title: The Life and Times of Grizzly Adams

text: The show's theme song, “Maybe,” was written and sung by Thom Pace. The song was released as a single in Europe, where it reached number one, and in 1980 won Germany's Goldene Europa award for best song. At the beginning of each episode, part of the theme song is sung, while at the end, the entire theme song is sung. "Mad Jack" also introduces the circumstances of Grizzly Adams, referring to him as a "greenhorn", his friendship with Ben and all of the animals. After selling many products bearing the Grizzly Adams brand name, the brand was eventually trademarked by its creator, film producer, Charles E. Sellier, Jr. Following Sellier's death in early 2011, the brand rights were transferred to Grizzly Adams LLC.


title: The Life and Times of Grizzly Adams

text: Production for the series also took place in Utah, with location work in Arizona and Ruidoso, New Mexico, depending on weather conditions, due to the similarities in terrain. As with the film, animals were provided and trained by the Olympic Game Farm, housed at a second game farm built at Woodland. A scaled-down version of Grizzly Adams' cabin, used to make Dan Haggerty appear taller, is currently located at the Olympic Game Farm in Sequim, Washington.


title: The Life and Times of Grizzly Adams

text: Shout! Factory, under license from CBS Home Entertainment, released both seasons in two region-1, 4-DVD sets: season 1 on November 6, 2012, and Season 2 on February 19, 2013. The same eight discs were reissued as "Grizzly Adams: The Complete Series" on May 31, 2016.


title: The Life and Times of Grizzly Adams

text: The Season sets do not include the 1974 film "The Life and Times of Grizzly Adams", which led to the series. The Season 2 set does include "Once Upon a Starry Night," which aired just after the regular series ended in 1978, but not "The Capture of Grizzly Adams", which aired in 1982.


title: The Life and Times of Grizzly Adams

text: On November 12, 2013, CBS Home Entertainment released "The Capture of Grizzly Adams" on DVD in Region 1.


title: The Life and Times of Grizzly Adams

text: Dan Haggerty also played Jeremiah, a modern-day version of Grizzly Adams, in the films "Grizzly Mountain" (1997) and "Escape to Grizzly Mountain" (2000).


title: Copyright law of the United States

text: The copyright law of the United States grants monopoly protection for "original works of authorship". With the stated purpose to promote art and culture, copyright law assigns a set of exclusive rights to authors: to make and sell copies of their works, to create derivative works, and to perform or display their works publicly. These exclusive rights are subject to a time limit, and generally expire 70 years after the author's death or 95 years after publication. In the United States, works published before January 1, , are in the public domain.


title: Copyright law of the United States

text: United States copyright law was last generally revised by the Copyright Act of 1976, codified in Title 17 of the United States Code. The United States Constitution explicitly grants Congress the power to create copyright law under Article 1, Section 8, Clause 8, known as the Copyright Clause. Under the Copyright Clause, Congress has the power "To promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries."


title: Copyright law of the United States

text: The United States Copyright Office handles copyright registration, recording of copyright transfers, and other administrative aspects of copyright law.


title: Copyright law of the United States

text: United States copyright law traces its lineage back to the British Statute of Anne, which influenced the first U.S. federal copyright law, the Copyright Act of 1790. The length of copyright established by the Founding Fathers was 14 years, plus the ability to renew it one time, for 14 more. 40 years later, the initial term was changed to 28 years.


title: Copyright law of the United States

text: It was not until a full 180 years after its establishment that it was significantly extended beyond that, through the Copyright Act of 1976 to "Either 75 years or the life of the author plus 50 years" and the Sonny Bono Copyright Term Extension Act of 1998 (also called the "Mickey Mouse Protection Act", because it prevented the copyright from expiring on the first commercial success of the Disney cartoon character Mickey Mouse), which increased it even more, to 120 years, or the life of the author plus 70 years, whichever ends earlier.


title: Copyright law of the United States

text: The goal of copyright law, as set forth in the Copyright Clause of the US Constitution, is "to promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries." This includes incentivizing the creation of art, literature, architecture, music, and other works of authorship. As with many legal doctrines, the effectiveness of copyright law in achieving its stated purpose is a matter of debate.


title: Copyright law of the United States

text: The United States copyright law protects "original works of authorship" fixed in a tangible medium, including literary, dramatic, musical, artistic, and other intellectual works. This protection is available to both published and unpublished works. Copyright law includes the following types of works:


title: Copyright law of the United States

text: Copyright law protects the "expression" of an idea, but copyright does not protect the "idea" itself. This distinction is called the idea–expression dichotomy. The distinction between "idea" and "expression" is fundamental to copyright law. From the Copyright Act of 1976 ():


title: Copyright law of the United States

text: For example, a paper describing a political theory is copyrightable. The paper is the "expression" of the author's ideas about the political theory. The theory itself is just an "idea", and is not copyrightable. Another author is free to describe the same theory in their own words without infringing on the original author's copyright.


title: Copyright law of the United States

text: Although fundamental, the idea–expression dichotomy is often difficult to put into practice. Reasonable people can disagree about where the unprotectable "idea" ends and the protectable "expression" begins. As Judge Learned Hand put it, "Obviously, no principle can be stated as to when an imitator has gone beyond copying the 'idea,' and has borrowed its 'expression.' Decisions must therefore inevitably be ad hoc."


title: Copyright law of the United States

text: Mere facts are not copyrightable. However, "compilations of facts" are treated differently, and may be copyrightable material. The Copyright Act, , allows copyright protection for "compilations", as long as there is some "creative" or "original" act involved in developing the compilation, such as in the selection (deciding which facts to include or exclude) and arrangement (how facts are displayed and in what order). Copyright protection in compilations is limited to the "selection and arrangement of facts", not to the facts themselves.


title: Copyright law of the United States

text: The Supreme Court decision in "Feist Publications, Inc., v. Rural Telephone Service Co." clarified the requirements for copyright in compilations. The Feist case denied copyright protection to a "white pages" phone book (a compilation of telephone numbers, listed alphabetically). In making this ruling, the Supreme Court rejected the "sweat of the brow" doctrine. That is, copyright protection requires creativity, and no amount of hard work ("sweat of the brow") can transform a non-creative list (like an alphabetical listing of phone numbers) into copyrightable subject matter. A mechanical, non-selective collection of facts (e.g., alphabetized phone numbers) cannot be protected by copyright.


title: Copyright law of the United States

text: Copyright protects artistic expression. Copyright does not protect useful articles, or objects with some useful functionality. The Copyright Act states:


title: Copyright law of the United States

text: However, many industrial designers create works that are both artistic and functional. Under these circumstances, copyright law only protects the artistic expression of such a work, and only to the extent that the artistic expression can be separated from its utilitarian function.


title: Copyright law of the United States

text: In 2017, the US Supreme Court granted certiorari in the case "Star Athletica, L. L. C. v. Varsity Brands, Inc." to determine when a "pictorial, graphic, or sculptural feature" incorporated into a useful article is eligible for copyright protection, holding that such features are eligible for copyright protection "only if the feature (1) can be perceived as a two- or three-dimensional work of art separate from the useful article and (2) would qualify as a protectable pictorial, graphic, or sculptural work—either on its own or fixed in some other tangible medium of expression—if it were imagined separately from the useful article into which it is incorporated." "Star Athletica" began as a suit by Varsity Brands against Star Athletica for infringing the copyright of five cheerleader uniform designs. Applying its new test to the cheerleader uniform designs, the court said:


title: Copyright law of the United States

text: This produces a relatively low threshold for pictorial, graphic, or sculptural features on useful articles to be eligible for copyright protection, which one commentator clearly highlighted: the "Star Athletica" decision "really has ensured that all but the subtlest graphic designs will be able to gain copyright protection...once we determine that the designs 'hav[e] … graphic … qualities … [and could be] applied … on a painter's canvas,' the test for copyrightability is met."


title: Copyright law of the United States

text: Works created by the federal government are not copyrightable. . This restriction on copyright applies to publications produced by the United States Government, and its agents or employees within the scope of their employment. The specific language is as follows:


title: Copyright law of the United States

text: A "work of the United States Government" is defined in as "a work prepared by an officer or employee of the United States Government as part of that person's official duties". Note that government contractors are generally not considered employees, and their works may be subject to copyright. Likewise, the US government can purchase and hold the copyright to works created by third parties.


title: Copyright law of the United States

text: The government may restrict access to works it has produced through other mechanisms. For instance, confidential or secret materials are not protected by copyright, but are restricted by other applicable laws. However, even in case of non-secret materials there are specific prohibitions against automatic access to work otherwise covered under for commercial purposes.


title: Copyright law of the United States

text: Federal, state, and local statutes and court decisions are in the public domain and are ineligible for copyright, a concept known as the government edicts doctrine. It is not difficult to see the motivations behind this:


title: Copyright law of the United States

text: Three key Supreme Court cases established this government edicts doctrine: "Wheaton v. Peters" (1834), "Banks v. Manchester" (1888), and "Callaghan v. Myers" (1888). The doctrine was codified into the United States Code at via the Copyright Act of 1976. The Copyright Office upholds this doctrine within its own regulations:


title: Copyright law of the United States

text: The Supreme Court has also ruled that annotated versions of statutes or court decisions at the federal, state, and local level, when such annotations are done by members of the government as part of their duties, are ineligible for copyright in "Georgia v. Public.Resource.Org, Inc." (2020).


title: Copyright law of the United States

text: There are six basic rights protected by copyright. The owner of a copyright has the exclusive right to do and authorize others to do the following:


title: Copyright law of the United States

text: A violation of any of the exclusive rights of the copyright holder is a copyright infringement, unless fair use (or a similar affirmative defense) applies.


title: Copyright law of the United States

text: The initial owner of the copyright to a work is the author, unless that work is a "work made for hire".


title: Copyright law of the United States

text: If a work is not a work for hire, then the author will be the initial copyright owner. The author generally is the person who conceives of the copyrightable expression and "fixes" it in a "tangible medium of expression." Special rules apply when multiple authors are involved:


title: Copyright law of the United States

text: The first two, assignment and exclusive licenses, require the transfer to be in writing. Nonexclusive licenses need not be in writing and they may be implied by the circumstances. Transfers of copyright always involve one or more of the "exclusive rights" of copyright. For instance, a license may provide a right to perform a work, but not to reproduce it or to prepare a derivative work (adaptation right).


title: Copyright law of the United States

text: The terms of the license are governed by the applicable contract law; however, there is substantial academic debate about to what extent the Copyright Act preempts state contract law principles.


title: Copyright law of the United States

text: An author, after transferring a copyright, can terminate the transfer under certain circumstances. This right to terminate the transfer is absolute and cannot be waived.


title: Copyright law of the United States

text: For works published since 1978, copyrights may revert to the original author after 35 years. states that the author must write a letter requesting a termination of the original copyright grant at least two years before the effective termination date.


title: Copyright law of the United States

text: Title 17, United States Code, Section 108 places limitations on exclusive copyrights for the purposes of certain limited reproduction by a public library or an archive. Title 17, United States Code, Section 107 also places statutory limits on copyright which are commonly referred to as the fair use exception.


title: Copyright law of the United States

text: Copyright is automatically granted to the author of an original work (that otherwise meets the basic copyright requirements, discussed above). Registration is not necessary. However, registration amplifies a copyright holder's rights in a number of ways. Registration is required before a lawsuit can be filed, and registration creates the possibility for enhanced "statutory" damages.


title: Copyright law of the United States

text: A copyright can be registered online at the US Copyright Office's website. The Copyright Office reviews applications for obvious errors or lack of copyrightable subject matter and then issues a certificate of registration. The Copyright Office does not compare the author's new work against a collection of existing works or otherwise check for infringement.


title: Copyright law of the United States

text: The United States Copyright Office requires a deposit copy of the work for which copyright registration is sought. Deposits can be made through the Copyright Office's eCO System. This deposit requirement serves two purposes. First, if a copyright infringement lawsuit arises, the owner may prove that the material that is infringed is exactly the same material for which the owner has secured a registration. Second, this requirement helps the Library of Congress build its collection of works.


title: Copyright law of the United States

text: Failure to comply with the deposit requirement, as modified by Copyright Office regulations, is punishable by fine, but does not result in forfeiture of copyright.


title: Copyright law of the United States

text: The use of copyright notices is optional. The Berne Convention, amending US copyright law in 1989, makes copyright automatic. However, the lack of notice of copyright using these marks may have consequences in terms of reduced damages in an infringement lawsuit—using notices of this form may reduce the likelihood of a defense of "innocent infringement" being successful.


title: Copyright law of the United States

text: Copyright protection generally lasts for 70 years after the death of the author. If the work was a "work for hire", then copyright persists for 120 years after creation or 95 years after publication, whichever is shorter. For works created before 1978, the copyright duration rules are complicated. However, works published before January 1, (other than sound recordings), have made their way into the public domain.


title: Copyright law of the United States

text: For works published or registered before 1978, the maximum copyright duration is 95 years from the date of publication, if copyright was renewed during the 28th year following publication. Copyright renewal has been automatic since the Copyright Renewal Act of 1992.


title: Copyright law of the United States

text: For works created before 1978, but not published or registered before 1978, the standard §302 copyright duration of 70 years from the author's death also applies. Prior to 1978, works had to be published or registered to receive copyright protection. Upon the effective date of the 1976 Copyright Act (which was January 1, 1978) this requirement was removed and these unpublished, unregistered works received protection. However, Congress intended to provide an incentive for these authors to publish their unpublished works. To provide that incentive, these works, if published before 2003, would not have their protection expire before 2048.


title: Copyright law of the United States

text: All copyrightable works published in the United States before are in the public domain; works created but not published or copyrighted before January 1, 1978, may be protected until 2047. For works that received their copyright before 1978, a renewal had to be filed in the work's 28th year with the Copyright Office for its term of protection to be extended. The need for renewal was eliminated by the Copyright Renewal Act of 1992, but works that had already entered the public domain by non-renewal did not regain copyright protection. Therefore, works published before 1964 that were not renewed are in the public domain.


title: Copyright law of the United States

text: Before 1972, sound recordings were not subject to federal copyright, but copying was nonetheless regulated under various state torts and statutes, some of which had no duration limit. The Sound Recording Amendment of 1971 extended federal copyright to recordings fixed on or after February 15, 1972, and declared that recordings fixed before that date would remain subject to state or common law copyright. Subsequent amendments had extended this latter provision until 2067. As a result, older sound recordings were not subject to the expiration rules that applied to contemporary visual works. Although these could have entered the public domain as a result of government authorship or formal grant by the owner, the practical effect has been to render public domain audio virtually nonexistent.


title: Copyright law of the United States

text: This situation changed with the 2018 enactment of the Music Modernization Act, which extended federal copyright protection to all sound recordings, regardless of their date of creation, and preempted state copyright laws on those works. Under the Act, the first sound recordings to enter the public domain were those fixed before 1923, which entered the public domain on January 1, 2022. Recordings fixed between 1923 and February 14, 1972, will be phased into the public domain in the following decades. Specifically, works fixed 1923–1946 are public after 100 years and works fixed 1947–1956 after 110 years of fixation. Works fixed 1 January 1957 – 14 February 1972 will all become public on 15 February 2067.


title: Copyright law of the United States

text: In May 2016, Judge Percy Anderson ruled in a lawsuit between ABS Entertainment and CBS Radio that "remastered" versions of pre-1972 recordings can receive a federal copyright as a distinct work due to the amount of creative effort expressed in the process. The Ninth Circuit appeals court reversed the decision in favor of ABS Entertainment.


title: Copyright law of the United States

text: United States copyright law includes numerous defenses, exceptions, and limitations. Some of the most important include:


title: Copyright law of the United States

text: Fair use is the use of limited amounts of copyrighted material in such a way as to not be an infringement. It is codified at , and states that "the fair use of a copyrighted work ... is not an infringement of copyright." The section lists four factors that must be assessed to determine whether a particular use is fair. There are no bright-line rules regarding fair use and each determination is made on an individualized case-by-case basis.


title: Copyright law of the United States

text: In addition to these four factors, the statute also allows courts to consider any other factors that may be relevant to the fair use analysis. Courts evaluate fair use claims on a case-by-case basis, and the outcome of any given case depends on the specific facts of that case. There is "no formula" to ensure that a predetermined percentage or amount of a work—or specific number of words, lines, pages, copies—may be used without permission.


title: Copyright law of the United States

text: The justification of the fair use doctrine turns primarily on whether, and to what extent, the challenged use is "transformative". "The use must be productive and must employ the quoted matter in a different manner or for a different purpose from the original. A quotation of copyrighted material that merely repackages or republishes the original is unlikely to pass the test... If, on the other hand, the secondary use adds value to the original—if the quoted matter is used as raw material, transformed in the creation of new information, new aesthetics, new insights and understandings—this is the very type of activity that the fair use doctrine intends to protect for the enrichment of society."


title: Copyright law of the United States

text: Although a parody can be considered a derivative work, and thus within the exclusive rights of the copyright owner, it may qualify as "fair use." Parodies are not automatically fair use. The Supreme Court of the United States stated that parody (transformative) "is the use of some elements of a prior author's composition to create a new one that, at least in part, comments on that author's works." That commentary function provides some justification for use of the older work; in contrast, a satire (exaggerated) (which is not targeted at the work borrowed from) does not require use of the original work to make its point. (See "Campbell v. Acuff-Rose Music, Inc.").


title: Copyright law of the United States

text: Copyright infringement occurs when someone violates one of the exclusive rights listed in 17 USC 106. Commonly, this involves someone creating or distributing a "copy" of a protected work that is "substantially similar" to the original version.


title: Copyright law of the United States

text: Infringement requires copying. If two people happen to write exactly the same story, without knowledge of the other, there is no infringement.


title: Copyright law of the United States

text: A copyright owner may bring a copyright infringement lawsuit in federal court. Federal courts have "exclusive" subject-matter jurisdiction over copyright infringement cases. That is, an infringement case may not be brought in "state" courts. (With an exception for works not protected under Federal law, but are protected under state law, e.g. state laws prohibiting copying of sound recordings made before February 15, 1972.) Note that the Copyright Office handles copyright registrations, but it does not adjudicate copyright infringement disputes.


title: Copyright law of the United States

text: To bring a copyright infringement lawsuit, a copyright holder must establish ownership of a valid copyright and the copying of constituent elements of the work that are original. The copyright owner must also establish both (a) actual copying and (b) improper appropriation of the work. The copyright owner, as plaintiff, bears the burden of establishing these three elements of the "prima facie" case for infringement.


title: Copyright law of the United States

text: A plaintiff establishes ownership by authorship (by the plaintiff itself or by someone who assigned rights to the plaintiff) of (1) an "original" work of authorship that is (2) fixed in a tangible medium (e.g. a book, musical recording, etc.).


title: Copyright law of the United States

text: Registration is not required to establish copyright protection, but registration is necessary before bringing a lawsuit. Registration is also useful because it creates a presumption of a "valid" copyright, it allows the plaintiff to collect enhanced "statutory damages", and to be eligible for an award of attorney fees.


title: Copyright law of the United States

text: A plaintiff establishes "actual copying" with direct or indirect evidence. Direct evidence is satisfied either by a defendant's admission to copying or the testimony of witnesses who observed the defendant in the act. More commonly, a plaintiff relies on circumstantial or indirect evidence. A court will infer copying by a showing of a "striking similarity" between the copyrighted work and the alleged copy, along with a showing of both access and use of that access. A plaintiff may establish "access" by proof of distribution over a large geographical area, or by eyewitness testimony that the defendant owned a copy of the protected work. Access alone is not sufficient to establish infringement. The plaintiff must show a similarity between the two works, and the degree of similarity will affect the probability that illicit copying in fact occurred in the court's eyes. Even then, the plaintiff must show that the copying amounted to improper appropriation. Indeed, the United States Supreme Court has held that not all copying constitutes infringement and a showing of misappropriation is necessary.


title: Copyright law of the United States

text: A copyrighted work may contain elements which are not copyrightable, such as facts, ideas, themes, or content in the public domain. A plaintiff alleging misappropriation must first demonstrate that what the defendant appropriated from the copyrighted work was protectible. Second, a plaintiff must show that the intended audience will recognize substantial similarities between the two works. The intended audience may be the general public, or a specialized field. The degree of similarity necessary for a court to find misappropriation is not easily defined. Indeed, "the test for infringement of a copyright is of necessity vague."


title: Copyright law of the United States

text: Two methods are used to determine if unlawful appropriation has occurred: the "subtractive method" and the "totality method".


title: Copyright law of the United States

text: The subtractive method, also known as the "abstraction/subtraction approach", seeks to analyze which parts of a copyrighted work are protectible and which are not. The unprotected elements are "subtracted" and the fact finder then determines whether substantial similarities exist in the protectible expression which remains. For instance, if the copyright holder for "West Side Story" alleged infringement, the elements of that musical borrowed from "Romeo and Juliet" would be subtracted before comparing it to the allegedly infringing work because "Romeo and Juliet" exists in the public domain.


title: Copyright law of the United States

text: The totality method, also known as the "total concept and feel" approach, takes the work as a whole with all elements included when determining if a substantial similarity exists.


title: Copyright law of the United States

text: This was first formulated in "Roth Greeting Cards v. United Card Co." (1970). The individual elements of the alleged infringing work may by themselves be substantially different from their corresponding part in the copyrighted work, but nevertheless taken together be a clear misappropriation of copyrightable material.


title: Copyright law of the United States

text: Modern courts may sometimes use both methods in their analysis of misappropriation. In other instances, one method may find misappropriation while the other would not, making misappropriation a contentious topic in infringement litigation.


title: Copyright law of the United States

text: A successful copyright infringement plaintiff may seek both "injunctive relief" and monetary damages. As of 2019, the United States Supreme Court has held that a copyright holder must register his copyright with the U.S. copyright office before he may seek any judicial remedies for infringement.


title: Copyright law of the United States

text: Injunctions: Copyright Act § 502 authorizes courts to grant both preliminary and permanent injunctions against copyright infringement. There are also provisions for impounding allegedly infringing copies and other materials used to infringe, and for their destruction.


title: Copyright law of the United States

text: Damages and/or Profits: Copyright Act § 504 gives the copyright owner a choice of recovering: (1) their actual damages and any additional profits of the defendant; or (2) statutory damages.


title: Copyright law of the United States

text: However, Title 17 United States Code §411(a) states that a civil action to enforce a copyright claim in a US work cannot be made until the work has been registered with the U.S. Copyright Office, with a narrow exception if the claim was filed and rejected by the Copyright Office. In 2019, the U.S. Supreme Court decided that §411(a) requires that a lawsuit cannot be initiated until the Copyright Office has processed, not merely received, the application.


title: Copyright law of the United States

text: Both temporary and permanent injunctions are available to prevent or restrain infringement of a copyright. An "injunction" is a court order directing the defendant to stop doing something (e.g., stop selling infringing copies). One form of equitable relief that is available in copyright cases is a seizure order. At any time during the lawsuit, the court may order the impoundment of any and all copies of the infringing products. The seizure order may include materials used to produce such copies, such as master tapes, film negatives, printing plates, etc. Items that are impounded during the course of the lawsuit can, if the plaintiff wins, be ordered destroyed as part of the final decree.


title: Copyright law of the United States

text: A copyright holder can also seek monetary damages. Injunctions and damages are not mutually exclusive. One can have injunctions and no damages, or damages and no injunctions, or both injunctions and damages. There are two types of damages: actual damages and profits, or statutory damages.


title: Copyright law of the United States

text: The copyright owner may recover the profits he or she would have earned absent the infringement (actual damages) and any profits the infringer might have made as a result of the infringement but that are not already considered in calculating actual damages. To recover actual damages, the plaintiff must prove to the court that, in the absence of the infringement, the plaintiff would have been able to make additional sales, or perhaps been able to charge higher prices, and that this would have resulted in profits given the owner's cost structure. In some cases, the profits earned by the infringer exploiting the copyrighted material may exceed those earned by or potentially available to the owner. In these circumstances, the copyright owner can recover the infringer's profits if he or she can demonstrate a nexus between the profits and the infringing use.


title: Copyright law of the United States

text: Statutory damages are available as an alternative to actual damages and profits. If the copyright was registered either (a) within three months of publication or (b) before the infringement, then the plaintiff is eligible to seek statutory damages. Statutory damages can be awarded by the court within the range of $750 to $30,000, but this can be lowered if the infringement is deemed inadvertent, or increased significantly if the infringement is willful.


title: Copyright law of the United States

text: Statutory damages are sometimes preferable for the plaintiff if actual damages and profits are too small, too difficult to prove, or both. There are, however, situations where statutory damages are not available. provides:


title: Copyright law of the United States

text: Statutory damages are calculated per work infringed. According to clause (1) of Title 17, U.S.C. Section 504(c), statutory damages range from $750 per work to $30,000 per work, with two principal exceptions:


title: Copyright law of the United States

text: Damages in copyright cases can be very high. In "Lowry's Reports, Inc. v. Legg Mason Inc.", a 2003 lawsuit between a publisher of stock analysis newsletters against a company that buys one copy of the newsletters and makes multiple copies for use in-house, the jury awarded damages – actual damages for some newsletters and statutory damages for other newsletters – totaling $20 million.


title: Copyright law of the United States

text: Cost and attorney fees: Copyright Act § 505 permits courts, in their discretion, to award costs against either party and to award reasonable attorney fees to the prevailing party. The court may (but is not required to) award to the "prevailing party" reasonable attorney's fees. This applies to both a winning plaintiff (copyright owner) and a winning defendant (accused infringer). However, attorney's fees award is not available against the government. Like statutory damages, attorney's fees are not available if the work infringed is not registered at the time of infringement.


title: Copyright law of the United States

text: In addition to the civil remedies, the Copyright Act provides for criminal prosecution in some cases of willful copyright infringement. There are also criminal sanctions for fraudulent copyright notice, fraudulent removal of copyright notice, and false representations in applications for copyright registration. The Digital Millennium Copyright Act imposes criminal sanctions for certain acts of circumvention and interference with copyright management information. There are not criminal sanctions for violating the rights of attribution and integrity held by the author of a work of visual art.


title: Copyright law of the United States

text: Nonprofit libraries, archives, education institutions and public broadcasting entities are exempt from criminal prosecution.


title: Copyright law of the United States

text: Felony penalties for first offenses begin at seven copies for audiovisual works, and one hundred copies for sound recordings.


title: Copyright law of the United States

text: The US government, its agencies and officials, and corporations owned or controlled by it, are subject to suit for copyright infringement. All infringement claims against the U.S. that did not arise in a foreign country must be filed with the United States Court of Federal Claims within three years of the infringing action. Claims filed in the wrong court are dismissed for lack of subject-matter jurisdiction. The government and its agencies are also authorized to settle the infringement claims out of court.


title: Copyright law of the United States

text: The states have sovereign immunity provided by the Eleventh Amendment to the United States Constitution, which bars most forms of lawsuits against states in federal courts, but can be abrogated in certain circumstances by Congress. The Copyright Remedy and Clarification Act of 1990 (CRCA) states in part that states are liable to copyright infringement "in the same manner and to the same extent as any nongovernmental entity" and also that states and state entities and officials "shall not be immune, under the Eleventh Amendment to the Constitution of the United States or under any other doctrine of sovereign immunity, from suit in Federal Court by any person" alleging copyright infringement. The CRCA has been declared unconstitutional by several federal courts., and this was upheld by the US Supreme Court on March 23, 2020.


title: Copyright law of the United States

text: Works in the public domain are free for anyone to copy and use. Strictly speaking, the term "public domain" means that the work is not covered by any intellectual property rights at all (copyright, trademark, patent, or otherwise). However, this article discusses public domain with respect to copyright "only".


title: Copyright law of the United States

text: A work may enter the public domain in a number of different ways. For example, (a) the copyright protecting the work may have expired, or (b) the owner may have explicitly donated the work to the public, or (c) the work is not the type of work that copyright can protect.


title: Copyright law of the United States

text: The "orphan works" problem arose in the United States with the enactment of the Copyright Act of 1976, which eliminated the need to register copyrighted works, instead declaring that all "original works of authorship fixed in any tangible medium of expression" fall into copyright status. The elimination of registration also eliminated a central recording location to track and identify copyright-holders. Consequently, potential users of copyrighted works, e.g., filmmakers or biographers, must assume that many works they might use are copyrighted. Where the planned use would not be otherwise permitted by law (for example, by fair use), they must themselves individually investigate the copyright status of each work they plan to use. With no central database of copyright-holders, identifying and contacting copyright-holders can sometimes be difficult; those works that fall into this category may be considered "orphaned".


title: Copyright law of the United States

text: Critics of copyright assert that copyright protections last too long before copyrighted works are allowed to enter into the public domain. For works published after 1977, the copyright lasts for the life of the author plus 70 years. However, if the work is a work for hire (that is, the work is done in the course of employment or has been commissioned) or is published anonymously, the copyright lasts between 95 and 120 years, depending on the date the work is published. There are instances of United States courts overruling this in specific cases however. For example, on September 22, 2015, the United States District Court for the Central District of California ruled that the song "Happy Birthday" be entered into public domain even though the rights to the song (created by Patty Hill), do not technically expire until December 31, 2016. In 2022, legislation introduced by Senator Josh Hawley, entitled the Copyright Clause Restoration Act of 2022, seeks to reduce the protection from 70 years after the creator's death (post 1978) and 95 years (pre 1978) to 28 years, with the option to renew at the end of that term for a limit of 56 years total. These same terms were in place from 1909 up until 1976.


title: Electrocution

text: Electrocution is death or severe injury caused by electric shock from electric current passing through the body. The word is derived from "electro" and "execution", but it is also used for accidental death.


title: Electrocution

text: The term "electrocution" was coined in 1889 in the US just before the first use of the electric chair and originally referred to only electrical execution and not other electrical deaths. However, since no English word was available for non-judicial deaths due to electric shock, the word "electrocution" eventually took over as a description of all circumstances of electrical death from the new commercial electricity.


title: Electrocution

text: In the Netherlands in 1746 Pieter van Musschenbroek's lab assistant, Andreas Cuneus, received an extreme shock while working with a leyden jar, the first recorded injury from man-made electricity. By the mid-19th century high-voltage electrical systems came into use to power arc lighting for theatrical stage lighting and lighthouses leading to the first recorded accidental death in 1879 when a stage carpenter in Lyon, France, touched a 250-volt wire.


title: Electrocution

text: The spread of arc light–based street lighting systems (which at the time ran at a voltage above 3,000 volts) after 1880 led to many people dying from coming in contact with these high-voltage lines, a strange new phenomenon which seemed to kill instantaneously without leaving a mark on the victim. This would lead to execution by electricity in the electric chair in the early 1890s as an official method of capital punishment in the U.S. state of New York, thought to be a more humane alternative to hanging. After an 1881 death in Buffalo, New York, caused by a high-voltage arc lighting system, Alfred P. Southwick sought to develop this phenomenon into a way to execute condemned criminals. Southwick, a dentist, based his device on the dental chair.


title: Electrocution

text: The next nine years saw a promotion by Southwick, the New York state Gerry commission (which included Southwick) recommending execution by electricity, a June 4, 1888 law making it the state form of execution on January 2, 1889, and a further state committee of doctors and lawyers to finalize the details of the method used.


title: Electrocution

text: The adoption of the electric chair became mixed up in the "war of currents" between Thomas Edison's direct current system and industrialist George Westinghouse's alternating current system in 1889 when noted anti-AC activist Harold P. Brown became a consultant to the committee. Brown pushed, with the assistance and sometimes collusion of Edison Electric and Westinghouse's chief AC rival, the Thomson-Houston Electric Company, for the successful adoption of alternating current to power the chair, an attempt to portray AC as a public menace and the "executioners' current".


title: Electrocution

text: In May 1889 the state of New York sentenced its first criminal, a street merchant named William Kemmler, to be executed in their new form of capital punishment. Tabloid newspapers, trying to describe this new form of electrical execution, started settling on "electrocution," a portmanteau word derived from "electro" and "execution". It was not the only choice of word people were considering. "The New York Times" editorial column noted words such as ""Westinghouse"d" (after the Westinghouse Electric alternating current equipment that was to be used), ""Gerry"cide" (after Elbridge Thomas Gerry, who headed the New York death penalty commission that suggested adopting the electric chair), and ""Brown"ed" (after anti-AC activist Harold P. Brown). Thomas Edison preferred the words "dynamort", "ampermort" and "electromort". "The New York Times" hated the word electrocution, describing it as being pushed forward by "pretentious ignoramuses".


title: Electrocution

text: The health hazard of an electric current flowing through the body depends on the amount of current and the length of time for which it flows, not merely on the voltage. However, a high voltage is required to produce a high current through the body. This is due to the relatively high resistance of skin when dry, requiring a high voltage to pass through. The severity of a shock also depends on whether the path of the current includes a vital organ.


title: Electrocution

text: Death can occur from any shock that carries enough sustained current to stop the heart. Low currents (70–700 mA) usually trigger fibrillation in the heart, which is reversible via defibrillator but is nearly always fatal without help. Currents as low as 30 mA AC or 300–500 mA DC applied to the body surface can cause fibrillation. Large currents (> 1 A) cause permanent damage via burns and cellular damage.


title: Snow Dogs

text: Snow Dogs is a 2002 American adventure comedy film directed by Brian Levant, and produced by Jordan Kerner. The film stars Cuba Gooding Jr., with a supporting cast of James Coburn (in one of his final roles), Joanna Bacalso, Sisqó, Nichelle Nichols, Christopher Judge, Michael Bolton and M. Emmet Walsh. The film was released in the United States on January 18, 2002, by Walt Disney Pictures. The film is inspired by the book, "Winterdance", by Gary Paulsen.


title: Snow Dogs

text: Dr. Theodore "Ted" Brooks (Gooding) is a celebrity dentist in Miami, Florida. Every city bus carries an advertisement for his dental practice "Hot Smile" with his picture. One day, Ted receives a letter from Alaska, naming him as the only heir of Lucy Watkins, a resident of the backwoods village of Tolketna. Ted's mother Amelia (Nichelle Nichols) reveals that he is adopted; Lucy was his biological mother.


title: Snow Dogs

text: Ted travels to Tolketna to claim his inheritance from Lucy: seven Siberian Huskies named Diesel, Mack, Sniff, Yodel, Scooper, Duchess and Demon, and a Border Collie named Nana. Completely out of his element, Ted is confounded by blizzards, thin ice, foxes, skunks, grizzly bears, an intimidating, crusty old mountain man named James "Thunder Jack" Johnson (Coburn), and the aggressive, defiant lead dog, Demon. All of this happens with the buzzing excitement of the Arctic Challenge Sled Dog Race, which is only two weeks away.


title: Snow Dogs

text: Ted tries to find out why he was given up for adoption, and who was his biological father. He meets bar owner Barb (Joanna Bacalso), a close friend of Lucy. Barb helps Ted to deal with the dogs and teaches him how to drive a sled, and the two fall in love. Ted has several encounters with Thunder Jack, who tries to buy the dogs, especially Demon. Barb reveals to Ted that Thunder Jack is his biological father. Ted confronts Jack, who initially denies the claims.


title: Snow Dogs

text: When Ted loses consciousness while practicing sledding and being chased by a bear, Jack rescues him and takes him to a cave. Jack offers to reveal the truth in exchange for the dogs; Ted agrees. Jack claims that he and Lucy hid from a storm in the same cave during an Arctic Challenge, and it was then that Ted was conceived. When Jack woke up, Lucy was gone. He looked for her but never found her.


title: Snow Dogs

text: Ted lets Jack have the dogs and returns to Miami. Jack adds Demon as lead dog of his team for the Arctic Challenge. When the race begins, Jack decides to press on in the middle of a fierce storm.


title: Snow Dogs

text: In Miami, Ted recounts his experiences to his mother, who accidentally breaks a frame holding a picture of Lucy and Demon. Inside of the frame is a snapshot of Lucy and Jack with a baby. Ted is infuriated that Jack lied to him, and rushes back to Alaska. He learns that Jack has gone missing and the weather is too bad for searching. Ted decides to search for Jack himself, taking Lucy's dogs with Nana as lead. A few hours later, Amelia arrives and meets Barb. She learns that Ted is out on the trail, searching for Jack. The "Arctic Flame" is burning over the finish line, until the last musher arrives.


title: Snow Dogs

text: Ted eventually locates Jack in the old cave. Jack admits he and Lucy had been together at the hospital when Ted was born, and that he loved her very much; but that he and Lucy had agreed then that neither one of them were ready to be parents. Ted also discovers that Demon's bad temper is due to a rotten tooth. He pulls the tooth, and Demon becomes a much friendlier dog. During the journey back to Tolketna, the sled nearly goes over a cliff into a river, but the dogs pull themselves back up. Ted finally brings Thunder Jack across the finish line. Ted introduces Jack to Amelia, and he and Jack decide to share the "Arctic Flame" trophy, which is given to whoever comes in last.


title: Snow Dogs

text: Some time later, Ted has moved his dental practice to Tolketna. He and Barb have married, and Barb is now his receptionist and pregnant, while Nana and Demon have four puppies. Back in Miami, Ted's cousin Rupert (Sisqó), also a dentist, becomes the new celebrity dentist, now with his face on every city bus.


title: Snow Dogs

text: In some scenes, the faces of the dogs are partially animated to give them human expressions like winking or smiling. The animatronic version of Demon was created by Jim Henson's Creature Shop and performed by David Barclay.


title: Snow Dogs

text: The film's budget was US$33 million. Canmore, Alberta, Canada was used to film the fictional city of Tolketna, Alaska. The dogs D.J., Koda, Floyd and Buck also starred in the later Disney adventure film, "Eight Below". Many of the dogs and mushers used in the film were locals. Two of the hero team doubles and all of Olivier's team were supplied by Nakitsilik Siberians of Bridge Lake, British Columbia. Mountain Mushers' from Golden BC supplied the Thunder Jack team.


title: Snow Dogs

text: Old Ernie's team was supplied by Russ Gregory from Calgary, Alberta, Canada. Arcticsun Siberian Husky Kennel from Edmonton, Alberta was one of many kennels — including Czyz, Snowy Owl, Gatt racing — from the area that supplied background for the film. Two of the dogs came from Kortar Kennels, in Ontario. The animatronic effects were designed and built by Jim Henson's Creature Shop.


title: Snow Dogs

text: On Rotten Tomatoes, the film has an approval rating of 25% and an average rating of 4/10 based on 84 reviews. The site's consensus reads "A mediocre live action children's movie, "Snow Dogs" is filled with clichéd dialogue, tiresome pratfalls, and stale fish-out-of-water jokes." At Metacritic, which uses a weighted average, the film received a score of 29 out of 100 based on 26 critics, indicating "generally negative reviews". Audiences polled by CinemaScore gave the film an average grade of "A-" on an A+ to F scale.


title: Snow Dogs

text: It grossed $115 million worldwide against a $33 million budget. The film was released in the United Kingdom on May 31, 2002, and opened on #5.


title: Brand ambassador

text: A brand ambassador (sometimes also called a corporate ambassador) is a person engaged by an organization or company to represent its brand in a positive light, helping to increase brand awareness and sales. The brand ambassador is meant to embody the corporate identity in appearance, demeanor, values and ethics. The key element of brand ambassadors is their ability to use promotional strategies that will strengthen the customer-product-service relationship, influence a large audience to buy and consume more.


title: Brand ambassador

text: Predominantly, a brand ambassador is known as a positive spokesperson, an opinion leader or a community influencer, appointed as an internal or external agent to boost product or service sales and create brand awareness. Today, "brand ambassador" as a term has expanded beyond celebrity branding to self-branding or personal brand management. Professional figures, such as good-will and non-profit ambassadors, promotional models, testimonials and brand advocates have formed as an extension of the same concept, taking into account the requirements of every company.


title: Brand ambassador

text: The term "brand ambassador" loosely refers to a commodity which covers all types of event staff, varying between trade show hosts, in-store promotional members and street teams. Previously, the job of a brand ambassador was undertaken typically by a celebrity or a public figure, who get paid adequately for their time and effort. Nowadays however, a brand ambassador can be anyone who has knowledge or can identify certain needs of the brand. The fashion industry still solely rely on celebrity clientele in order to remain brand ambassadors. Furthermore, brand ambassadors are considered to be the key salesperson for a product or service on offer. They must remain well-informed when it comes to the brand they are representing, due to their nature of being the go-to person when questions arise from consumers. The brand ambassador's job is to drive results through communication tools either publicly, such as social media, or privately including emails, messaging and further one-to-one channels.


title: Brand ambassador

text: The concepts of brands and brand marketing have evolved over decades. Traditionally, consumers were familiar with only a few products that were available in the market. Beginning from the 1870s a number of companies began pushing 'branded products,' which familiarized consumers with more brands. From 1915 through the 1920s, manufacturer brands were established and developed further, which increased companies' reliance on brand advertising and marketing. However, the Great Depression led to a severe drawback in brand progress, as companies were left with few ways to increase revenue and get their business back on track. For the sake of their brand and survival in a hopeless market, companies such as Procter and Gamble, General Foods and Unilever developed the discipline of brand management. The "brand manager system" refers to the type of organizational structure in which brands or products are assigned to managers who are responsible for their performance.


title: Brand ambassador

text: From the early- to mid-1950s to the mid-1960s, more firms moved toward adopting brand managers. The sudden boom in the economy, followed by a growing middle class population and birth rate, increased the demand for products within the market. This led to a steady competition among a number of manufacturers who found it hard to get their products noticed amidst the pre-existing brands. By the year 1967, 84% of large consumer packaged goods manufacturers had brand managers. Brand managers were also being referred to as "product managers" whose sole priority shifted from simply brand building to boosting up the company's sales and profit margin. "The product manager is man of the hour in marketing organizations... Modern marketing needs the product manager," raved one 1960s article.


title: Brand ambassador

text: Over the course of several years, brand managers continued to exist as a medium that would help boost company revenue. In the 1990s, "Marketing UK" highlighted that brand managers are a part of an "outdated organizational system" while "the brand manager system has encouraged brand proliferation, which in turn has led to debilitating cannibalization and resource constraints."


title: Brand ambassador

text: From the 1990s to early 2000s, brand management itself evolved as brand asset management. Davis defined Brand Asset Management Strategy as "a balanced investment approach for building the meaning of the brand, communicating it internally and externally, and leveraging it to increase brand profitability, brand asset value, and brand returns over time."


title: Brand ambassador

text: Campus ambassadors (also known as “brand representatives” and “brand ambassadors”) are college students who spread the word about the company that they represent. The goal of campus ambassadors is to help the company with marketing programs on campus to target the college demographic. This can be achieved by throwing events, hosting workshops, and utilizing social media to promote the brand or company. College campus brand ambassadors not only can market products or services through either events, workshops or social media. They can market through what others may say is more affective and better for the long run, which is marketing by word of mouth. Word-of-mouth marketing was the next-most-popular method of promotion — 75% of ambassadors said they used it, and 73% of them said it was a successful method of promotion. Just over 50% of the campus ambassadors we surveyed said that they hosted events for their company, but only 55% of them said that this was a successful. Word by mouth plays a big part in marketing because the company brand, product or service is being passed down by people who most likely know each other and are close to. This increases the chances of people taking action and buying that said product or service. In addition, students are more willing to take on the position as a campus ambassador because of the experiences gained. Student ambassador offers students a chance to grow their leadership and communication skills, and inspire other students to take a more active role in representing the school. Eager prospective students might also be interested in joining the program. This offers yet another incentive for students to apply to your institution. It can also add value to your current students’ experience.


title: Brand ambassador

text: Many companies value positively that their employees develop their personal brand so that it has a beneficial impact on the company's reputation. According to Alberto Chinchilla Abadías "it is advisable that the company train its workers and managers in communication and digital skills in order to effectively use these technologies."


title: Brand ambassador

text: Using celebrities as brand ambassadors is not a new concept. Creswell highlights that, "film stars in the 1940s posed for cigarette companies, and Bob Hope pitched American Express in the late 1950s. Joe Namath slipped into Hanes pantyhose in the 1970s, and Bill Cosby jiggled for Jell-O for three decades. Sports icons like Michael Jordan and Tiger Woods elevated the practice, often scoring more in endorsement and licensing dollars than from their actual sports earnings."


title: Brand ambassador

text: Large corporations realized that the overall image of a brand ambassador within society is an integral element in attracting consumer attention. As a result, there was a substantial increase in the role of celebrities as brand ambassadors. It was assumed that integrating a celebrity to a brand would increase chances of it being sold, which made companies value the business ideal of a 'brand ambassador.' The case study of the famous watch brand Omega, illustrates that the brand faced a severe crash in sales in the 1970s due to the Japanese Quartz phenomenon. Michael believes that, "by the time Omega had seen the error of its ways, the damage to its reputation was done. From the 1970s to the end of the 1990s, it was no longer seen as a luxury watch company." It was then for the first time in 1995, that Cindy Crawford became the new face of Omega, introducing the age of the celebrity brand ambassador. The man behind this marketing ploy was believed to be Jean-Claude Biver, whose strategy changed the entire landscape for branding. During this time, many companies expanded their annual budgets to meet the financial liabilities that came with celebrity endorsements.


title: Brand ambassador

text: Celebrities are popular and followed by many people so it makes sense that marketers benefit from using them in order to get their message across. A celebrity can capture consumers' attention, link the brand with their own personal image, and associate their positive attributes with those of the product concerned. However, in some cases celebrity branding could go wrong and affect product revenue. For example, recent doping charges against Lance Armstrong cost him $30 million in endorsements and he stepped down as the chairman of Livestrong. On the other hand, Nike - who sponsors the Armstrong and U.S cycling team - stated in a press release," due to the seemingly insurmountable evidence that Lance Armstrong participated in doping and misled Nike for more than a decade, it is with great sadness that we have terminated our contract with him."


title: Brand ambassador

text: According to Giriharidas,"the personal-branding field or self-brand traces its origins to the 1997 essay "The Brand Called You," by the management expert Tom Peters." Contemporary theories of branding suggest that brand ambassadors do not need to have a formal relationship with a company in order to promote its products/services. In particular the Web 2.0 allows all individuals to choose a brand and come up with their own strategies to represent it. Biro believes that "everyone owns their own personal brand. Companies and leadership must see the value of this concept for a successful social workplace recipe. If a brand ambassador chooses to represent the company and/or its brands, the individual should do so in a transparent way." Self-branding is an effective way to help new businesses save the hassle of hiring brand ambassadors, training them and then realizing they are not good enough for the company. In addition, it is an effective tool in order to target a niche audience and allows one to take sole control of their own brand representation. On the other hand, branding one's own product/service creates an instant connection with the audience and helps the brand stand out in comparison to other known brands that use popular celebrities or hire brand ambassadors.


title: Brand ambassador

text: Reis propagates her branding mantra, "think about other people. Think about the impressions you are making on friends, neighbors, business associates. Think about your brand." Creating a personal branding strategy is an effective way to attract audience attention. She gives the example of Marissa Mayer, CEO Yahoo. According to Laura Ries, Marissa is successful because she has what most people don't – "she has a brand."


title: Brand ambassador

text: Self-branding or personal branding is a way in which an individual may promote or build their reputation. Wheeler also highlights how sending an email can contribute towards an individuals personal brand and how personal branding has become important over the past few years due to the increase of self-employed individuals. The importance of personal branding increasingly rises due to modern audiences often trusting people as opposed to corporations. This falls down to the fact that audience members tend to believe that corporate organizations only have the final sales of product in mind as opposed to the publics interest instead. Furthermore, a personal brand is also a clear indication of who someone is and what best features they can offer, showing employees or clients what they could expect. The promotion of a personal brand is also a key part of creating and building a successful network of contacts, which in itself can lead to more business and future clients.


title: Brand ambassador

text: Goodwill Ambassador is a post-nominal title of authority bestowed by a head of state or the secretariat of an INGO; it is also a job description and position of an individual linked to the promotion of non-profit causes. The primary function of a goodwill ambassador is to help organizations advocate their mission. Predominantly, goodwill ambassadors are celebrity activists or known personalities, who use their fame and talents to secure funding, solicit donations, encourage volunteers to participate and raise awareness of the organization's cause. Celebrities or known personalities are picked according to the organizations' intended audience and if fully invested in the cause they are promoting can greatly influence the process of persuading others and attracting attention towards a world issue. Goodwill ambassadors make widely publicized visits to the world's most troubled regions, and make appeals on behalf of their people and the organization. The United Nations goodwill ambassadors include famous celebrities like Angelina Jolie for UNHCR, David Beckham and Shakira for UNICEF, Christina Aguilera for WFP and Nicole Kidman for UN Women.


title: Brand ambassador

text: A promotional model is a type of a spokesmodel, trade show model and convention model. These models carry out functions beyond representation of the company in a positive light. The main difference between a brand ambassador and a promotional model is in the way they represent the product/service. In many cases, unlike brand ambassadors, a promotional model may give the audience an experience that reflects the product or service being branded. Promotional models are required to be present at the venue as per the requirements of the marketing campaign, however brand ambassadors are most often referred to as the 'face of the brand' . Promotional models are most often found in trade shows exhibits (in some cases referred to as "booth babes"), conventions and in print, digital or selected advertisements for the brand. The use of so-called "booth babe" models at trade show exhibits and conventions has been criticized by some.


title: Brand ambassador

text: Testimonial is simply a way of conveying assurance, in this case assurance is provided by the testimonial of the company or product/service in question in a written or spoken manner. A testimonial does not advertise the product freely unlike the role of the brand ambassador. A brand ambassador performs the function of a testimonial but a testimonial is not a brand ambassador. By simply providing a testimonial for a product/service, one need not be an ambassador for the same. For example, a customer can be a testimonial, since a testimony could be formal or informal "word of mouth" advocating the positive facets of the product. On the other hand, a consumer could not always be brand ambassador, since the latter is more commercial and is often considered as a position bound by monetary and professional liabilities. To a certain degree, celebrity endorsements provide testimonials for the product/service they are marketing. However, with the advent of the digital age testimonials have reached an all-time high. A large number of websites feature a "go to" tab where one can put down reviews or testimonials for the product/service. This has led to an increase in fake reviews, where companies have chosen to pay people to get their positive feedback. According to a study conducted by the research firm Gartner, "one in seven reviews/testimonials posted online by the end of next year is likely to be false. Other estimates put the number as high as one in three." However, on the flip side, the power of a customer’s story has been proven to increase web traffic and conversions. But in this case, you would have customers who are building genuine relationships and showing that they’re so passionate about your brand that it actually is part of their identity. If you’re open to the possibilities, it isn’t difficult to find activities that the company is comfortable with and customers are excited to be a part of. Shofar’s Furniture implemented a brand ambassador program and had phenomenal results that increased their site traffic 4000%. And this doesn’t mean that the company doesn’t have access or also utilize these channels; it’s a partnership of voices to leverage influence and networks from customers too.


title: Brand ambassador

text: Fuggetta highlights that a brand advocate is a marketing term for "highly satisfied customers and others who go out of their way to actively promote the products they love and care about, they are a different breed altogether. " Further, he states that they are 50% more influential than an average customer. Often a positive experience with a brand, successful customer-service relationship motivates a brand advocate to express their positive feelings towards a brand. Traditionally, a brand advocate would sing praises of a brand and this would circulate through 'word of mouth' or other similar channels. However, in the digital age social media tools have allowed brand advocates to express themselves on forums such as Twitter, Facebook by 'tweeting' about a brand experience or 'liking' the brand itself. Rubin believes, "when customers seek you out via social media, they're looking for an opportunity to build an emotional connection. So give it to them."


title: Telephone numbers in Thailand

text: Thailand's telephone numbering plan in Thailand is managed by the National Broadcasting and Telecommunications Commission (NBTC) in accordance with International Telecommunication Union's (ITU) recommendation E.164.


title: Telephone numbers in Thailand

text: Geographic (fixed line) area codes are, excluding the STD prefix one digit in Bangkok and nearby provinces (area code 2) and two digits in all other provinces (area codes 3x, 4x, 5x, and 7x). In Thailand, an area code is usually shared by several provinces and roughly follows provincial borders.


title: Telephone numbers in Thailand

text: Fixed-line subscriber numbers are six digits in Thailand (except Bangkok, Nonthaburi, Pathum Thani, and Samut Prakan, i.e., area code 2). Prior to 1980, subscriber numbers were six digits in Bangkok, Nonthaburi, Pathum Thani, and Samut Prakan. In 1980, subscriber numbers in these areas were expanded to seven digits in phases to meet new demands. The first digit of a subscriber number is associated with a specific locale within the area code. In Bangkok, Nonthaburi, Pathum Thani, and Samut Prakan, the second digit of a subscriber number identifies the service provider, which is almost always Telephone Organization of Thailand (TOT), as TOT holds a near-monopoly of the Thai fixed-line market.


title: Telephone numbers in Thailand

text: Thus, a full national number is 9 digits, including the STD prefix 0. When writing a telephone number with the area code, the area code and subscriber number are separated by a hyphen, also in the middle of subscriber number. Examples:


title: Telephone numbers in Thailand

text: Thailand switched to a closed dialing plan in 2021, which means that calling within the area code requires the area code to be dialed. E.g., When calling a number 2134567 in Bangkok (02) from a fixed-line phone:


title: Telephone numbers in Thailand

text: Mobile phone codes are in area codes 8 and 9, and VoIP are in the area code 6, plus a second digit, resulting in two digits excluding the leading zero.


title: Telephone numbers in Thailand

text: Originally, each mobile phone operator was issued one mobile phone code. Through a series of mergers, there are currently three major mobile phone operators: AIS, True and DTAC. As existing numbers run out, the three mobile phone operators are assigned numbers in code 081, distinguished by the first digit of the subscriber number.


title: Telephone numbers in Thailand

text: A mobile phone number consists of a mobile phone code and a seven-digit subscriber number. Therefore, a mobile phone number is written as 0641163685


title: Telephone numbers in Thailand

text: Mobile phones in Thailand use 900/1800 MHz for GSM. Domestic roaming service is available free within Thailand in places where there is only a single transmitter in place due to restrictions.


title: Telephone numbers in Thailand

text: As codes are being exhausted, a new range, 09x, is available for assignment. Despite the length of the code, subscriber numbers are seven digits, resulting in a ten-digit national number including the leading zero. Starting 28 April 2011, the prefix 090 followed by seven digits was available for use.


title: Telephone numbers in Thailand

text: Thailand has nearly 100 "hotline" telephone numbers to call for assistance. They include 911 or 191 for emergencies, fire, or unwanted intruding animals; 1699 or 1669 (or 1646 or 1554 in Bangkok) for medical emergencies; tourist police, 1155; car theft, 1192; a taxi refusing a trip, 1584; road accidents, 1146.


title: Hero shooter

text: A hero shooter is a subgenre of shooter games that cover both the first-person shooter and third-person shooter genres. These games emphasize "hero" characters that have distinctive abilities and/or weapons that are specific to them.


title: Hero shooter

text: Hero shooters are a variation of multiplayer first- or third-person shooters, where players form into two or more teams and select from pre-designed "hero" characters that each possess distinctive attributes, skills, weapons, and other passive and active abilities. Hero shooters strongly encourage teamwork between players on a team, guiding players to select effective combinations of hero characters and coordinate the use of hero abilities during a match.


title: Hero shooter

text: Hero shooters take many of their design elements from older class-based shooter, multiplayer online battle arena (MOBA) and fighting games. Some incorporate the role-playing elements from MOBAs, where as a match progresses, the player can opt to buy or improve predefined skills for their selected hero, adapting these to the dynamics of the match. In other hero shooters, players have freedom to change to a new hero at respawn points as to alter team composition to better challenge their opponents.


title: Hero shooter

text: Because of the focus on heroes as distinctive characters, hero shooters will often feature more narrative elements than traditional team-based shooters, providing backstories for each character and an emphasis on the story and world in which the games are set.


title: Hero shooter

text: The origins of hero shooters can be traced back to early tactical shooters that featured class-based playable characters in multiplayer modes. Games like "Battlefield 1942" and "Team Fortress Classic" featured specific roles that a player could select that would come with their own unique abilities and sometimes specific weapons that were not available to the other classes. While the majority of tactical shooters were the main games that featured some form of class based mechanics, other shooters also featured the same gameplay style and had their own take on the system such as "" & "".


title: Hero shooter

text: Valve's "Team Fortress 2" in 2007 created the main framework and inspiration for the subgenre. While "Team Fortress 2" featured the same class-based system as its predecessor, each specific class was now its own unique "character," which came with a specific personality and appearance. This made the roles more fleshed out and feel more like a real person rather than just a nameless playable character. As Valve continued to expand the game, the company released additional media, including a line of "Meet the Team" videos that helped to build out each character class and their backstory. These "Meet the Team" videos established the use of cinematic narrative videos used in future hero shooters to introduce new hero characters.


title: Hero shooter

text: The subgenre had a substantial rise in popularity with the announcement of "Battleborn" and "Overwatch" in 2014, with both games later releasing nearly at the same time in 2016. "Battleborn", by Gearbox Software, was the first game to use "hero shooter" in their press material in September 2014. Gearbox made the comparison of "Battleborn" as a hero shooter to how their "Borderlands" games were "shooter-looters". Gearbox considered a hero shooter, distinct from MOBAs as it was a first-person shooter first and foremost, but similar to "character-centric games [and] fighting games, hence the ‘hero’ in hero-shooter". "Overwatch", announced by Blizzard Entertainment a few months after "Battleborn" announcement, was heavily inspired by "Team Fortress 2" and MOBAs. "Overwatch" had evolved out from Blizzard's cancelled "Titan", a class-based team shooter which the team had devised a large number of classes, which had caused scope creep and led Blizzard to cancel the project and cut the team. To save what they could, the remaining developers revised the classes into individual heroes with detailed backstories and personalities to make a team-focused hero shooter. "Overwatch" proved more popular of the two games, and by January 2021, Gearbox opted to shutter "Battleborn" servers. The rise in popularity of "Overwatch" was followed by a flood of similar games like "LawBreakers" (2017) and "Gigantic" (2017). The popularity of hero shooters also caused existing games that had used roles but without specific characterization, such as "Tom Clancy's Rainbow Six Siege", "Call of Duty", and "Battlefield", to incorporate designed characters and narratives into their games.


title: Hero shooter

text: Modern popular hero shooters include "Tom Clancy's Rainbow Six Siege" (2015), "Overwatch" (2016), "Apex Legends" (2019), and "Valorant" (2020).


title: Sixth Doctor

text: The Sixth Doctor is an incarnation of the Doctor, the protagonist of the BBC science fiction television series "Doctor Who". He is portrayed by Colin Baker. Although his televisual time on the series was comparatively brief and turbulent, Baker has continued as the Sixth Doctor in Big Finish's range of original "Doctor Who" audio adventures. Within the series' narrative, the Doctor is a centuries-old alien Time Lord from the planet Gallifrey who travels in time and space in the TARDIS, frequently with companions. At the end of life, the Doctor regenerates; as a result, the physical appearance and personality of the Doctor changes. Baker portrays the sixth such incarnation: an arrogant and flamboyant character in brightly coloured, mismatched clothes whose brash and often patronising personality set him apart from all his previous incarnations.


title: Sixth Doctor

text: The Sixth Doctor appeared in three seasons. His appearance in the first of these was at the end of the final episode of "The Caves of Androzani" which featured the regeneration from the Fifth Doctor and thereafter in the following serial "The Twin Dilemma", the end of that season. The Sixth Doctor's era was marked by the decision of the BBC controller Michael Grade to put the series on an 18-month "hiatus" between seasons 22 and 23, with only one new "Doctor Who" story, "Slipback", made on radio during the hiatus, broadcast as 6 parts (at 10 minutes each) on BBC Radio 4 from 25 July to 8 August 1985, as part of a children's magazine show called "Pirate Radio Four". Colin Baker had been signed up for four years, as the previous actor Peter Davison had left after only three years. Due to his decidedly short screen time, the Sixth Doctor appeared with only two companions, most notably the American college student Peri Brown (Nicola Bryant), who had travelled with his previous incarnation, before being briefly joined by Mel Bush (Bonnie Langford), a computer technician from his future he had yet to actually meet during his trial.


title: Sixth Doctor

text: Prior to its postponement, season 23 was well advanced with episodes already drafted and in at least one case distributed to cast and production. Alongside "The Nightmare Fair", "The Ultimate Evil", "Mission to Magnus", "Yellow Fever and How to Cure It", the remaining stories were still under development in a 25-minute episode format after the season was postponed. These were all dropped with the reconception of the season in mid 1985 in favour of the 14-episode story arc "The Trial of a Time Lord". The Sixth Doctor also appeared in the special "Dimensions in Time". There are also novels and audio plays featuring the Sixth Doctor, and the character has been visually referenced several times in the revived 2000s production of the show.


title: Sixth Doctor

text: More so than any other canonical incarnation, aside from the Eighth Doctor, the Sixth Doctor has been heavily expanded upon in expanded universe media, most notably in audio stories produced by Big Finish Productions. In "The Marian Conspiracy" (2000), a new companion was introduced - Dr. Evelyn Smythe, a middle-aged history lecturer on the verge of compulsory retirement whose sharp tongue and unwillingness to tolerate the Doctor's attitude steadily taught him to rein in his more unkind tendencies. Due to this influence, the Sixth Doctor evolved into a more compassionate and likable character. In addition, beginning with the webcast "Real Time" (2003), his costume was revised into a monochromatic blue variant, displayed on many audio stories' covers since then.


title: Sixth Doctor

text: The Sixth Doctor's regeneration was initially unstable, and he nearly strangled Peri before he came to his senses. Realising what he had nearly done, he initially considered going into a hermit-like existence on the planet Titan 3, only to be caught up in events on the planet Jocanda, after which he resumed his travels ("The Twin Dilemma"). He encountered many old foes including the Master, Daleks, Cybermen and Sontarans, and even shared an adventure with his own second incarnation in "The Two Doctors". He also faced a renegade female Time Lord scientist, the Rani, who was conducting experiments on humans using the Luddite riots as a cover.


title: Sixth Doctor

text: Later, the Doctor and Peri landed on the devastated planet Ravolox, which they discovered was actually Earth, moved across space with devastating consequences. Before they could discover the reason for this disaster, the TARDIS landed on Thoros Beta. What actually happened here is unclear, but initial accounts suggest that Peri was killed after being cruelly used as a test subject in brain transplant experiments and the Doctor was pulled out of time to a Time Lord space station where he was put on trial for the second time by his own race, the Time Lords. In reality the trial was a cover-up organised by the High Council. A race from Andromeda had stolen Time Lord secrets and hidden on Earth, so to protect themselves the Time Lords had moved Earth through space, burning the surface in a massive fireball and leaving it as Ravolox. The prosecutor at that trial, the Valeyard, turned out to be a possible future evil incarnation of the Doctor himself who was out to steal his remaining lives. He had also edited the Matrix recordings of the Doctor's travels; in reality Peri had survived events on Thoros Beta. The events of the trial tangled the Doctor's timeline slightly, as he left in the company of Mel, whom he technically had not yet met.


title: Sixth Doctor

text: When the TARDIS is attacked by the Rani, the Sixth Doctor was somehow injured and regenerated into the Seventh Doctor; the exact cause of the regeneration, however, has never been revealed on-screen.


title: Sixth Doctor

text: An image of an aged Sixth Doctor (played by Baker) appeared in a transitional quasi-afterlife in the final Thirteenth Doctor special, "The Power of the Doctor."


title: Sixth Doctor

text: "Doctor Who" was put on hiatus for 18 months following "The Trial of a Time Lord", and Colin Baker was asked to return for a single story which would have led to an event precipitating the Doctor's regeneration. As he declined to do so, there were limits as to what could be done on screen for the purposes of transitioning to a new Doctor when the series resumed with "Time and the Rani" and there were other unresolved questions, such as when and how the Doctor and Mel actually met. Attempts have been made by various authors to fill in these narrative gaps.


title: Sixth Doctor

text: The Virgin Missing Adventures novel "Time of Your Life" states that the Doctor went into a self-imposed exile to avoid becoming the Valeyard. He was lured back into travelling by the Time Lords, and recruited Grant Markham as a companion. Although now travelling again, he attempted to avoid meeting Mel and recruited other companions, with the audios depicting a range of companions including history lecturer Evelyn Smythe, "Edwardian adventuress" Charley Pollard (a former companion of the Eighth Doctor who is rescued by the Sixth as part of a temporal paradox), supermarket check-out girl Flip Jackson, and WREN code-breaker Constance Clarke. The novel "The Shadow in the Glass" also depicts the Doctor working with his old friend Brigadier Lethbridge-Stewart to thwart a conspiracy to unleash a Fourth Reich led by the secret son of Adolf Hitler. The Doctor eventually encounters Mel accidentally during the events of the BBC Books novel "Business Unusual" and accepts his fate once she stows away in the TARDIS.


title: Sixth Doctor

text: Pip and Jane Baker's novelisation of "Time and the Rani" provides the first relatively brief attempt to explain the Doctor's regeneration (specifically, that it was triggered by "tumultuous buffeting" as the Rani attacked the TARDIS). The Virgin New Adventures series suggests that the Seventh Doctor somehow deliberately killed the Sixth, because he could not become the masterplanner and manipulator that his next incarnation became, due to his fear of becoming the Valeyard. The BBC Books Past Doctor Adventures novel "Spiral Scratch" proposes that the Sixth Doctor died as a result of his chronal energy being drained in a confrontation with a powerful pan-dimensional entity before being snared by the Rani's beam. The unofficial, for-charity-published, novel "Time's Champion" by Craig Hinton and Chris McKeon consigns the events of "Spiral Scratch" to an alternate timeline, and makes the Sixth Doctor the eponymous Time's Champion, to save Mel from the clutches of the Time Lord God, Death. In these events, the Doctor, through the TARDIS' telepathic circuits, forces his own regeneration and then travels towards Lakertya, setting up the events of "Time and the Rani".


title: Sixth Doctor

text: In 2015, Big Finish Productions released "", an audio drama depicting the events leading up to the Sixth Doctor's death and regeneration. According to this account, after a series of encounters with the Valeyard over the course of his life depicting the Valeyard regaining his energy after their last battle, the Sixth Doctor is essentially 'replaced' by the Valeyard, who had planted parasitic creatures in the TARDIS's telepathic circuits that formed a link with the Doctor over the course of his life, trapping the last fragments of the Doctor's personality in the Matrix. Faced with the prospect that the Valeyard, who has already replaced the Doctor's timeline so that even Mel believes he has always been the Doctor, will go on to do the same thing to every other Time Lord in history, the Sixth Doctor sends a message from the Matrix to his own past self, diverting the younger Doctor to travel to the planet Lakertya shortly before the Valeyard originally took over his timeline. As a result, the younger Doctor is exposed to radiation that is deadly to Time Lords, with his death and subsequent regeneration into the Seventh Doctor killing the parasites, stopping the Valeyard from succeeding with his plan as the regeneration 'kills' the link the parasites had created to the Doctor, but also setting up the events of "Time and the Rani".


title: Sixth Doctor

text: Colin Baker wished to dress his Doctor in black velvet, to reflect his character's darker personality. Producer John Nathan-Turner, however, opted for a deliberately "totally tasteless" costume with clashing colours. Designer Pat Godfrey made several attempts which were considered not tasteless enough before Nathan-Turner finally accepted the last one as sufficiently garish. Colin Baker later described the outfit as "an explosion in a rainbow factory".


title: Sixth Doctor

text: The Sixth Doctor wears a scarlet plaid frock coat, with green patchwork, and yellow and pink lapels over a white shirt with crimson question marks embroidered in the collar (a feature of the programme since 1980), a waistcoat with a fob watch, a large tie, yellow trousers with black stripes, and emerald green ankle boots with royal orange spats. There were many variants on the waistcoat and tie, the earliest being the knitted brown waistcoat and turquoise cravat. The waistcoat was changed to burgundy check, and in the following story a new crimson cravat with cream polka dots appeared. The "future" version of the Sixth Doctor seen aboard the "Hyperion III" ("The Trial of a Time Lord") wore a stripey waistcoat and a yellow cravat, speckled with black stars. Baker added a cat badge to the ensemble. During Baker's run in the stage play "Doctor Who – The Ultimate Adventure", the original frock coat was replaced by a similar one with a scarlet, blue and purple colour scheme.


title: Sixth Doctor

text: More recently, a royal blue version of the original costume has been used in spin-off media. First used in the webcast "Real Time", due to the limited availability of colours in the type of animation used, it has appeared subsequently on covers of audio dramas from Big Finish Productions. In the Big Finish audio "Criss-Cross", the Doctor is depicted on the cover as wearing a brown-and-scarlet tweed jacket and waistcoat with a blue-and-white striped shirt, along with a navy blue bow tie with crimson spots, while acting undercover in Bletchley Park in 1944 after the TARDIS is rendered inoperable by a strange signal. The Doctor dons this attire again, referring to it as his 'Bletchley Tweeds', when visiting Russia in 1947 in the audio "Quicksilver".


title: Sixth Doctor

text: In 2008, an unofficial Doctor Who novel Time's Champion was published, written by Chris McKeon and the late Craig Hinton. All proceeds went to the British Heart Foundation.


title: Sixth Doctor

text: The Sixth Doctor was featured in a number of acclaimed comic strips drawn by John Ridgway. These featured visuals and storylines of a whimsical fantasy nature, similar to Alice in Wonderland. The Sixth Doctor was somewhat calmer and more restrained than on television. All of these comic strips appeared in Doctor Who magazine in the 1980s. Colin Baker himself wrote a comic book special called "The Age of Chaos" in which the Sixth Doctor and Frobisher visit an older version of Peri.


title: The Blue Boy

text: The Blue Boy (c. 1770) is a full-length portrait in oil by Thomas Gainsborough, owned by The Huntington in San Marino, California.


title: The Blue Boy

text: One of Gainsborough's best known works, "The Blue Boy" was long thought to be a portrait of Jonathan Buttall (1752–1805), the son of a wealthy hardware merchant, because of his early ownership of the painting. This identification has never been proven and as Susan Sloman argued in 2013, the likely sitter is Gainsborough's nephew, Gainsborough Dupont (17541797). It is a historical costume study as well as a portrait; the youth appears in clothing from the 17th century as the artist's homage to Anthony van Dyck and is very similar to Van Dyck's portraits of young boys, especially his double portrait of brothers George Villiers, 2nd Duke of Buckingham and Lord Francis Villiers.


title: The Blue Boy

text: Gainsborough had already drawn something on the canvas before beginning "The Blue Boy", which he painted over. The painting is about life-size, measuring wide by tall.


title: The Blue Boy

text: In 1821, John Young (17551825), a printmaker and keeper of the British Institution, published a reproduction of the painting for the first time and told the story of how the artist painted "The Blue Boy" to contradict the advice of Sir Joshua Reynolds. As President of the Royal Academy, Reynolds had lectured publicly on the use of warm and cool colors in his Eighth Discourse presented in 1778.


title: The Blue Boy

text: This origination story appealed to the public's perception of the distinctly different personalities of Reynolds and Gainsborough since it set the two artists in opposition. As president of the Royal Academy, Reynolds was a disciplined advocated of history painting who played an active role in curriculum development and delivery, and the presentation of the annual exhibitions. Gainsborough, on the other hand, was a portrait painter and landscapist and remained aloof from any academic functions. Reynolds was knighted in 1769 and wrote art criticism and delivered lectures while Gainsborough never received sovereign recognition and wrote lively correspondence as his written legacy. These and other real and imagined differences between the two artists were exaggerated in subsequent reports about the creation of "The Blue Boy".


title: The Blue Boy

text: Although it eventually became clear that the painting was completed by Gainsborough eight years before Reynolds' Eighth Discourse, the story about how it resulted from a challenge over warm and cool colors was too good to give up. The repeated erroneous account propelled the painting to international fame.


title: The Blue Boy

text: The painting was in Buttall's possession until he filed for bankruptcy in 1796. It was first bought by the politician John Nesbitt and then, in 1802, by the portrait painter John Hoppner. In about 1809, "The Blue Boy" entered the collection of the Earl Grosvenor and remained with his descendants until its sale by the second Duke of Westminster to the California railroad magnate Henry Edward Huntington in 1921. Before its departure to California in 1922, "The Blue Boy" was briefly put on display at the National Gallery, where it was seen by 90,000 people. The British recognized the loss of Gainsborough's painting in several notable ways including its appearance on stage towards the end of the "Mayfair and Montmartre" variety show at the New Oxford Theatre in spring 1922. Framed on stage, dressed as the boy in the painting, and flanked by cowboys and Indians, the celebrity Nellie Taylor sang Cole Porter's "The Blue Boy Blues."


title: The Blue Boy

text: The Grosvenor family played a significant role in the increasing fame of "The Blue Boy" during the 19th and early 20th centuries. They not only allowed visitors into their London residence to see the painting, they also frequently lent the painting to important exhibitions, including the Art Treasures Exhibition in Manchester in 1857 when "The Blue Boy" captured the attention of viewers who had likely never previously given much thought to fine art. Gallery guides and exhibition publications passed on the story of the disputed origins of the painting and claimed that "there is nothing which has attracted more universal admiration than this 'far-famed' painting." The painting was subsequently exhibited to much public acclaim at the Great London Exposition in 1862, the Royal Academy and the South Kensington Museum in 1870, the Grosvenor Gallery in 1885, and the Royal Academy in 1896, when it was identified as "the most famous of all of his pictures" by a review in the "London Times".


title: The Blue Boy

text: In addition to viewing Gainsborough's "Blue Boy" in public venues, the painting also appeared in publications and as individual black and white and color prints. It became a popular ceramic figure and showed up in advertisements. The boy in blue also came alive as men, women, boys, and girls dressed up in similar costumes and pretended to be Gainsborough's youth at fancy-dress balls and marriage ceremonies, in pantomimes and plays, and eventually in movies and television programs.


title: The Blue Boy

text: When girls and women masqueraded as Gainsborough's "Blue Boy" on stage and screen, they brought about a gradual feminization of the youth. By the early 20th century Marlene Dietrich was photographed in a "Blue Boy" costume and Shirley Temple appeared as Gainsborough's youth in the movie "Curly Top" in 1935. Shortly after the painting showed up in the main entrance of the Cleaver family residence during the third season of the "Leave it to Beaver" show in 1959, viewers increasingly associated feminine traits with the boy in blue leading to his connection to an emergent gay culture.


title: The Blue Boy

text: In September 1970 "The Blue Boy" was "outed" in the pages of "Mad Magazine" in a strip called "Prissy Percy." In the four-panel strip, artist Jack Rickard and writer Frank Jacobs used contemporary stereotypes of homosexuality to contrast Gainsborough's boy in blue with a group of football players. Stereotypes linking "The Blue Boy" and homosexuality were well established when Hank Ketcham, the creator of "Dennis the Menace," cast Gainsborough's boy in blue as a "sissy" in a multi-panel strip that included a line by Dennis confusing the painter Gainsborough and the Beat poet and gay peacenik Allen Ginsberg.


title: The Blue Boy

text: In 1974, former TV Guide advertising manager Don N. Embinder (a.k.a. Don Westbrook) published the first issue of "Blueboy Magazine", an upscale, gay bi-monthly magazine with nude photography, slick advertisements, and articles by writers such as Christopher Isherwood and Randy Shilts. Rescuing Gainsborough's "Blue Boy" from sissiness, Embrinder introduced him as the embodiment of the recently liberated gay man. The premier issue featured a bright blue cover with a photograph of a young man dressed up as Gainsborough's boy in blue from the waist up. Embinder re-appropriated Gainsborough's "Blue Boy" from the funny pages and transformed a derogatory stereotype into an emblem of pride.


title: The Blue Boy

text: Among the gay artists who have embraced "The Blue Boy" as a symbol of gay emancipation are Robert Lambert (a member of Les Petites Bon-Bons), Howard Kottler, and Léopold Foulem.


title: The Blue Boy

text: "The Blue Boy" was temporarily loaned to the National Gallery, London and placed on view on January 25, 2022, a century to the day since it left the UK in 1922. It remained in the National Gallery for five months before returning to the US permanently.


title: The Blue Boy

text: In October 2021, Kehinde Wiley's "Portrait of a Young Gentleman" was installed opposite to Gainsborough's "Blue Boy" in the Huntington Museum of Art.


title: The Blue Boy

text: In Quentin Tarantino's film "Django Unchained", the main character Django, a freed slave, chooses to wear an outfit identical to that worn by Gainsborough's subject in "The Blue Boy".


title: The Blue Boy

text: In 1985, the picture was referenced in the song "Art is for Your Heart" on the "Muppet Babies" episode "The Muppet Museum of Art", with Gonzo wondering about the painting and Kermit stating the subject's possible preference for green clothing.


title: The Blue Boy

text: The painting is also seen in the movie "Batman" (1989) as hanging in Gotham museum, and again in the "Joker" (2019) movie hanging in smaller form in the Joker's apartment.


title: The Blue Boy

text: In the movie "Ghostbusters 2" (1989), the character Janosz Poha contrasts a large portrait of the fictional 16th-century sorcerer Vigo the Carpathian with Gainsborough's Blue Boy.


title: The Blue Boy

text: "The Blue Boy" inspired pop artist Robert Rauschenberg to pursue a painting career. It is often paired with a painting by Thomas Lawrence called "Pinkie" that sits opposite to it at the Huntington Library.