream and returned to his room. Led by Tomika, they all explain how much they need him ("If Only You Would Listen (Reprise)"). Patty makes one last attempt to stop them but Ned finally stands up to her and accompanies them to the Battle. The band arrives just as "No Vacancy" is finishing up their performance ("I'm Too Hot for You (Reprise)"). Dewey decides that they should play Zack's song and accepts new costumes from Billy. The parents arrive but are not allowed backstage by the security guards. As the students go to perform, Zack's father begins shouting at his son, telling him that "School of Rock" is ridiculous and stupid. Finally having enough, Zach stands up to his father and tells him that the band means more to him than he does, and then Zack goes to play.


title: School of Rock (musical)

text: The "School of Rock" performs Zack's song and the crowd goes wild. Their parents watch on from an empty box seat, and each of them slowly fall in love with the band and how amazing their children are. Each of the instrumental students gets a solo, and Tomika sings lead with Dewey as well. By the end, Zack's father is frozen with pride and has to be pulled away by Summer's mother ("School of Rock (Teacher's Pet)"). After the performance, Rosalie and the band's parents congratulate the group, as well as Ned who has decked out in full heavy metal gear for the Battle. Dewey watches the parents and their kids, and finally feels as though he has accomplished something worthwhile. The winner of the competition is announced as "No Vacancy", but Dewey assures everyone that winning didn't really matter because they did something even more special. Patty then enters with a police officer and tries to get Dewey arrested for fraud, but Rosalie convinces the officer that Mr. Finn is Horace Green's official Band Coach. To please an enthralled crowd, the band plays an encore ("Stick It to the Man (Encore)"). After their song, Dewey and Rosalie kiss again, and Rosalie mixes her classical singing with the heavy rock music of "School of Rock", implying that a change is coming to Horace Green and its curriculum because of the band and Dewey ("Finale").


title: School of Rock (musical)

text: Auditions began on January 19, 2015 for children ages nine through fifteen. Some recruiting was done through the School of Rock after-school educational program (which predated the film by several years) and open calls were held in New York at the Winter Garden, in Chicago and in Los Angeles.


title: School of Rock (musical)

text: On 7 December 2015, following the show's Broadway opening, it was announced by Andrew Lloyd Webber that the show would transfer to London's West End in autumn 2016, with the intention to open at the London Palladium.


title: School of Rock (musical)

text: On 20 May 2016, the musical was confirmed at the Gillian Lynne Theatre instead of the Palladium with previews starting on 24 October 2016, opening night on 14 November 2016, and public booking opening on 25 May 2016. Lloyd Webber revealed that the production was able to open several months earlier than anticipated due to finding the child musician actors easily.


title: School of Rock (musical)

text: Anna Louizos' scenery has been modified to fit the architecture of the Gillian Lynne Theatre from the traditional proscenium arch stage at Winter Garden Theatre. Changes include the removal of the pre-show curtain, the use of a revolving stage and action taking place in the aisles of the stalls. While the show remains to be set in America, the script has been adapted to include some minor references for a British audience.


title: School of Rock (musical)

text: The original London cast includes David Fynn as Dewey Finn, Florence Andrews as Rosalie Mullins, Oliver Jackson as Ned Schneebly, Preeya Kalidas as Patty Di Marco and Gary Trainor as alternate Dewey. It was announced in May 2017 that David Fynn would be leaving the role of Dewey, his last performance on May 15. Fynn's regular Alternate, Gary Trainor will take over the role full-time performing five shows a week with newcomer Stephen Leask taking 3 shows as Alternate Dewey and Joel Montague remaining as Dewey's understudy. The original adult cast had their final performance on November 13, 2017, with the majority of original cast members leaving the show. The new adult cast performed their first show on November 15, 2017. The new cast includes Alan Pearson as Ned Schneebly with Stephen Leask and Michelle Francis taking over as lead Dewey and Patty having previously been alternate and understudy. Florence Andrews continued her role as Rosalie Mullins and Craig Gallivan was given the role of alternate Dewey. Along with the new cast came adjustments to script and alterations to several songs. 'Children of Rock' was deleted as of a musical number from the show entirely in Act I and replaced with additional dialogue as well as an extension of the song 'Here at Horace Green'. On 20 August 2018, the 2017-2018 Cast took their final bow. From 22 August 2018, the cast was led by Craig Gallivan as Dewey Finn, Laura Tebbutt as Rosalie Mullins and Jake Sharp as Alternate Dewey Finn. On 19 August 2019, Craig Gallivan made his final performance as Dewey Finn, and from 21 August 2019, the cast was Led by Noel Sullivan as Dewey Finn.


title: School of Rock (musical)

text: On 10 January 2020, it was announced the show will play its final performance on Sunday 1 March 2020 after just over a 3-year run. On 13 January 2020, it was announced that David Fynn would return to the role of Dewey Finn to close the show. Following the closure, the Gillian Lynne Theatre will be renovated with more toilets, refurbished auditorium and Front of House areas taking place before the theatre re-opens with Lloyd Webber's brand new musical "Cinderella".


title: School of Rock (musical)

text: The US tour opened on September 30, 2017, at the Auditorium Theatre in Rochester, New York. Rob Colletti starred as Dewey Finn, with Lexie Dorsett Sharp as Rosalie Mullins. On October 1, 2018, Merritt David Janes replaced Colletti as Dewey Finn.


title: School of Rock (musical)

text: It was announced through the US tour website that the School of Rock US National Tour will be closing on June 9, 2019, in San Jose, California, at the San Jose Center for Performing Arts after 88 weeks and 63 cities.


title: School of Rock (musical)

text: "School of Rock"'s Australian production opened at Her Majesty's Theatre, Melbourne in 2018, on 31 October with a 9 November premiere.


title: School of Rock (musical)

text: After closing in Melbourne, the show embarked on a national tour of China beginning in Shanghai before continuing to Beijing, Guangzhou, Xiamen, Shenzhen and Suzhou. The production returned to Australia, where it played at QPAC in Brisbane in July 2019. "School of Rock" then played at Auckland, New Zealand in September 2019."School of Rock" played at the Capitol Theatre in Sydney from November 2019 to March 2020. The production was scheduled to play at Adelaide Festival Centre in Adelaide from March 2020 to April 2020. However, all shows were cancelled due to COVID-19 safety regulations and concerns.


title: School of Rock (musical)

text: The UK tour was announced to originally open at The Alexandra, Birmingham on 13 February 2021, however on account of the ongoing COVID-19 pandemic many dates have been postponed until 2022, therefore the tour is currently scheduled to open at the Hull New Theatre on 7 September 2021 running until 18 September 2021 before visiting Wolverhampton, Woking, Sunderland, Southend, Stoke-on-Trent, Bradford, Northampton, Belfast, Nottingham, Llandudno, Torquay and Oxford for a limited Christmas run at the New Theatre from 13 December 2021 until 1 January 2022. The show will then continue to tour into 2022 finishing in Bournemouth on 13 August 2022.


title: School of Rock (musical)

text: On account of the impact of COVID-19 pandemic, the musical originally scheduled for showing at the Teatro Opera was postponed to January 2021 and later to June 2021.


title: School of Rock (musical)

text: Youth production rights were opened for applications before the show opening on Broadway. They have begun to pilot in select schools.


title: School of Rock (musical)

text: "School of Rock"'s professional regional premier was at Tuacahn Amphitheatre on July 31, 2021. A rare theatrical licensing situation made it available to youth and school groups before Concord Theatricals released it for professional licensing.


title: School of Rock (musical)

text: <nowiki>*</nowiki> The character Madison was changed to Matthew in the West End production, but as of Spring 2018, the role of Matthew is being removed from the West End Production


title: School of Rock (musical)

text: The musical features an original score composed by Andrew Lloyd Webber, with lyrics by Glenn Slater, sound design by Mick Potter and musical supervision by Ethan Popp, in addition to music from the 2003 film. It features around twelve original songs, with three taken from the original film.


title: School of Rock (musical)

text: "I'm Too Hot for You" reuses the melody of "I've Been in Love Too Long", a track originally written by Lloyd Webber, with lyricist Don Black, for Marti Webb's album "Won't Change Places" (1981). "Stick it to the Man" uses musical elements taken from Lloyd Webber's fusion album "Variations" (1978) (others of which are also used in other musical numbers and as the music for an onstage game of "Guitar Hero").


title: School of Rock (musical)

text: On September 14, 2015, it was announced that a cast album would be recorded, before the show's Broadway opening. The album consists of 20 tracks, including three bonus tracks and the song "Give Up Your Dreams" which was cut from the production during previews. Distributed by Warner Bros. Records, the original cast recording was released on December 4, 2015, prior to the show's Broadway opening on December 6, 2015. The songs "You're in the Band", "If Only You Would Listen" and "Stick It to the Man" were released as singles on Google Play Music.


title: School of Rock (musical)

text: Most reviews of "School of Rock" were positive. Many focused on the child performers. David Rooney, for "The Hollywood Reporter", praised the young rockers, "the show knows full well that its prime asset is the cast of ridiculously talented kids, ranging in age from nine to 13. They supply a joyous blast of defiant analog vitality in a manufactured digital world." David Cote wrote for "Time Out: New York", "We expect cute kids in uniform, a spastic Dewey and face-melting riffs—along with heart-tugging family stuff. It worked for the movie, and wow, does it work on Broadway ... For those about to love "School of Rock": We salute you." Robert Kahn of WNBC television station in New York concurred, "The story doesn’t particularly resonate for me, but I won’t soon forget the feel-good vibe radiating off the talented young performers"


title: School of Rock (musical)

text: According to Rooney, "Boggess is lovely in the show's closest thing to a female lead". Brightman's performance was praised as well, with Cote writing, "the secret weapon and glue holding it all together is an insanely winning, supernova turn by Alex Brightman as Dewey". Matt Windman of "AM: New York" wrote, "Brightman comes off as a gentler version of Jack Black, though still loud and rambunctious and a genuine class clown". Chris Jones of the "Chicago Tribune" noted, "What matters most — and what makes this show work — is that Brightman clearly has developed, and can show us he has developed, an emotional bond with his band."


title: School of Rock (musical)

text: Cote noted, "You’d have to have zero sense of humor about pop to not enjoy Webber’s jaunty pastiche score, which sneaks elegant melodies in among the boilerplate stadium stompers." But Jones suggested, "the ever-savvy Andrew Lloyd Webber has kept himself and his ditties more in the background". Marilyn Stasio of "Variety" noted, "Having written songs for alley cats and toy trains, Webber has the ideal sensibility to relate to children whose freakish talents might make them seem a little bit … peculiar, in a world of average Joes." Kahn stated, though: " I don’t imagine most of the big numbers here will enjoy an afterlife; they’re inferior to his earlier confections."


title: School of Rock (musical)

text: "School of Rock" evoked comparisons with other musicals, with Michael Dale of Broadway World deeming it ""The Sound of Music" without the Nazis". Rooney suggested that Lloyd Webber was "revisiting his "Jesus Christ Superstar" rock roots". According to Cote, ""School of Rock" has absorbed the diverse lessons of "Rent", "Spring Awakening" and "Matilda" and passes them on to a new generation."


title: School of Rock (musical)

text: Jack Black himself attended a Sunday performance, and afterwards told the cast backstage, "There were so many times I went, ‘I could not have done it that well.’ You made me laugh. You made me cry. You made me rock.’"


title: Feminine beauty ideal

text: The feminine beauty ideal is a specific set of beauty standards regarding traits that are ingrained in women throughout their lives and from a young age to increase their "perceived" physical attractiveness. It is a phenomenon experienced by many women in the world, though the traits change over time and vary in country and culture.


title: Feminine beauty ideal

text: Feminine beauty ideals are mainly rooted in heteronormative beliefs, but they heavily influence women of all sexual orientations. The feminine beauty ideal traits include but are not limited to: female body shape, facial feature, skin tones, height, clothing style, hairstyle and body weight. In order to emulate said desirable traits, women have chosen to undergo facial and body-altering practices which range in severity. Some of these practices include: plastic surgery, skin bleaching, foot binding, neck rings, hair removal, makeup, wig installations, teeth lacquering, tanning, corsetry, etc.


title: Feminine beauty ideal

text: With the influence of fairy tales, mass media, and advertisements, fashion and beauty-centred dolls such as Barbie dolls and female characters in fairy tales playing a prominent role in many women's lives, it adds to the pressure to conform to the feminine beauty ideal starting from a young age. Handling the pressure to conform to a certain definition of "beautiful" can have psychological effects on an individual, such as depression, eating disorders, body dysmorphia and low self-esteem, starting from an adolescent age and continuing into adulthood.


title: Feminine beauty ideal

text: From an evolutionary perspective, some perceptions of feminine beauty ideals correlate with fertility and health.


title: Feminine beauty ideal

text: In Myanmar, Kayan Lahwi girls from the age of about five years have metal rings put around their necks. Additional rings are added to the girl's neck every two years. This practice is done to produce a giraffe-like effect in women by gradually deforming the clavicles and placement of the ribs through the weight of the rings to create the impression of a longer neck. This practice is dying out, but these women would eventually carry up to 24 rings around their necks. A neck with many rings was considered the "ideal" image of physical beauty in this culture.


title: Feminine beauty ideal

text: The practice of foot binding in China involved a girl's feet being bound at age six to create the "ideal" image of feet. The girl's feet were bound to become 1/3 the original size, which crippled the woman, but also gave her a very high social status and was much admired. After the revolution of 1911, this practice of foot binding was ended. The idea of what is considered the ideal of beauty for women varies across different cultural ideals and practices.


title: Feminine beauty ideal

text: The practise of skin whitening is common amongst women in Southeast Asia and Africa. In modern times, fitting the now-widespread Eurocentric beauty standard confers greater privileges in many Southeast Asian and African societies, but the preference for light skin in Asia is actually not a result of European colonialism and has instead been a part of society since long before any contact. These beauty standards have also resulted in the creation of skin whitening and bleaching industries in Asian and African countries, including Ghana. Discrimination based on skin colour, also referred to as colourism, has been described by scholars as being conceptualized by deeming lighter-skinned individuals as superior in terms of beauty and responsibility compared to their darker-skinned counterparts. Favouritism based on colourism in terms of social and economic distributions of power was based on systems implemented during the colonisation of Africa by European powers, which established Eurocentric beauty standards.


title: Feminine beauty ideal

text: In China, similar to South Korea, pale skin is seen as desirable. A classic folk saying originated from Zhang Dai, , literally translates to "pale skin covers a hundred flaws".


title: Feminine beauty ideal

text: Historically, Tang Dynasty women with a plump figure were considered the standardized view of beauty, contrasting with the expectations of tall, slim figures of today.


title: Feminine beauty ideal

text: Starting from Song elitists and eventually popularized and ended in Qing dynasty, foot binding was seen as an idolized representation of women's petite beauty, referring to the practice as , 'three inch golden lotus'.


title: Feminine beauty ideal

text: Beauty is often used as a popular subject in Chinese literature and poetry. Historically, beauty did not necessarily relate solely to the appearance of a person's figure, and the criteria of being beautiful stretched beyond looks. An example of this would be the association of nobility with beauty and being poor or of peasant status with being ugly. Famous Chinese beauties portrayed in historical literature almost always come from a noble or middle-class status, and depictions often portray them as court ladies or servants of court ladies, garbed with glamorous feminine clothing to represent their identity. Women that did not fit the social status necessary to wear such clothing, such as commoners, were eliminated in terms of depictions of beautiful women.


title: Feminine beauty ideal

text: Though sharing some aspects of Confucian culture with China, beauty standards between China and Japan have differed historically. Dating back to the Heian period (794–1185), Japanese court ladies would colour the teeth black (a practice known as ) upon reaching adulthood. This custom was practiced by the nobility, samurai clans and could be seen at a large number of temples,} but was not generally seen among commoners. The practice of teeth blackening lasted until the Meiji Restoration (1868).


title: Feminine beauty ideal

text: Hairdressing and apparel were of supreme importance in the Heian period; eyebrows were plucked and replaced with darker, wider ones painted higher on the forehead, a practice known as . Hair had to be at least long enough to touch the ground when seated. The use of pale makeup known as was common, which emphasized the colour combinations of Heian-period clothing - for women and for men - which were chosen for their seasonality and symbolism.


title: Feminine beauty ideal

text: Scholar and art critic Okakura Kakuzō delivered in his compilations of lectures in 1905, that the considerable bases of beauty for modern Japan is:


title: Feminine beauty ideal

text: Research suggests that Japanese beauty ideals may be affected more by individuality than Korean or Chinese culture. Japanese people are more likely to incorporate anti-aesthetics, incompleteness, uncertainty, pluralism, and deconstruction of what is considered to be 'beautiful' which is against the normal Japanese beauty standard which was based on aesthetics. This is allowing Japanese women to embrace their 'flaws' that society used to turn against them and to instead use their features and embrace the uniqueness of one's moles, birthmarks, eye shape, teeth shape and various facial elements. In the late 20th century, the emergence of the ganguro and gyaru sub-cultures was considered an act of rebellion and against the Japanese feminine beauty ideal. These trends were characterized by spray tans, dyed blonde or orange hair color, and brightly colored contact lenses. Women who adopted these fashion trends faced extreme social pressures from family members and punishment from school authorities, leading some to drop out of school and enter the labor force at a young age.


title: Feminine beauty ideal

text: South Korea is known for its often stringent beauty standards, which have resulted in the notable development of the Korean skincare industry. South Korean beauty standards are defined by a "very pale skin, big eyes with double eyelids, a tiny nose with a high nose bridge, and rosebud lips", a small face and subtly-pointed chin. As these standards are difficult to achieve, cosmetic surgery has become common in South Korea; , it had highest rate of cosmetic surgery per capita, a figure predicted to increase in later years.


title: Feminine beauty ideal

text: Between 1990 and 2006, the number of surgeries specializing in plastic surgery in South Korea grew to the total rate of 8.9 percent per year, where the majority fraction undergoing these procedures were young people. A survey in 2004 showed that out of 1,565 female students attending college, 25.4 percent of them had undergone plastic surgery for double eyelids, 3.6 percent for nose, and 1 percent for jaw/cheekbone. Compared with the average 1 in 20 women receiving plastic surgery in America, the average number of Korean women that have had plastic surgery is approximately 1 in 5. Due to the rise of idol culture, beauty aesthetics in South Korea have undergone drastic changes, where women relate beauty with professional success. In workplaces, women are expected to be physical attractive; headshots are required when submitting resumes to some companies, and the appearance of female applicants is often scrutinized, with professional skill and physical beauty idealized.


title: Feminine beauty ideal

text: In addition to idol culture, researchers have found that due to South Korea's hypercompetitive society, Korean women have gradually come to believe that they could achieve more from superior beauty even though they may have a limited amount of social resources. In a research study done, it was found that Korean women associated beauty with having an easier time searching for jobs, finding spouses and higher income levels. There is also a concept called the halo effect in Korea, where being beautiful and being smart leads to the ultimate level of beauty. If a woman is considered to be smart, by attending a prestigious university like Seoul National University, and up to South Korea's strict beautiful standards, she is considered to be "untouchable" and "no one can beat her".


title: Feminine beauty ideal

text: The latest 'activist'-like movement that young girls in South Korea are promoting is called the "Pro-ana" movement, young girls will go onto various websites and social media outlets to promote behaviours related to eating disorder anorexia, such as how to throw away lunch at school without getting in trouble with the staff members at school and how to not get caught by parents. A majority of the girls who are involved in this movement are not eating properly and starving themselves until their weight drops to a fragile amount of 30 to 40 kilograms. Individuals who are extremists about losing weight will take vast amounts of constipation pills to flush food out of their system quickly, as the lack of nutrition will cause them to lose weight drastically. On the rare occasions where girls will eat a proper meal, they feel guilty for indulging, so they will turn to bulimic tendencies and force themselves to vomit to maintain their thin shape.


title: Feminine beauty ideal

text: In Korea, psychotropic appetite suppressants also increased in popularity by 31.5 percent from 93.2 billion won (US$77.4 million) in 2014 to 122.5 billion won (US$102.8 million) in 2018, while the sales in non-psychotropic appetite suppressants rose 126.8 percent from 34.9 billion won (US$29.3 million) to 79.1 billion won (US$66 million) during the same time. The long-term use of psychotropic appetite suppressants increases the risk of side effects such as pulmonary hypertension and severe heart disease. This, in combination with the lack of nutrients that girls receive due to anorexic tendencies can cause malnutrition, osteoporosis, heart disease and hair loss. Taking into account that it is more harmful to teenagers as their brains and bodies are still in development, their extreme dieting happens can lead to irregular menstruation, loss of menstruation, stunted growth, and in extreme cases, death.


title: Feminine beauty ideal

text: The main problem with girls who are active in the Pro-ana movement is that they themselves are not unaware of the risk of anorexia. They know that anorexia is a disease, but believe their actions are justified due to the culture that they live in, a culture that harshly criticizes the perceived beauty of individuals based on their body shape.


title: Feminine beauty ideal

text: The idea of beauty standards in South Asia has had a long history with fair skin tone. The normative societal expectation of beauty of people has been associated with the gradient of their skin colour. The fairer one becomes, the more attractive they are. Fairness is also a tool of belongingness and social acceptance within the dominant society. Whiteness is the most ideal beauty standard of coloured women in South Asia.


title: Feminine beauty ideal

text: There have been multiple beauty ideals for women in France. Brântome lists as many as thirty things are needed to make


title: Feminine beauty ideal

text: a woman beautiful, A common but rigid ideal might include supposed Brântome's "three white things". These "things" or traits refer to skin, teeth, and hands. There are also the "three black things", including the color of the person's eyes, eyebrows and eyelashes. This leaves three other areas to embark on, including the cheeks, lips, and nails. This beauty standard also was noted to pull from "sections on alchemy, medicine, astrology, cooking and the art of looking beautiful"


title: Feminine beauty ideal

text: According to Wandering Pioneer, beauty standards in France seem to concern someone's style rather than the body shape. In addition, the French approach to beauty is about enhancing natural features rather than achieving a specific look.


title: Feminine beauty ideal

text: According to some dermatologists, looking young is not a beauty criterion. Instead, women want to look toned and their skin to look firm.


title: Feminine beauty ideal

text: Black women in the United States have the highest rates of being overweight or obese, as well as the highest Body Mass Index (BMI) levels. Despite this conflicting with the dominant thin beauty ideal, studies have found black women to be generally more tolerant of heavier body weights compared to women of other groups, and black women additionally often underestimate the size of their own bodies. A curvaceous physique consisting of well-rounded buttocks, hips, and thighs is often perceived by black women to be highly attractive and desirable. Curvier bodies are also seen as attractive in the Caribbean, and they are known as the "Coca-cola bottle" body.


title: Feminine beauty ideal

text: Historically, the stereotypically larger buttocks of black women result in unique scrutiny, such as the 19th century case of Sarah Baartman, a black woman who achieved notoriety for the size of her buttocks, which both aroused and repelled white men and women. Although white society viewed such women as "savage" and "wild", there was also an enchantment and sense of eroticization of this body type. White women of that era adopted fashions that created the impression of large buttocks, and this body type continues to be considered attractive in American society. A considerable number of women get buttocks implants to fulfill this beauty ideal, with the number of procedures nearly doubling from 2014 and 2015. While the curvy body type often subjects black women to negative stigma, it is often deemed trendy on non-black women.


title: Feminine beauty ideal

text: As racial minorities in the United States, African Americans were historically pressured by white beauty ideals that conflict with their own natural features and beauty ideals. Paradoxically, Makkar and Strube observe that modern-day black women view themselves more favorably than white women, and are less likely than them to pursue the conventional beauty ideal. Makkar and Strube asked black women with both low and high self esteem to judge themselves in relation to images of white and black supermodels. Both low and high-self esteem black women rated themselves as more attractive than the white models, but less attractive than the black models, however women with stronger black identity perceived themselves as substantially more attractive. The authors found that black women who have a stronger sense of black identity were less likely to be impacted by external beauty ideals than were black women with a weaker sense of black identity, which suggests an explicit rejection of white beauty standards.


title: Feminine beauty ideal

text: Colourism can be defined as the discrimination or unjust treatment of people within the same racial or ethnic group or community based on the shade of one's colour. Colourism can also affect Latin Americans, East Asians, South Asians, and even Europeans, leading to complexion discrimination. One of the major Eurocentric features that is desired by society in black women is lighter skin colour. Terms such as "redbone", "yellowbone", or "light skin" have been used in films, rap songs, and other forms of entrainment to describe "beautiful" or "desirable" black women, especially in the black African American communities. Due to the fact that lighter-skinned African Americans are more desired, they tend to have more social and political privileges and advantages that dark African Americans do not. On the other hand, darker-skinned individuals, culturally and ethnically are often viewed as authentic or legitimate compared to lighter-skinned people. Darker African Americans are seen as black with little to no doubt, while lighter-skinned African Americans are most likely questioned or not seen as entirely black.


title: Feminine beauty ideal

text: Colourism in the United States dates back to during slavery, where lighter-skinned men or women were required to work indoors while the darker-skinned individuals were to work out on the fields. The shade of their skin colour determined their job as well as the treatment they were to receive.


title: Feminine beauty ideal

text: In the documentary film titled "Dark Girls", interviews of black women in the documentary shine light on the unspoken about topic of colourism. Experiences and experiments mentioned in the film conclude how women of darker skin suffered socially, mentally, and personally. Some of the women in the film mention how they did not see themselves as beautiful because of their darker skin.


title: Feminine beauty ideal

text: In “Flash of the Spirit”, they discuss the ancient beauty ideals for African women. The ideals were there were no ideals. Beauty was rarely accepted if you were “too perfect” or ”overly handsome”. Being “too much” of something was a red flag because it threw off the spectrum according to Yoruba society. It was called “iwontunwonsi”. This is the total opposite of what the standards for society are today because they set a middle ground to compare people to, yet the middle ground consists of high standards.


title: Feminine beauty ideal

text: Black women and women of colour, on many platforms and forms of representation, have been whitewashed. Whitewashing of black women is not only limited to whitening black individuals' skin tones, but also giving them straight hair textures and Eurocentric features. Magazines and beauty companies have been criticized for whitewashing the images of black female celebrities on covers and advertisements, mostly photoshopping them with lighter skin.


title: Feminine beauty ideal

text: When it comes to racial disparities within the beauty industry, like makeup artists and beauty-related YouTube content creators, the impact of Eurocentric representation and beauty ideals are apparent. A study conducted in 2020 by researchers Tran and Copes revealed that Black women who were online beauty content creators had lower salaries, fewer brand endorsements, more difficulty receiving sponsorships and a significantly slower rise to popularity compared to White online beauty content creators. This is likely due to the lack of Black representation when it comes to the Eurocentric beauty ideal as well as the notion of colourism playing a role for Black online beauty content creators.


title: Feminine beauty ideal

text: Additionally, research done by Marway found that the beauty norm for fair skin limits career goals and opportunities for Black women and women of colour, as they practice self-censorship when applying for jobs because they have an expectation that they will not be chosen to play lead roles in a workplace due to the disproportionate racial portrayals in various professions.


title: Feminine beauty ideal

text: South Asia was ruled by the Mughals and the British. Along with the impact of globalization and the influence of Hollywood, it made society believe that fairness was associated with success and superiority. In earlier Hollywood movies, people with dark skin tones were not given a lead role but instead were chosen to play the villain or subordinate roles. This melanin power dynamic caused a rift and discrimination among people solely based on their skin colour.


title: Feminine beauty ideal

text: Even before the British came and ruled all over South Asia, the Indian subcontinent was also ruled by a long list of fair-skinned rulers which included people from Arab and Mughals who had a lighter skin tone than the majority of Indians. The origins of fair skin colour as an appropriate beauty ideal originated from deeply ingrained sociocultural biases such as class differences that date back to colonial times. The post-colonial impact after the 'British Raj' was tremendous on the impressionable minds of the people of South Asia. Physical characteristics like lighter skin tone were glorified and deemed to be a crucial instrument of social status and power. Skin colour played a significant role in labelling people based on the caste system. People in the upper caste system were associated with light skin whereas lower caste people were identified as 'dark skin'. South Asian beauty norms quickly absorbed the idea of the correlation between increased social acceptance with decreased melanin.


title: Feminine beauty ideal

text: The portrayal of dark-skinned women across media promising a lighter skin tone with the use of fairness products gained a lot of attention. 'Fairer' skin is viewed as a beauty aesthetic ideal disproportionately targeted at women in India. The skin colour of many young females is perceived as an obstacle to social mobility. The preference for lighter skin tones has been perpetrated by exposure to idealized images conveyed in visual media, as well as through discriminatory practices that favour lighter skin tones. In India, it is a common belief that fair skin and beauty go hand in hand, leading to successful marriages and successful careers, while darker-skinned Indian girls are shamed and compared to their lighter-skinned peers.


title: Feminine beauty ideal

text: Many South Asian families face insecurities around the fact that they have a darker-skinned daughter compared to themselves. That is when they tend to refer to their child as having a 'wheatish skin complexion' when society labels them as 'dark-skinned'. This is a common term to refer to South Asian women with brown skin and it also tends to satisfy the social insecurities of the parents. There are many traditional ideas which are referred to as 'grandma sayings of fairness home remedies' which are still prevalent in the South Asian community. These practices consist of using a mixture of gram flour and turmeric powder to lighten one's skin tone. Such ideas bring a lot of discomfort and self-confidence doubts among young women. Nonetheless, these ideas have also promoted the use of fairness creams. Many regions in South Asia still believe in the practices of arranged marriage and women who are dark-skinned face higher rejection. In terms of marriage, choices, and life outcomes, fair-skinned women are in a better position than those with darker complexions, since light skin is traded for a less expensive dowry.


title: Feminine beauty ideal

text: Advertising is driving several definitions of beauty around the world today where an ideal woman is depicted as tall, thin, and white. Models often set a standard of beauty for audiences by endorsing various products and displaying perfect portions of their bodies. Hyper-commercialized facial products like Fair and Handsome and Fair and Lovely were in trend in the South Asian society until very recently. For women, products like Glow & Lovely were not only a marker of social acceptance but also an emotional strength, making them 'happy and confident'. Multi-billion-dollar skin lightening products have grown throughout the world in part because of colourism, as millions of people of colour, most of whom are women, purchase and use products intended to permanently lighten their skin. Skin whitening products are also known as skin bleaching products and come in creams, gels, and lotions that are directly applied to the skin. According to estimates, the market size for 'fairness' creams and lotions in India is about US$450 million. A growth rate of 15 to 20% is reported each year for 'fairness' products.


title: Feminine beauty ideal

text: Similarly, the pattern of fair skin obsession has percolated as a desirable quality for South Asian men. For instance, skin whitening products have been established as a marker of masculinity and deemed as a desirable beauty standard for men in West Nepal.


title: Feminine beauty ideal

text: Women who already face oppression because of their gender encounter another obstacle in the way of their progress where fairness is seen as key to success. There is a strong association between being fair and being beautiful in India, and white skin is often seen as an obsession, making fairness the epitome of an acceptable physical feature. Simultaneously, women with a dark skin tone are constantly exposed to ideas such as 'dark is ugly', which makes them a great 'significant burden' on their families.


title: Feminine beauty ideal

text: Mass media is one of the most powerful tools for young girls and women to learn and also understand feminine beauty ideals. As mass media develops, the way people see feminine beauty ideals changes, as does how females view themselves. "The average teen girl gets about 180 minutes of media exposure daily and only about 10 minutes of parental interaction a day," says Renee Hobbs, EdD, associate professor of communications at Temple University. In most advertisements, female models are typically homogeneous in appearance. "Girls today are swamped by [ultra-thin] ideals not only in the form of dolls but also in comics, cartoons, TV, and advertising along with all the associated merchandising." In addition to this, the feminine beauty ideal in the mass media is manipulated by technology. Images of women can be virtually manipulated creating an ideal that is not only rare but also nonexistent. The "Encyclopedia of Gender in the Media" states that "the postproduction techniques of airbrushing and computer-generated modifications 'perfect' the beauty myth by removing any remaining blemishes or imperfections visible to the eye." Advertisements for products "such as diets, cosmetics, and exercise gear [help] the media construct a dream world of hopes and high standards that incorporates the glorification of slenderness and weight loss."


title: Feminine beauty ideal

text: With a focus on an ideal physical appearance, the feminine beauty ideal distracts from female competency by prioritizing and valuing superficial characteristics related to beauty and appearance. When physical beauty is idealized and featured in the media, it reduces women to sexualized objects. This creates the message across mass media that one's body is inadequate apart from sex appeal and connects concepts of beauty and sex.


title: Feminine beauty ideal

text: Perfection is achieved by celebrities through photoshopped images that hide every blemish or flaw while also editing body parts to create the ideal hourglass body type. "The Dove Beauty and Confidence Report" interviewed 10,500 females across thirteen countries and found that women's confidence in their body image is steadily declining – regardless of age or geographic location. Despite these findings, there is a strong desire to fight existing beauty ideals. In fact, 71% of women and 67% of girls want the media to do a better job of portraying different types of women. Studies done by Dove reveal low self-esteem impacts women and girls' ability to release their true potential. 85% of women and 79% of girls admit they opt out of important life activities when they do not feel confident in the way they look. More than half of women (69%) and girls (65%) allude to pressure from the media and advertisements to become the world's version of beautiful, which is a driving force of appearance anxiety. Studies done by Dove have also revealed the following statistics: "4% of women consider themselves beautiful, 11% of girls globally are comfortable with describing themselves as beautiful, 72% of girls feel pressure to be beautiful, 80% of women agree that every woman has something about her that is beautiful, but do not see their own beauty, and that 54% of women agree that when it comes to how they look, they are their own worst beauty critic."


title: Feminine beauty ideal

text: An online space such as Instagram that is based on interactions through pictures creates a focus on one's physical appearance. According to evidence gathered from a study focusing on general Instagram use in young women, researchers suggest Instagram usage was positively correlated with women's self-objectification. This same study also considered the effect of Instagram on the internalization of the Western beauty ideal for women, and the evidence gathered in the study agrees with the idea that Instagram use encourages women to internalize the societal beauty ideal of Western culture. Because users have the opportunity to shape and edit their photographs before sharing them, they can force them to adhere to the beauty ideal. Viewing these carefully selected pictures shows the extent to which women internalize the Western beauty ideal. In addition to researching the effects of general Instagram use, the study also researched the effects of "fitspiration" Instagram pages on young women's body image. "Fitspiration" pages aim to motivate the viewer through images of healthy eating and exercising. Although these pages aim to be a positive way to promote a healthy lifestyle, they are also appearance-based and contain images of toned and skinny women. According to the study, there is a positive correlation to young women's viewing "fitspiration" pages and a negative body image.


title: Feminine beauty ideal

text: A case study conducted about Instagram use and the Western feminine beauty ideal focused on the specific account @effyourbeautystandards, a body-positive Instagram page created by feminist plus-size model Tess Holliday. Through her page, Holliday instructed women to share pictures of themselves on Instagram with the hashtag #effyourbeautystandards. Images posted with this hashtag would be selected by the account administrators and posted to the @effyourbeauutystandards page. The evidence gathered in this case study suggested that while these selected pictures attempt to take an intersectional approach to the content women view on social media, they may still have an effect on how women view their bodies.


title: Feminine beauty ideal

text: Social media such as Snapchat, Instagram, and TikTok may promote unrealistic beauty standards for women and teenage girls for various reasons. A large part of this may be due to the use of photoshop and heavy filters that change one's facial structure and features. When there is such a large influx of content catered to achieving a certain beauty standard it can leave many feel dissatisfied with their own.


title: Feminine beauty ideal

text: Taking selfies is something that's pretty standard among social media platforms, but even that can negatively effect someone's self esteem. A study published by Jennifer Mills- a professor at York University in Toronto found that in general, women felt more self conscious after taking a selfie than they did prior. She had two groups that were instructed to take a selfie and post it online; one was only allowed to take one selfie while the other was able to take unlimited and edit them. Both groups were left with the same result despite the differing circumstances. There was always a factor they felt dissatisfied with whether it was the lighting, how their face looked, the angle, etc. Another factor was validation from others whether it was approving the selfie or looking at likes and comments.


title: Feminine beauty ideal

text: The feminine beauty ideal is portrayed in many children's fairy tales. It has been common in the Brothers Grimm fairy tales for physical attractiveness in female characters to be rewarded. In those fairy tales, "beauty is often associated with being white, economically privileged, and virtuous."


title: Feminine beauty ideal

text: The Brothers Grimm fairy tales usually involve a beautiful heroine. In the story "Snow White", the protagonist Snow White is described as having "skin as white as snow, lips as red as blood, and hair as black as ebony wood" and as being "beautiful as the light of day." By contrast, the antagonist of Brothers Grimm fairy tales is frequently described as old and physically unattractive, relating beauty with youth and goodness, and ugliness with aging and evil. Ultimately, this correlation puts an emphasis on the virtue of being beautiful, as defined by Grimm fairy tales.


title: Feminine beauty ideal

text: Starting almost 100 years after the Grimm Brothers wrote their fairy tales, the Walt Disney Animation Studios adapted these tales into animated feature films. Other common traits of female Disney characters are thin bodies with impossible bodily proportions, long, flowing hair, and large, round eyes. The constant emphasis on female beauty and what constitutes as being beautiful contributes to the overall feminine beauty ideal.


title: Feminine beauty ideal

text: Throughout the world, fashion and beauty-centred dolls such as Barbie dolls are making their way into the lives of many young girls, perpetuating unrealistic beauty standards from looking at the physique of the Barbie dolls to the lack of diversity in the product line in terms of race and gender of Barbie dolls. From 2012 to 2020, the sale of Barbie dolls worldwide was 99.1 billion U.S. dollars.


title: Feminine beauty ideal

text: When young girls are playing with fashion and beauty-centred dolls, they begin to idealize beauty standards and associate what they find "beautiful" in the doll with attributes that they feel that they need to uphold. At first glance, Barbie dolls look glamorous, with endless accessories, perfectly platinum straight blond hair, pink shiny lips, tiny waist, long legs, pointed toes and pink sparkly outfits. Girls who played with Barbie dolls reported lower body image and a greater desire to be thinner than the girls who played with a curvier doll or no doll at all.


title: Feminine beauty ideal

text: When taking Barbie's "beautiful" proportions and translating that physique into an actual human, Barbie is estimated to be 5'9" (175 cm) tall, have a 39" bust, an 18" waist, 33" hips, children's size 3 feet, and her weight would be 110 pounds (50 kg). Taking into consideration Barbie's 'human' height and weight, Barbie would have a Body Mass Index (BMI) of 16.24; this number fits the weight criteria for anorexia. Additionally, being below a BMI of 17 suggests that an individual cannot afford to lose more weight as it is detrimental to one's health and that they are severely underweight. Continuously playing with fashion and beauty-centred dolls with such idealistic body proportions can cause psychological effects to an individual and can later stem into the development of eating disorders.


title: Feminine beauty ideal

text: Transmisogyny and the risk factors of sexual violence is discussed in "Crossing boundaries and fetishization: Experiences of sexual violence for trans women of color." To quote the author(s): "Trans women gave accounts of using makeup, clothes, and hormones to [pass as] women. However, many said that they had difficulties in passing as a “pretty girl” or “beautiful woman” within the confines of archetypal White femininity, which was seen as the ideal, because of the “confines or bounds” of the “physical body,” including body hair, size, scarring, or having “brown” skin. This left them vulnerable to sexual violence as visibly trans women." This research article also focuses on the fetishization and Sexualization trans women of color face that may differ from the archetypal white women's experience. Their research suggests that the poor health outcomes experienced by many trans women are closely associated with their exposure to sexual violence as well as the social inequities and transphobia to which they are subjected. Trans women of color experience additional prejudice and Discrimination due to the intersection of gender, sexuality, race, and social class. Swami's research also suggests that understanding these intersectionalities is vital in understanding the sexual violence experiences of trans women of color.


title: Feminine beauty ideal

text: The construction of femininity within the transgender community largely has to do with how well (or how poorly) they are able to utilise the tools of "corporeal beautification provided by the commercial industries." More "acceptable" trans women, such as Caitlyn Jenner, play off of Western beauty ideals and receive overwhelming support from the masses. "Trans women such as Jenner are accepted "as women" so long as they adhere to the visual codes of female attractiveness." The juxtaposition of Caitlyn Jenner's praise and a person of color's rejection in response to their transition shows not only how race and class play a role in acceptance/idolization, but also how the feminine beauty ideal is viewed as authentic only if it is achieved through corporeal alterations.


title: Feminine beauty ideal

text: Drag queens are performers that are usually male, but there are some non binary and trans women queens. These performers dress up as women typically for entertainment purposes. Many steps are taken to achieve such personas, like wearing prosthetic breasts and corsets to mimic an hourglass figure. Studies have shown that queer people (though not specifically drag queens) tend to have greater body image issues than to non queer individuals. Drag personas vary; however, those intending to present in a more traditionally feminine way are more vulnerable to these body image issues. This can be seen in media, for example: "RuPaul’s Drag Race", a show that features a competition between drag queens. Contestants from season five admitted to battling eating disorders as they feel a burden to look traditionally feminine. From the show, researchers have noted that drag queens who have a smaller/skinnier body type are treated as though their femininity is more valid than larger drag queens. "RuPaul’s Drag Race" has also been known to encourage racialized performances that play into stereotypes based on the ethnicity of the queens performing; one incidence, a queen was discouraged from putting on an Amy Winehouse performance because the queen herself was a person of color. Although drag is an important part of the LGBTQ community, most of the inspiration from which drag queens draw to formulate their looks abides by the standard of heteronormative, western beauty.


title: Feminine beauty ideal

text: Feminine beauty ideals have shown correlations to many psychological disorders, including lowered self-esteem and eating disorders. Western cultural standards of beauty and attractiveness promote unhealthy and unattainable body ideals that motivate women to seek perfection. Since 1972, there has been a dramatic increase in the percentage of women in the United States who experience dissatisfaction with their bodies. Research indicates that women's exposure to television, even for a very short time, can experience decreased mood and self-esteem. It has been consistently found that perceived appearance is the single strongest predictor of global self-esteem among young adults. Awareness of the ideal female shape is linked to increasingly negative self-esteem. Through peer interaction and an environment of continual comparison to those portrayed in the media, women are often made to feel inadequate, and thus their self-esteem can decrease from their negative self-image. A negative body image can result in adverse psychosocial consequences, including depression, poor self-esteem, and diminished quality of life.


title: Feminine beauty ideal

text: There is significant pressure for girls to conform to feminine beauty ideals, and, since thinness is prized as feminine, many women feel dissatisfied with their body shape. Body dissatisfaction has been found to be a precursor to serious psychological problems such as depression, social anxiety, and eating disorders. The feminine beauty ideal has influenced women, particularly younger women, to partake in extreme measures. Some of these extreme measures include limiting their food intake and participating in excessive physical activity to try to achieve what is considered the "ideal beauty standards". One aspect of the feminine beauty ideal includes having a thin waist, which is causing women to participate in these alarming behaviors. When trying to achieve these impossible standards, these dangerous practices are put into place. These practices can eventually lead to the woman developing eating disorders such as anorexia and bulimia. As achieving the "beauty ideal" becomes a more popular phenomenon, these eating disorders are becoming more prevalent, especially in young women. Researchers have found that magazine advertisements promoting dieting and thinness are far more prevalent in women's magazine than in men's magazine, and that female television characters are far more likely to be thin than male characters. Eating disorders stem from individual body dysmorphia, or an excessive preoccupation with perceived flaws in appearance. Researchers suggest that this behavior strongly correlates with societal pressure for women to live up to the standards of beauty set by a culture obsessed with being thin. Research has shown that people have subconsciously associated heavier body sizes with negative personality characteristics such as laziness and lack of self-control. Fat-body prejudice appears as young as early childhood and continues into adult years. The problem of negative body image worsens as females go through puberty; girls in adolescence frequently report being dissatisfied with their weight and fear future weight gain. According to the National Association of Anorexia Nervosa and Associated Disorders (ANAD), the age of the onset of eating disorders is getting younger. Girls as young as elementary-school age report body dissatisfaction and dieting in order to look like magazine models.


title: Feminine beauty ideal

text: Ellen Staurowsky characterized serious psychological and physical health risks associated with girls' negative body images. Negative body image is often associated with disordered eating, depression, and even substance abuse. There is widespread evidence of damaging dissatisfaction among women and young girls with their appearance.


title: Feminine beauty ideal

text: Ideas of feminine beauty may have originated from features that correlate with fertility and health. These features include a figure where there is more fat distribution in the hip and thigh area, and vary between different cultures. In both Western and Eastern cultures, having a larger waist to hip ratio (WHR) is considered attractive. While it has been shown consistently that men find women with larger WHR more attractive, this body feature does not actually show any indication of health or fertility. It is more agreeably hypothesized that attraction to WHR is an adaptive cue of parity or current pregnancy, rather than a cue of fertility. The heterosexual evolutionary perspective suggests that men, over time and across cultures, prefer youthful features (smooth skin, white eyes, full lips, good muscle tone, leg length, lumbar curvature, facial symmetry, long/full hair, feminine voice) as indications of fertility or healthy genes. These physical cues pair with behavior cues of youth (high energy, short stride, animated facial expressions) to ancestrally assess a woman's "reproductive value." These theories can help us understand why certain beauty/body trends fluctuate or remain stagnant, but it is important to remember that "unsound theoretical foundations will lead to imprecise predictions which cannot properly be tested, thus ultimately resulting in the premature rejection of an evolutionary explanation to human mate preferences."


title: Traffic collision avoidance system

text: A traffic collision avoidance system (TCAS, pronounced ; "TEE-kas"), also known as a traffic alert and collision avoidance system, is an aircraft collision avoidance system designed to reduce the incidence of mid-air collision (MAC) between aircraft. It monitors the airspace around an aircraft for other aircraft equipped with a corresponding active transponder, independent of air traffic control, and warns pilots of the presence of other transponder-equipped aircraft which may present a threat of MAC. It is a type of airborne collision avoidance system mandated by the International Civil Aviation Organization to be fitted to all aircraft with a maximum take-off mass (MTOM) of over or authorized to carry more than 19 passengers. CFR 14, Ch I, part 135 requires that TCAS I be installed for aircraft with 10-30 passengers and TCAS II for aircraft with more than 30 passengers. ACAS/TCAS is based on secondary surveillance radar (SSR) transponder signals, but operates independently of ground-based equipment to provide advice to the pilot on potentially conflicting aircraft.


title: Traffic collision avoidance system

text: In modern glass cockpit aircraft, the TCAS display may be integrated in the Navigation Display (ND) or Electronic Horizontal Situation Indicator (EHSI).


title: Traffic collision avoidance system

text: In older glass cockpit aircraft and those with mechanical instrumentation, an integrated TCAS display including an instantaneous vertical speed indicator (IVSI) may replace the mechanical IVSI, which only indicates the rate at which the aircraft is descending or climbing.


title: Traffic collision avoidance system

text: Research into collision avoidance systems has been ongoing since at least the 1950s, and the airline industry has been working with the Air Transport Association of America (ATA) since 1955 toward a collision avoidance system. ICAO and aviation authorities such as the Federal Aviation Administration were spurred into action by the 1956 Grand Canyon mid-air collision.


title: Traffic collision avoidance system

text: It was not until the mid-1970s, however, that research centered on using signals from ATCRBS airborne transponders as the cooperative element of a collision avoidance system. This technical approach allows a collision avoidance capability on the flight deck, which is independent of the ground system. In 1981, the FAA announced a decision to implement an aircraft collision avoidance concept called the Traffic Alert and Collision Avoidance System (TCAS). The concept is based upon agency and industry development efforts in the areas of beacon based collision avoidance systems and air-to-air discrete address communications techniques utilizing Mode S airborne transponder message formats.


title: Traffic collision avoidance system

text: A short time later, prototypes of TCAS II were installed on two Piedmont Airlines Boeing 727 aircraft, and were flown on regularly scheduled flights. Although the displays were located outside the view of the flight crew and seen only by trained observers, these tests did provide valuable information on the frequency and circumstances of alerts and their potential for interaction with the ATC system. On a follow-on phase II program, a later version of TCAS II was installed on a single Piedmont Airlines Boeing 727, and the system was certified in April 1986, then subsequently approved for operational evaluation in early 1987. Since the equipment was not developed to full standards, the system was only operated in visual meteorological conditions (VMC). Although the flight crew operated the system, the evaluation was primarily for the purpose of data collection and its correlation with flight crew and observer observation and response.


title: Traffic collision avoidance system

text: Later versions of TCAS II manufactured by Bendix/King Air Transport Avionics Division were installed and approved on United Airlines airplanes in early 1988. Similar units manufactured by Honeywell were installed and approved on Northwest Airlines airplanes in late 1988. This limited installation program operated TCAS II units approved for operation as a full-time system in both visual and instrument meteorological conditions (IMC) on three different aircraft types. The operational evaluation programs continued through 1988 to validate the operational suitability of the systems


title: Traffic collision avoidance system

text: The implementation of TCAS added a safety barrier to help prevent mid-air collisions. However, further study, refinements, training and regulatory measures were still required because the limitations and misuse of the system still resulted in other incidents and fatal accidents which include the:


title: Traffic collision avoidance system

text: TCAS involves communication between all aircraft equipped with an appropriate transponder (provided the transponder is enabled and set up properly). Each TCAS-equipped aircraft interrogates all other aircraft in a determined range about their position (via the 1030 MHz radio frequency), and all other aircraft reply to other interrogations (via 1090 MHz). This interrogation-and-response cycle may occur several times per second.


title: Traffic collision avoidance system

text: The TCAS system builds a three dimensional map of aircraft in the airspace, incorporating their range (garnered from the interrogation and response round trip time), altitude (as reported by the interrogated aircraft), and bearing (by the directional antenna from the response). Then, by extrapolating current range and altitude difference to anticipated future values, it determines if a potential collision threat exists.


title: Traffic collision avoidance system

text: TCAS and its variants are only able to interact with aircraft that have a correctly operating mode C or mode S transponder. A unique 24-bit identifier is assigned to each aircraft that has a mode S transponder.


title: Traffic collision avoidance system

text: The next step beyond identifying potential collisions is automatically negotiating a mutual avoidance manoeuver (currently, manoeuvers are restricted to changes in altitude and modification of climb/sink rates) between the two (or more) conflicting aircraft. These avoidance manoeuvers are communicated to the flight crew by a cockpit display and by synthesized voice instructions.


title: Traffic collision avoidance system

text: A protected volume of airspace surrounds each TCAS equipped aircraft. The size of the protected volume depends on the altitude, speed, and heading of the aircraft involved in the encounter. The illustration below gives an example of a typical TCAS protection volume.


title: Traffic collision avoidance system

text: The following section describes the TCAS operation based on TCAS II, since this is the version that has been adopted as an international standard (ACAS II) by ICAO and aviation authorities worldwide.


title: Traffic collision avoidance system

text: TCAS works in a coordinated manner, so when an RA is issued to conflicting aircraft, a required action (i.e., "Climb. Climb.") has to be immediately performed by one of the aircraft, while the other one receives a similar RA in the opposite direction (i.e., "Descend. Descend.").


title: Traffic collision avoidance system

text: When a TA is issued, pilots are instructed to initiate a visual search for the traffic causing the TA. If the traffic is visually acquired, pilots are instructed to maintain visual separation from the traffic. Training programs also indicate that no horizontal maneuvers are to be made based solely on information shown on the traffic display. Slight adjustments in vertical speed while climbing or descending, or slight adjustments in airspeed while still complying with the ATC clearance are acceptable.


title: Traffic collision avoidance system

text: When an RA is issued, pilots are expected to respond immediately to the RA unless doing so would jeopardize the safe operation of the flight. This means that aircraft will at times have to manoeuver contrary to ATC instructions or disregard ATC instructions. In these cases, the controller is no longer responsible for separation of the aircraft involved in the RA until the conflict is terminated.


title: Traffic collision avoidance system

text: On the other hand, ATC can potentially interfere with a pilot's response to RAs. If a conflicting ATC instruction coincides with an RA, a pilot may assume that ATC is fully aware of the situation and is providing the better resolution. But in reality, ATC is not aware of the RA until the RA is reported by the pilot. Once the RA is reported by the pilot, ATC is required not to attempt to modify the flight path of the aircraft involved in the encounter. Hence, the pilot is expected to "follow the RA" but in practice this does not always happen.


title: Traffic collision avoidance system

text: Some countries have implemented "RA downlink" which provides air traffic controllers with information about RAs posted in the cockpit. Currently, there are no ICAO provisions concerning the use of RA downlink by air traffic controllers.


title: Traffic collision avoidance system

text: An RA occurs on average every 1,000 flight hours on short/medium-haul aircraft and every 3,000 hours for long-haul aircraft.


title: Traffic collision avoidance system

text: In its December 2017 ACAS guide, Eurocontrol found in about 25% of the cases, the pilots follow the RA inaccurately.


title: Traffic collision avoidance system

text: Safety studies on TCAS estimate that the system improves safety in the airspace by a factor of between 3 and 5.


title: Traffic collision avoidance system

text: However, it is well understood that part of the remaining risk is that TCAS may induce midair collisions: "In particular, it is dependent on the accuracy of the threat aircraft’s reported altitude and on the expectation that the threat aircraft will not make an abrupt maneuver that defeats the TCAS Resolution Advisory (RA). The safety study also shows that TCAS II will induce some critical near midair collisions..." (See page 7 of Introduction to TCAS II Version 7 and 7.1 (PDF) in external links below).


title: Traffic collision avoidance system

text: One potential problem with TCAS II is the possibility that a recommended avoidance maneuver might direct the flight crew to descend toward terrain below a safe altitude. Recent requirements for incorporation of ground proximity mitigate this risk. Ground proximity warning alerts have priority in the cockpit over TCAS alerts.


title: Traffic collision avoidance system

text: Some pilots have been unsure how to act when their aircraft was requested to climb whilst flying at their maximum altitude. The accepted procedure is to follow the climb RA as best as possible, temporarily trading speed for height. The climb RA should quickly finish. In the event of a stall warning, the stall warning would take priority.


title: Traffic collision avoidance system

text: Both cases have been addressed by Version 7.0 of TCAS II and are currently handled by a corrective RA together with a visual indication of a green arc in the IVSI display to indicate the safe range for the climb or descent rate. However, it has been found that in some cases these indications could lead to a dangerous situation for the involved aircraft. For example, if a TCAS event occurs when two aircraft are descending one over the other for landing, the aircraft at the lower altitude will first receive a ""Descend, descend"" RA, and when reaching an extreme low altitude, this will change to a ""Level off, level off"" RA, together with a green arc indication directing the pilot to level off the aircraft. This could place the aircraft dangerously into the path of the intruder above, who is descending to land. A change proposal has been issued to correct this problem.


title: Traffic collision avoidance system

text: TCAS technology has proved to be too expensive for small business and general aviation aircraft. Manufacturers and authorities recognized the need for an alternative to TCAS; this lead to the development of the Traffic Advisory System. TAS is actually a simplified version of TCAS I. The system structure, components, operation, traffic display and TA logic are identical, but the minimum operational performance standards (MOPS) of TAS allow some simplification compared to TCAS I:


title: Traffic collision avoidance system

text: In spite of all this, most of the manufacturers do not take the above mentioned opportunities to make simplified devices. As a result of market forces, many TAS systems operate just like TCAS I (with interference limiting, using TCAS I symbology, etc.), with some having even have better surveillance performance (in range and tracked aircraft) and specifications than TCAS I.


title: Traffic collision avoidance system

text: Automatic dependent surveillance – broadcast (ADS–B) messages are transmitted from aircraft equipped with suitable transponders, containing information such as identity, location, and velocity. The signals are broadcast on the 1090 MHz radio frequency. ADS-B messages are also carried on a Universal Access Transceiver (UAT) in the 978 MHz band.


title: Traffic collision avoidance system

text: TCAS equipment which is capable of processing ADS–B messages may use this information to enhance the performance of TCAS, using techniques known as "hybrid surveillance". As currently implemented, hybrid surveillance uses reception of ADS–B messages from an aircraft to reduce the rate at which the TCAS equipment interrogates that aircraft. This reduction in interrogations reduces the use of the 1030/1090 MHz radio channel, and will over time extend the operationally useful life of TCAS technology. The ADS–B messages will also allow low cost (for aircraft) technology to provide real time traffic in the cockpit for small aircraft. Currently UAT based traffic uplinks are provided in Alaska and in regions of the East coast of the US.


title: Traffic collision avoidance system

text: Hybrid surveillance does not make use of ADS–B's aircraft flight information in the TCAS conflict detection algorithms; ADS–B is used only to identify aircraft that can safely be interrogated at a lower rate.


title: Traffic collision avoidance system

text: In the future, prediction capabilities may be improved by using the state vector information present in ADS–B messages. Also, since ADS–B messages can be received at greater range than TCAS normally operates, aircraft can be acquired earlier by the TCAS tracking algorithms.


title: Traffic collision avoidance system

text: The identity information present in ADS–B messages can be used to label other aircraft on the cockpit display (where present), painting a picture similar to what an air traffic controller would see and improving situational awareness.


title: Traffic collision avoidance system

text: TCAS I is a cheaper but less capable system than the modern TCAS II system introduced for general aviation use after the FAA mandate for TCAS II in air transport aircraft. TCAS I systems are able to monitor the traffic situation around a plane (to a range of about 40 miles) and offer information on the approximate bearing and altitude of other aircraft. It can also generate collision warnings in the form of a "Traffic Advisory" (TA). The TA warns the pilot that another aircraft is in near vicinity, announcing ""Traffic, traffic"", but does not offer any suggested remedy; it is up to the pilot to decide what to do, usually with the assistance of Air Traffic Control. When a threat has passed, the system announces ""Clear of conflict"".


title: Traffic collision avoidance system

text: TCAS II is the first system that was introduced in 1989 and is the current generation of instrument warning TCAS, used in the majority of commercial aviation aircraft (see table below). A US Airways 737 was the first aircraft certified with the AlliedBendix (now Honeywell) TCAS II system. It offers all the benefits of TCAS I, but will also offer the pilot direct, vocalized instructions to avoid danger, known as a "Resolution Advisory" (RA). The suggestive action may be "corrective", suggesting the pilot change vertical speed by announcing, ""Descend, descend"", ""Climb, climb"" or ""Level off, level off"" (meaning reduce vertical speed). By contrast a "preventive" RA may be issued which simply warns the pilots not to deviate from their present vertical speed, announcing, ""Monitor vertical speed"" or ""Maintain vertical speed, Maintain"". TCAS II systems coordinate their resolution advisories before issuing commands to the pilots, so that if one aircraft is instructed to descend, the other will typically be told to climb – maximising the separation between the two aircraft.


title: Traffic collision avoidance system

text: As of 2006, the only implementation that meets the ACAS II standards set by ICAO was Version 7.0 of TCAS II, produced by three avionics manufacturers: Rockwell Collins, Honeywell, and ACSS (Aviation Communication & Surveillance Systems; an L3 Technologies and Thales Avionics joint venture company).


title: Traffic collision avoidance system

text: After the 2002 Überlingen mid-air collision (July 1, 2002), studies have been made to improve TCAS II capabilities. Following extensive Eurocontrol input and pressure, a revised TCAS II Minimum Operational Performance Standards (MOPS) document has been jointly developed by RTCA (Special Committee SC-147) and EUROCAE. As a result, by 2008 the standards for Version 7.1 of TCAS II have been issued and published as RTCA DO-185B (June 2008) and EUROCAE ED-143 (September 2008).


title: Traffic collision avoidance system

text: TCAS II Version 7.1 will be able to issue RA reversals in coordinated encounters, in case one of the aircraft doesn't follow the original RA instructions (Change proposal CP112E). Other changes in this version are the replacement of the ambiguous ""Adjust Vertical Speed, Adjust"" RA with the ""Level off, Level off"" RA, to prevent improper response by the pilots (Change proposal CP115).; and the improved handling of corrective/preventive annunciation and removal of green arc display when a positive RA weakens solely due to an extreme low or high altitude condition (1000 feet AGL or below, or near the aircraft top ceiling) to prevent incorrect and possibly dangerous guidance to the pilot (Change proposal CP116).