title: Norman Osborn

text: For a time, Osborn retires his costumed persona and uses a stand-in so as not to be suspected of being the Green Goblin. This fifth Goblin kidnaps Norman's grandson and clashes with the wanted and injured Spider-Man. Norman also crosses paths with Roderick Kingsley and initiates a hostile takeover of Kingsley's corporate empire, in retaliation for raiding the Goblin's arsenal and identity. While his stand-in is masquerading as the Goblin, Osborn joins a cult, hoping to receive great power from the 'Gathering of Five', which will grant the participants Power, Knowledge, Immortality, Madness or Death, but while he believes that he will receive Power, he is instead given Madness, which worsens his already mental instability, and threatens the world with genetic bombs. It is during this time that Peter learns May is alive and Osborn's actress died in May's place. Osborn's complete madness is evident, as he hallucinates unmasking and killing Peter; yet in reality Peter easily defeats him. He is rescued from custody thereafter by his cabal of henchmen.


title: Norman Osborn

text: A few months later, the highly unstable Osborn has partially regained his sanity with the help of anti-psychotic drugs. He comes to see Parker as the son he had always wanted and attempts to have Parker take on the Green Goblin mantle using physiological torture, but ultimately fails. Osborn's next plan involves using Flash Thompson drive drunk a truck into Midtown High School, resulting in an accident that causes Thompson brain damage. This successfully enrages Parker into what Osborn anticipates will be a climactic battle. During this confrontation, the emotionally weary Parker tells Osborn of being tired of their constant battle, and declares a truce.


title: Norman Osborn

text: Osborn's Goblin identity is revealed to the public once again through an investigation by Jessica Jones, after Osborn murders one of the reporters from the "Daily Bugle". After a battle with Spider-Man and Luke Cage, Osborn is arrested and sent to prison for the first time. However, things were far from over. From behind bars, Osborn again masterminded a plan against Spider-Man. This time, he has MacDonald "Mac" Gargan as Scorpion kidnap May. The plan was for Spider-Man to break Osborn out of prison in exchange for Parker's aunt's life. Peter reluctantly agreed and with the help of the Black Cat proceeded to break Osborn out, only to have twelve of his greatest enemies waiting on the outside.


title: Norman Osborn

text: Osborn had assembled a team of supervillains. However, Mary Jane Watson had contacted S.H.I.E.L.D., and the villains were faced not only by Spider-Man, but the combined might of Captain America, Iron Man, Yellowjacket, Daredevil and the Fantastic Four. During the fracas, the Goblin manages to escape and kidnap Mary Jane, taking Peter's love interest to the George Washington Bridge in order to replay the murder of the last love interest. However, Doctor Octopus intervenes, attacking the Goblin. Spider-Man is able to save Mary Jane after a bolt of lightning sends the two villains into the river. Following some verbal clues from the Goblin, Peter also discovers where he had hidden May, and rescues the latter as well. It is revealed that Osborn sent Peter a letter before the fight, thanking Peter for giving his life meaning and purpose, but Peter never received the letter due to moving to a different residence.


title: Norman Osborn

text: Years after Gwen's death, it is revealed that Osborn had a one-night stand with Gwen, which led to Gwen's pregnancy with his illegitimate twin children. Osborn thus has three motives for killing Gwen; revenge against Spider-Man, to prevent Gwen from talking of their affair and creating a scandal, and to take their children to raise by himself, thus being his ideal heirs. Mary Jane was the only person who knew of their encounter and their children's existence prior to Gwen's death, despising Osborn for his immoral behaviors long before discovering he's the villainous Goblin. Gabriel and Sarah (who rapidly aged to adulthood years because of the Goblin formula in their genes) return to attack Peter as Osborn has the twins believe that Peter is the twins' father who abandoned the two and responsible for Gwen's death to which Peter learned the details of Gwen's past with Osborn and the twins from Mary Jane. Peter is able to convince Sarah of Osborn's villainy, the truth of Sarah's paternity and circumstances of Gwen's death, and stabilized the Goblin physiology with a blood transfusion due to Peter's blood type matching Sarah's. Meanwhile, Gabriel personally learns the truth of his relation to Osborn after watching a video message at one of the Goblin lairs, aligning with his father to stabilize his own condition using a variation of the Goblin formula at the cost of sanity. All of this was retconned during the "Sinister War" story-arc, when AI version of Harry Osborn's mind reveals that he masterminded a plan to get revenge of both his father and Peter Parker: he created the twins in a lab with the help of Mendel Stromm and he brainwashed Norman and Mary Jane Watson (thanks to Mysterio) into believing Gwen cheated on Peter with Osborn. The twins aged rapidly because of clonation issues (and not because of Osborn's Goblin Serum), but eventually got better just as Harry started to use them as soldiers for his war against Norman and Spider-Man.


title: Norman Osborn

text: Osborn attempts to distance himself from his Green Goblin persona after being prescribed medication for his mental state. During the "Civil War" over the Superhuman Registration Act, Osborn is appointed director of the Thunderbolts superhero team, now tasked to apprehend anyone who resists registering. While in this capacity, he directs the Thunderbolts to apprehend or kill Spider-Man, but after Mephisto , Harry Osborn is alive once more, and no one (including Norman) knows Spider-Man's secret identity. In the end, Spider-Man manages to evade this coordinated attack and escape.


title: Norman Osborn

text: During the "Secret Invasion" by shape-shifting extraterrestrials, the Skrulls, Osborn shoots and kills the Skrull queen Veranke. He leverages this widely publicized success, positioning himself as the new director of the S.H.I.E.L.D.-like paramilitary force H.A.M.M.E.R. to advance his agenda, while using his public image to start his own Dark Avengers, substituting Moonstone for Ms. Marvel, Bullseye for Hawkeye, Gargan for Spider-Man, Daken for Wolverine and Noh-Varr for Captain Marvel, as well as manipulating Ares and the Sentry into helping to further his cause. Osborn himself leads the Dark Avengers as the Iron Patriot, a suit of armor fashioned by himself after Iron Man's armor with Captain America's colors. Osborn simultaneously forms the Cabal alliance with Doctor Doom, Emma Frost, Namor, Loki and the Hood, but this 'alliance' quickly falls apart when Namor and Frost betray the Cabal to aid the X-Men. Norman's attempts to exert his authority are increasingly jeopardized by various superheroes. After the Superhuman Registration Act records are deleted so that Osborn has no access to the information recorded about heroes after it was implemented, Osborn attacked the brain-damaged Tony Stark, thus showing Osborn brutally assaulting a physically and mentally incapable individual that was not even attempting to strike back. After the New Avengers are forced to allow Osborn to capture Cage when needing medical treatment, the team uses a tracking device Osborn had planted in Luke to trick him into blowing up his own house after rescuing Cage from Osborn's custody.


title: Norman Osborn

text: Harry is approached by Norman with the offer of a job within the Dark Avengers. Norman welcomes Harry into Avengers Tower, wanting to make his son into the American Son. When Harry finds a cure for Lily Hollister's Goblin condition for their baby's safety, Lily reveals that it is a ruse to coerce Harry into taking the American Son armor, whom Norman had plotted would die in a tragedy to increase sympathy for Norman and his Dark Avengers. When Lily also reveals that the baby is not Harry's but in fact Norman's, Harry dons his American Son armor, and fights Norman in his Iron Patriot armor. During the battle, Norman declares that Harry is no longer his son, and that he has bred a better child to replace the 'failure' of Harry. After further taunts from Norman, Harry lashes out and defeats his father, declaring "I was never your son!". When Harry has the option of killing Norman, Spider-Man says to decapitate him, since Norman's healing factor may repair a blow to the head. Spider-Man also cautions Harry that killing Norman will cause Harry to "become the son Norman always wanted". Harry instead backs down, and turns away from his father forever.


title: Norman Osborn

text: At Loki's suggestion, Osborn creates a rationale to invade Asgard, claiming the world (which was, at the time, positioned at the outskirts of Broxton, Oklahoma) poses a national security threat, by sending the U-Foes to attack Volstagg in Chicago, leading to the destruction of Soldier Field. During a pitched battle with several superheroes, Sentry causes Thor's world to fall to Earth. Osborn fights with the recently resurrected Steve Rogers, however, Stark removes Osborn's Iron Patriot armor remotely, revealing Osborn used green facepaint to create a goblin-like look. Osborn screams that the Avengers do not know what they have done, only for Spider-Man to knock him down. He tells them they are all dead as the Void is released. Osborn knocks out Rogers and tries to escape, but is captured by Volstagg. Incarcerated in the Raft penitentiary, he blames his Goblin alter-ego for ruining his chance to protect the world.


title: Norman Osborn

text: When transferred to a secret underwater government base, Osborn takes steps to ensure his release from prison. He uses a group of followers known as the "Green Goblin Cult" to break out with the aid of corrupt senators; he plans to turn himself in after killing his fellow escapees, setting him up as a 'champion' of the judicial system. After the breakout, he awaits his trial in a new prison, this one controlled by his cult members. Using his staged persona as a voice for the 'disenfranchised', Osborn plans to regain the Iron Patriot armor and creates a new team of Dark Avengers, this time substituting June Covington for Scarlet Witch, Ai Apaec for Spider-Man, Barney Barton for Hawkeye, Skaar for Hulk, Superia for Ms. Marvel, Gorgon for Wolverine and the A.I.M.-rebuilt Ragnarok for Thor. In the team's first fight with the New Avengers, Osborn reveals himself as the Super-Adaptoid, declares himself the head of world security, and orders that the Avengers be arrested for war crimes. However, double agent Skaar betrays Osborn, allowing the Avengers to dogpile Osborn's body, overloading him with superpowers and sending him into a coma. A.I.M. and HYDRA pick up Osborn's leftover resources, and H.A.M.M.E.R. is disbanded. After the Hobgoblin returns to New York, a nurse and doctor are called to Norman's hospital room, only to find him gone.


title: Norman Osborn

text: When the children that work for the Vulture are discussing what to do after Superior Spider-Man (Otto Octavius's mind in Spider-Man's body) brutally defeats the Vulture, the Green Goblin approaches and tells the group that he will be the one that crushes Superior Spider-Man. The Goblin is later shown having gathered a new gang of followers together in the sewers formed from discarded members of other villains' gangs like Vulture, Owl, and the third White Dragon's gangs. These henchmen escaped their organizations unharmed because Superior Spider-Man is more focused on the larger threats (where the original Spider-Man would focus on individuals).


title: Norman Osborn

text: As he builds this army to attack Superior Spider-Man, he takes on the new alias of the Goblin King. The Hand ninjas who evaded capture arrive at the sewers and join up with the Goblin Nation. The group reveals in the news that, thanks to Superior Spider-Man's assault, Osborn now owns over half of New York's organized crime. He claims he now owns New York City as the Goblin Kingpin of Crime. With Menace's help, Osborn later releases Phil Urich from a prison transport and upgrades Urich's Goblin armor and weapons, asking in return only that Urich's only identity from here on shall be Goblin Knight. Osborn trains Goblin Knight, anxious to confront Superior Spider-Man. Osborn later poses as the Hobgoblin and is sighted by some of the Spiderlings.


title: Norman Osborn

text: Upon Carlie Cooper being brought to his lair by Menace, he receives Carlie's journal from Menace which reveals to him that Otto's mind is in Spider-Man's body. Osborn douses Carlie with the Goblin formula, causing the woman to mutate into the new superhuman villain Monster. He demands to know Spider-Man's identity, but Monster first asks the Goblin to reveal his own identity. He assures Monster that he is Norman, but refuses to remove his Goblin mask until Carlie has proven a loyal follower and dispatches Monster and Menace on a mission. Osborn battles and kills Hobgoblin, although it is revealed to be a servant with Kingsley still in hiding abroad which Goblin Knight discovers.


title: Norman Osborn

text: Having staged a coup of New York after spreading his resources by exploiting Otto's reliance on technology, Osborn directly confronts Superior Spider-Man, angry that he was cheated out of the opportunity to defeat his enemy, but offering Otto the chance to join him and Otto rejects the offer. When Otto finds being unable to win against Osborn's resources, having had various allies abandoned, and with faith in his own abilities gone, Otto sacrifices himself to restore the original Spider-Man's mind in order to save Anna Maria Marconi. When Spider-Man arrives for the final confrontation, Osborn quickly realizes that the original personality is back in control when Spider-Man responds to his nemesis' taunts with his own wisecracks. In the duel that follows, Spider-Man unmasks Osborn, learning that he has undergone plastic surgery to change his appearance, acting as Alchemax's CEO and intending to re-establish himself as businessman Mason Banks, now that his true likeness is too publicly known as a supervillain. Spider-Man defeats and strips the villain's powers with Otto's serum, but Norman manages to escape through Liz Allan's discreet aid. In hiding once again, he reflects that the various heroes will be unprepared for him when he returns with a new identity and approach as a businessman, seemingly no longer afflicted by the mental illness associated with the Goblin formula.


title: Norman Osborn

text: Osborn's Goblin King position was quickly usurped by Phil Urich. However, a mysterious man with a bandaged face is soon shown to be selling Goblin-based weaponry globally to attack Parker Industries. This man reveals himself to be Norman alive again post-Secret Wars and still planning on getting revenge on Spider-Man. He is revealed to have played a part in the recent coup of Symkaria. He restores a semblance of his original features via a twisted form of plastic surgery but which also resembles the Green Goblin's facets, and intends to release a modified version of the Goblin formula to turn the whole country into Goblin-powered soldiers programmed to be loyal to him.


title: Norman Osborn

text: However, in his final confrontation with Spider-Man, despite exposing his foe to a series of gases to temporarily neutralize all of his powers, and triggering an EMP to shut down all the gadgetry within his new Spider-armor, Spider-Man is still able to defeat Osborn as the two clash. Managing to escape while Peter is distracted, Osborn resolves to find a means of restoring his powers, concluding that he has only ever defeated Spider-Man when allowing himself to draw on his inner demons.


title: Norman Osborn

text: The apparent first step in this plan occurs with Osborn managing to steal the Carnage symbiote from an abandoned S.H.I.E.L.D. storehouse while Spider-Man is occupied with the return of Zodiac. Osborn's efforts to control the Carnage symbiote initially backfire when he merges with it and finds himself overwhelmed by the urge to kill rather than his own prior plan to direct its power against Spider-Man specifically, but he is able to convince it to let him have control in favor of trying something other than its usual mindless slaughter. While interrogating a captive Jameson for information on Spider-Man, Osborn takes a brief interval from the torture to kill the self-proclaimed Goblin King who tried to raid one of his old storehouses. After Osborn appeared as the Green Goblin, Jameson mentioned how he could not stop Spider-Man since even throwing Gwen off the bridge did not stop him from fighting back. Those words caused Norman to remember that Spider-Man is Peter Parker. Attacking the "Daily Bugle" in his familiar Goblin attire, Osborn gives the rest of the staff time to evacuate as he fights Peter before revealing his new bond with Carnage, proclaiming himself to be the Red Goblin, driving Spider-Man away with 'Carnage bombs' that injure his leg. Discovering a sound-transmitting spider-tracer planted on him, Osborn uses this to deliver a 'devil's bargain' to Peter; if Peter abandons the Spider-Man identity and never performs any further heroics, Osborn will leave Parker alone, but the second he sees any sign of Spider-Man's return, he will kill everyone in Peter's life. Peter places the Spider-Man top on a flagpole so that Osborn can see it burn but privately vows that he will find a way to defeat Osborn as Peter rather than Spider-Man. Peter is able to contact various allies like Human Torch, Clash, Silk, Miles Morales, and Agent Anti-Venom to watch over his loved ones. When Norman moves against the Osborns and proves immune to Carnage's traditional weaknesses of Human Torch's fire and Clash's sound devices, Peter is forced to step back into action despite the injured leg, with Agent Anti-Venom sacrificing a chance to get back into action himself to heal Spider-Man's injury as Osborn merges a part of the Carnage symbiote with his grandson Normie turning into a miniature version of Red Goblin.


title: Norman Osborn

text: Normie goes after May but she gets some unexpected help in the form of Superior Octopus and J. Jonah Jameson who uses an old Spider-Slayer, however, both are defeated by Norman. Soon afterward, Normie watches as his grandfather throws Liz through a window only to be rescued by Spider-Man which causes Normie to turn on Norman. Norman reveals to Spider-Man he infected some of Peter's friends and family with slivers of the Carnage symbiote which he could send to their brain to kill them. However, it turns out that Flash has figured out Spider-Man's secret identity too and went to May and Mary Jane in order to remove those ticking time bombs. Flash then takes the fight to Norman and while it appears as if he's gaining the upper hand, it turns out that Norman still has some Green Goblin tech beneath the Carnage symbiote and he uses that to electrocute Flash. Flash's injuries prove to be fatal and die in Spider-Man's arms. Spider-Man confronts Norman at Times Square as Red Goblin gains the upper hand. Peter manages to hold him off by pointing out that it's not the Goblin killing the Spider, but rather Carnage and Cletus Kasady. The villain is enraged by this and when Peter removes the Venom symbiote and to challenge him, Norman takes off the Carnage symbiote to reveal his old Green Goblin persona. Spider-Man manages to take his foe down and when the villain begs the Carnage symbiote to help him, the wall-crawler seemingly destroys it by hitting it with an exploding gas tank. However, the Carnage symbiote was attached to Norman when Peter destroyed it, and he wonders what sort of effect that might have had on his old foe's mind. Norman is last seen incarcerated at Ravencroft and believes that Spider-Man is Osborn and he is Kasady.


title: Norman Osborn

text: When Kasady starts hunting all former symbiote hosts to extract the samples of the symbiote codex left in them with the goal of awakening a symbiote god as seen in the "Absolute Carnage" storyline, Spider-Man and Venom attempt to retrieve Osborn from Ravencroft to test a machine that can extract the codex from former hosts, as the Maker is uncertain of potential side-effects. However, Carnage attacks Ravencroft as they attempt to retrieve Osborn, transforming most of the patients into his drone soldiers and turning Osborn into another version of Carnage due to him still believing himself to be Kasady. As Spider-Man works to keep Normie Osborn and Dylan Brock safe, a flashback showed that Kindred had visited Norman Osborn in Ravencroft. He quoted that Norman looked down on the citizens of New York from his tower and states that he could have his centipedes rip him apart if he wanted them to. Kindred even made a reference to how he appeared in Mary Jane's nightmares and how he would not be able to kill Spider-Man as Kindred states that he "already won a long time ago." Back in the present, Norman has defeated Spider-Man. In the rest of the flashback, Kindred sent one of his centipedes into Osborn's head in order to save him from himself. Back in the present, Osborn's Carnage form feels a scratching in his head as he tells Kindred to let him be the one to kill Spider-Man. He then turns his target towards Dylan Brock and Normie. Spider-Man gets to his feet and defeats Norman. As more of the flashback is shown, Kindred states to Norman that he will leave now and will return when Norman is himself again so that they can confront the truth together. As Kindred starts to leave, Norman's Kasady persona states to Kindred that he has a message for him from Norman who states that he is "so proud of him". Kindred takes his leave as Norman's Kasady breaks out in maniacal laughter. After the Grendel symbiote left Norman Osborn's body, Norman regained conscious and escaped during the final showdown with Carnage.


title: Norman Osborn

text: In the pages of "Ravencroft", Norman Osborn regained his sanity by blaming his actions on the Carnage symbiote to J.A.N.U.S. and became a consultant at Ravencroft at the behest of Mayor Wilson Fisk during its rebuilding. One of his assignments is to help John Jameson regain the ability to become Man-Wolf so that he can become an asset ranging from having Mister Hyde attack him to creating a clone of Ashley Kafka. In addition, Norman stole the Journal of Jonas Ravencroft to give to J.A.N.U.S. to use. When the Unwanted who lived beneath Ravencroft for years attacked, Norman succeeded in his goal to have John Jameson turn into Man-Wolf in order to fight the Unwanted. J.A.N.U.S.' leaders were pleased with Osborn's success enabling them to use the items in the basement.


title: Norman Osborn

text: During the "Sins Rising" arc, Mayor Wilson Fisk promoted Norman Osborn to becoming the director of Ravencroft where he found himself being targeted by a resurrected Sin-Eater. When Sin-Eater's army of followers attacked Ravencroft, Norman was rescued by Spider-Man. As Sin-Eater uses his abilities to steal the powers of Mister Negative to corrupt the guards, Norman takes Spider-Man to a bunker in his old cell and finds the items within them gone as the footage as he sees a corrupted Kafka be used to free Juggernaut so that he can steal his powers. Norman reveals that he was planning to use the weapons to counter Kindred who is after both of them. This leads to Norman removing a fake wall containing Green Goblin weaponry ready for combat. Using Juggernaut's powers, Sin-Eater and his followers pursue Spider-Man and Norman Osborn as the Order of the Web considers waiting for Sin-Eater to cleanse Norman Osborn before intervening. As Spider-Man and Norman Osborn escape underground, Sin-Eater catches up to them. As Spider-Man holds onto Sin-Eater to restrain him, Norman Osborn activates an EMP to liquefy the floor beneath them. After getting away, Norman tried to drown Spider-Man as he is saved by the Order of the Web. Upon identifying Ghost-Spider as an alternate version of Gwen Stacy and his plans to do what he did to the other Gwen Stacy, Spider-Man threw him out of the vehicle thery were in.


title: Norman Osborn

text: At the start of the "Last Remains" arc, Sin-Eater catches up to Norman Osborn and uses his gun to purge him of his sins. When Norman Osborn recovered, he was found by Kafka as most of Sin-Eater's followers are arrested. While mentioning that Ravencroft is in bad shape, Kafka is told by a remorseful Norman his suspicion that Kindred is Harry Osborn. Not wanting to give him to the police, Kafka brings Norman to her office where he confessed every bad thing that he has done in his life. When Norman still claims that Harry is Kindred and that he must find a way to stop him before he goes further down the path to vengeance, Kafka suggests to Norman that he should enlist someone who Harry would still listen to. When Mary Jane catches up to Norman Osborn and attacks him, Norman expressed his remorse for his sins that Sin-Eater purged him of which Ashley Kafka corroborated on. He claims to Mary Jane that Harry Osborn is Kindred to which Mary Jane claimed that she just saw Harry Osborn alive. It turns out that Norman Osborn faked being purged of his sins as seen when he meets up with Mayor Wilson Fisk and his men. Norman and Mayor Fisk work on a plan to dispose of Kindred for what he did to them. Norman Osborn contacts Mayor Wilson Fisk stating that Mary Jane Watson got through to Kindred. As Mary Jane offers her life in exchange for Kindred not killing the Order of the Web, Norman Osborn in his Green Goblin attire crashes the confrontation where he throws a Pumpkin Bomb near Mary Jane stating that the choice isn't Kindred's choice. Then Green Goblin gives Mayor Fisk the signal to activate the trap which causes the tomb to be engulfed by a supernatural darkness. Prior to the confrontation with Kindred, Norman Osborn spoke to Mayor Wilson Fisk about Project Blank which was inspired by the Darkforce Dome that Hydra used during their takeover of the United States. They enlisted Spot to power it. Back in the present, Mary Jane revealed to Spider-Man that the Pumpkin Bomb that was thrown was a flash bomb version as Green Goblin secretly quotes to Spider-Man to evacuated his allies while wearing his mask so that Mayor Fisk won't know his true identity. At Ravencroft, Kindred's Darkforce casing is being kept together by magic while monitored by Ravencroft's staff. After some persuasion to Mayor Fisk, Norman Osborn speaks to Kindred while mentioned that he was actually cleansed by Sin-Eater while voicing regret having birthed the sickness in Harry's mind. Planning to redeem the Osborn name, Norman states to Kindred that he will find the truth that he talked about. Spider-Man arrives stating to Norman that he would like to talk to him. Spider-Man states to Norman Osborn that whenever he is cured or rebounds, somebody always dies. Norman agrees with the question and states that he wants Spider-Man to help him keep Kindred from being harmed by Mayor Wilson Fisk. When Norman continues to ask for Spider-Man and Mary Jane's help, Spider-Man beats him up and then walks out.


title: Norman Osborn

text: "Sinister War" arc reveals just like Peter Parker, after Civil War I, but before him, Norman was also a victim of a devil's deal with Mephisto, and Osborn's descent into villainy is caused by his past deal with the latter, at the cost of original Harry's soul.


title: Norman Osborn

text: Norman Osborn was turned into the Green Goblin by a chemical solution he had devised based upon a formula originally conceived by Professor Mendel Stromm. The process granted Osborn superhuman strength, speed, reflexes, and stamina as well as a low-level rapid healing factor. In addition to these physical advantages, the serum also greatly enhanced Norman's already-above average intellect, making him a bona fide genius capable of making breakthroughs in advanced areas of genetics, robotics, engineering, physics and applied chemistry. The goblin formula is also said to have driven Osborn insane; defects in his personality were strongly augmented by the serum, resulting in dangerous mood-swings and hallucinations.


title: Norman Osborn

text: Following his confrontation with the returned Spider-Man after his campaign against Otto Octavius in Spider-Man's body, Osborn has been rid of the Goblin formula from his system and thus has lost his superhuman abilities, forcing him to rely on his intellect and other natural abilities. Otto's anti-serum also prevents Osborn's attempts of restoring his powers; ultimately he seeks to rid himself of it in hopes of having them again despite risking his health and sanity. Norman bonded to the Carnage symbiote to use to expel the anti-serum from his body which restores his former powers in the process, but once more at the cost of his mind. In addition, the Carnage symbiote eliminates his physical scars including his features'.


title: Norman Osborn

text: He has since claimed to have 'perfected' the formula so that it will grant the subjects powers while also reverting those he chooses to a more basic mentality where they will accept his orders.


title: Norman Osborn

text: The Green Goblin is armed with a variety of bizarre devices. He wears a green costume underneath bulletproof chainmail with an overlapping purple tunic. His mask has a built-in gas filter to keep him safe from his own gasses. The Green Goblin's trademark weapons are his pumpkin bombs and razor bats. As their name suggests, the bombs were designed with the appearance of jack-o'-lanterns. These varied in function from smoke bombs to traditional explosives, while the razor edged bat-shaped boomerangs-could cut through very durable surfaces and materials. The gloves of the Goblin uniform were fashioned with minuscule conductors that allowed for the release of electricity at nearly 10,000 amps of an undetermined voltage. Originally, Osborn used a mechanical broomstick to fly through the air during his first few exploits as the Green Goblin. The Flying Broomstick did not last long, however, and was improved upon, creating the Goblin Glider. The Goblin Glider was a more efficient flight system than Norman's Flying Broomstick. The Glider allowed the Goblin to carry a wide array of armaments, including heat-seeking and smart missiles, machine guns, extending blades, a flamethrower and a pumpkin bomb dispenser/launcher with him as he flew and had much greater speed and mobility than the Broomstick.


title: Norman Osborn

text: During the events of the "Dark Reign" storyline, Osborn created the Iron Patriot identity (an amalgam of Iron Man and Captain America) to cement his standing as a hero. As the Iron Patriot, he utilized an outdated version of Iron Man's armor painted in Captain America's colors. The armor featured superhuman strength, enhanced durability, flight, magnetic impact blasts, heat seeking missiles, miniaturized lasers, flamethrowers, and a communications system housed in his helmet which allowed him to interface with any U.S.-controlled satellite or computer network. While Iron Man's armor utilized repulsor technology, Osborn's design does not; all but one repulsor was destroyed as "Oz is too stupid" to make his own repulsor-based weapons system. Osborn's star shaped Uni Beam projector on his chest (because of its shape) also has a less powerful output.


title: Norman Osborn

text: Following his time in prison, A.I.M scientists converted Osborn into a Super-Adaptoid, capable of absorbing the abilities of any mutant, mutate, alien, android or other such superpowered being by touching them. In this form he possessed considerably increased strength and durability; where he was once approximately as strong as Spider-Man, he now possessed sufficient strength to overpower and throw Luke Cage a significant distance away from him. He could also levitate, and he was able to defeat the Vision in an aerial conflict between the two.


title: Norman Osborn

text: He is known to have absorbed the abilities of Luke Cage, Vision, Red Hulk and Protector, and it is suggested that he also absorbed the abilities of his current Dark Avengers. In his final form, his body grew to the Hulk's size, and like Hulk he was capable of creating shockwaves by hitting the ground or smashing his hands together. His durability was sufficient to withstand the combined attacks of all the Avengers, and he demonstrated remarkable healing abilities, recovering in seconds after Daisy Johnson used her powers to make his heart explode. He could also turn intangible by manipulating his density, as the Vision does.


title: Norman Osborn

text: However, Osborn had no control over his Super-Adaptoid abilities; he would automatically absorb the powers of any superhuman he touched, even if he did not consciously want to. He was also limited in how many powers his body could hold, as the A.I.M. scientists warned him that absorbing too many powers at once could overload his systems. In the end, he inadvertently absorbed the abilities of all the Avengers and New Avengers when they all touched him at once, and the unstable combination of their multiple different powers caused significant damage to his body chemistry, resulting in him going into a coma. After he regained consciousness, these powers were apparently burnt out, returning him to his Goblin-level strength instead.


title: Norman Osborn

text: After gaining control of the Carnage symbiote's desire for mindless slaughter, Osborn has used it to form a new attire in the form of the Red Goblin, which essentially resembles a red version of his Green Goblin outfit without the purple and green clothing, as well as a long tail and flaming breath. With the symbiote, he can create his own Goblin Glider and what he terms 'Carnage bombs', which are essentially pumpkin bombs that can actually talk to and bite their targets before exploding, as well as the Carnage symbiote's traditional enhancements. Due to the combination of the symbiote with the new Goblin formula injected into his system, Osborn is immune to the symbiote's traditional weaknesses of fire and sound, although the touch of Anti-Venom is still dangerous to him. He also revived its ability to spread its constituent matter to others.


title: Norman Osborn

text: Norman Osborn has consistently been depicted with several unusual weaknesses related to his psychosis and to his personality. He suffers from manic depression, has a pronounced narcissistic personality disorder co-morbid with severe anti-social psychopathic traits, and in some depictions, a form of dissociative identity disorder (DID). For some of his early appearances, he and the Goblin were separate personalities; his Goblin side disdaining his human weaknesses, while his Norman Osborn persona was primarily motivated by his concern for Harry. Although the stress caused by his son's failing health as Norman helped to provoke his transformation back into the Goblin, this supposedly separate and more compassionate side of him never reappeared after he was believed dead. Norman is also highly sadistic, showing a complete lack of empathy for the lives of innocent people who stand between him and his objectives. These weaknesses have often been referenced in stories featuring him and exploited by his enemies.


title: Norman Osborn

text: Norman Osborn is shown to be severely manic depressive. This has been referenced several times in a myriad of Spider-Man stories. When he is not under the direction of a psychiatrist and taking medication, he has dangerous mood swings. At the apex of his mania, he is paranoid, delusional, and suffers from visual and auditory hallucinations, including hearing the voice of his Green Goblin persona and seeing its face in the mirror rather than his own. Previously, Osborn's arrogance caused him to refuse to submit to psychiatric treatment unless forced to; he viewed mental illness as an imperfection and therefore would not admit that he is mentally ill. In later conversations with the Sentry, Osborn revealed that he had come to accept his own mental illness. After having rid of his powers after the confrontation with the Superior Spider-Man (Doctor Octopus), Osborn's sanity apparently restored but remains a villain.


title: Norman Osborn

text: Superhuman psychiatrist Leonard Samson says of Osborn: "In clinical terms, the words psychotic and psychopathic are far from synonymous... but in Norman Osborn's case, both apply. I'd characterise him as a bipolar psychotic with concurrent aspects of psychopathic megalomania and malignant narcissism. In layman's terms, a lethal cocktail of intersecting personality disorders that makes him one of the most dangerous human beings on the planet". There are many examples of Osborn's pronounced superiority complex, to the point that he will rarely, if ever, admit that he has made mistakes. He often transfers blame for his shortcomings to others or claims that he was better than he was; even before his accident, he spent more time providing Harry with gifts or outings rather than actually being there for his son or trying to listen to his problems, and nevertheless claims that he was still a good father, likely due to the abusive nature of his own father.


title: Norman Osborn

text: Having become the Goblin, he generally views other people as dim-witted pests, lacking in creative vision, unworthy to be graced by his presence. He goes out of his way to remind others of their personal failures and shortcomings and to remind those in close relationships with him, such as his son, that they are incapable of measuring up to his achievements. When he first learned Spider-Man's identity, he claimed that, when Spider-Man had defeated him in their previous battles, none of those victories counted because Spider-Man had only beaten his lackeys, or been rescued by the intervention of other super powered beings such as the Human Torch, despite the fact that he always departed the battles after Spider-Man's victories rather than trying to defeat his foe himself.


title: Norman Osborn

text: He also missed the opportunity to lead the original Sinister Six because he felt that joining the group would mean admitting he needed the help of others to rid himself of Spider-Man. Although he later formed the 'Sinister Twelve' when Spider-Man sent him to prison, he expressed anger at Mac Gargan for acquiring the Venom symbiote rather than using the new Scorpion suit provided for him simply because Gargan was not doing what he wanted, despite Venom being more powerful than the Scorpion. When he participated in the mystical ritual known as the Gathering of Five, he appeared convinced that he would automatically receive the gift of power from the ritual – which would bestow upon the participants power, immortality, knowledge, madness and death, respectively – only to receive the gift of madness instead, subsequently requiring an elaborate cocktail of drugs to restore himself to a semblance of sanity. During his time in charge of H.A.M.M.E.R. he was provoked into attacking Asgard by his Goblin side because his ego couldn't allow himself to consider the possibility that the Asgardians "wouldn't" threaten his power. Later events revealed that Loki at least slightly influenced Osborn's decision to further Loki's own goals. During his attempted takeover of Earth's superhuman security defenses, he was shown reflecting that humans are all barbarians who require the strong like him to control them, dismissing the Avengers as no better than him despite the obvious distinction between Osborn's demands for power and the straightforward respect that the general public have for the Avengers.


title: Norman Osborn

text: It has been shown that since having suppressed the rampaging Green Goblin personality and becoming the more dominant personality, Osborn has proven to be just as (if not more) evil and cruel. Osborn has demonstrated a high degree of sadism: while in prison, a guard once asked him for his advice in helping his critically ill wife; Osborn's advice led her to a quicker and more agonizing death. As director of H.A.M.M.E.R., he directed his officers to shoot down an airplane full of innocent people just to see whether his enemy Pepper Potts was powerful enough to rescue the passengers with her Rescue armor. His Goblin persona vied for control of his body, as depicted in the January 2010 issue of "Dark Avengers", where he is shown writhing on the floor and imploring, apparently to himself, "Why won't this face come off...?", and finally took over when Osborn's Iron Patriot armor was defeated by Captain America and Iron Man at the end of the "Siege" arc. Since being cured of the Goblin formula, Osborn claims that his sanity has also been restored. However, he has expressed satisfaction at plastic surgery that 'restored' him to a twisted version of his original features, and intended to use a modified version of the formula to essentially 'infect' the entire country of Symkaria to become goblin-level soldiers without the intellectual capacity to defy him.


title: Norman Osborn

text: A number of alternate universes in Marvel Comics publications allow writers to introduce variations on Osborn, in which the character's origins, behavior, and morality differ from the mainstream setting. Marvel 2099 depicts the Goblin as a radical trickster who wants to prove that Spider-Man (Miguel O'Hara) is in the pay of a megacorp. He has bat-like glider-wings and a bag of "tricks", similar to the 20th century version. He also has the ability to project illusions. In Earth X, Osborn's business ventures have completely taken over the United States. Citizens work in his businesses, shop in his stores and eat his food and is partially responsible for the deaths of the Avengers as he sent them to battle a now Super Intelligent Absorbing Man. In the Marvel Noir universe, Osborn is a former circus freak who was mistreated from the audience for his reptile-like skin disorder. This fueled his ambitions in earning his "respect" by becoming the major Crime Lord in New York. The Ultimate Marvel version of the character was an industrialist and scientist who is trying to perfect the Super Soldier drug for S.H.I.E.L.D., an obsession that leads to the neglect of his wife and son.


title: Norman Osborn

text: In the "" Pocket Universe, Norman Osborne appears as a major villain, attempting to find "the Source", which is guarded by the Natives of Roanoke Island, and utilize it to gain unimaginable power; to achieve his goal, Osborne allies with King James I of England and makes several attempts to create conflict between his fellow American colonists and the Natives. Ultimately, Osborne is captured and imprisoned in stocks after peace between the colonists and Natives resumes and the English are forced from America.


title: Norman Osborn

text: In "Spider-Man: 1602", Osborne has been released from the stocks, and is now harbourmaster of Roanoke. When Peter Parquagh and Virginia Dare find evidence he is plotting against the natives again, he kills Virginia and exposes Peter's secret identity as The Spider. He is sentenced to be sent back to England, where capital punishment is still practiced. When the "Mayflower" is attacked by the pirate Wilson Fisk, Osborne's cell is hit by a cannonball. Covered in gangrenous wounds, his sentence is abandoned since he is not expected to live long enough to stand trial in England. He contacts the natural philosopher Henri Le Pym, asking to be cured in return for helping Pym acquire some of Peter's blood for his experiments.


title: Norman Osborn

text: Le Pym's attempts to cure Osborne mutate him into a winged, green-skinned creature, and he uses these powers to capture Parquagh. During his final battle with Parquagh (in which Osborne uses exploding spherical vials as projectiles in combat) he is killed by a crossbow bolt fired by Fisk's first mate, the Bull's Eye, who has also been hunting Parquagh.


title: Norman Osborn

text: In the "Age of Apocalypse" reality, Norman Osborn, known as Red, is a terrorist traitor to the human race, a member of Apocalypse's Marauders along with Dirigible, the Owl and Arcade. Red, along with the rest of the Marauders, is eventually killed by Clint Barton and Gwen Stacy.


title: Norman Osborn

text: In the Amalgam Comics continuity, Green Goblin was combined with DC's Two-Face to create the Two-Faced Goblin (Harvey Osborn). He originally looked like the Green Goblin when in costume and had Two-Face's half-scarred face under his Goblin mask, but in "Dark Claw Adventures" #1, he was given a different design with a glider that looked like a giant coin.


title: Norman Osborn

text: In the alternative future of Earth X, Norman Osborn's business ventures have completely taken over the United States. Citizens work in his businesses, shop in his stores and eat his food. Norman is the prime economic power and de facto ruler of the country. The Terrigen Mists have shaped his face into a saner version of his Goblin mask. He is partially responsible for the deaths of the Avengers as he sent them to battle a now Super Intelligent Absorbing Man. The Enforcers and The Vulture seem to serve as his secret service. He is later used as a pawn for the Red Skull, until Spiders Man makes him think he's with Gwen Stacy (in reality the Red Skull) who shoves him out the window where his foot catches on a flag and his neck snaps similar to how Gwen died. Unaware of the irony, Skull orders his corpse be brought back up so he can push him out again, just so he can make a "splat" sound.


title: Norman Osborn

text: In the "New Exiles" comic series, Norman Osborn of Earth-812145 of the Marvel Universe is an insane criminal called The Gold Goblin. The Gold Goblin was stopped by the Exiles after he began to wreak havoc on his home world.


title: Norman Osborn

text: An unidentified version of Norman Osborn operates as the Ghost Goblin where he possesses powers similar to Ghost Rider and throws flaming noggin bombs that are in the shape of a skull. He appears as a member of the Multiversal Masters of Evil. He accompanied Black Skull in attacking Captain America and Captain Marvel until Star Brand matures and drives them off.


title: Norman Osborn

text: At the time when Robbie Reyes and his Deathlok companion were apprehended by Black Skull's forces on Earth-818, Ghost Goblin visited Black Skull where they mentioned that they never saw a Ghost Rider ride a car before. This led to Black Skull's latest torture by having him kill whatever Robbie Reyes variants they can apprehend.


title: Norman Osborn

text: Ghost Goblin was present when the Multiversal Masters of Evil take over another world while planning to return to Earth-616. Just then, Ghost Rider shows up where he subdues Black Skull and King Killmonger. Ghost Goblin engages Ghost Rider next as his noggin bombs identify him as the All-Rider. Ghost Goblin is defeated. After Deathlok sacrifices his life so that Ant-Man of Earth-818 can get away, Doom Supreme states to the Multiversal Masters of Evil that he knows where they are going and that they should regroup. Ghost Goblin states that he should work on regaining his original size. Doom Supreme then states to the Multiversal Masters of Evil that they will commit one more slaughter at the specific loation before they return to Earth-616 as Doom Supreme vows to them that "No Avenger gets out alive".


title: Norman Osborn

text: Ghost Goblin was with the Multiversal Masters of Evil when they returned to Earth-616. He fights against Nighthawk and the Prehistoric Ghost Rider. During the fight, Ghost Goblin is depowered by the Prehistoric Ghost Rider who then kills him.


title: Norman Osborn

text: In an alternate reality depicted in the 2021 "Heroes Reborn" miniseries, Norman Osborn operates as the Goblin, has Deadpool as a sidekick, and serves as Nighthawk's arch-nemesis. Years prior, Goblin killed Nighthawk's sidekick, Falcon, by throwing him off of the Chesapeake Bay Bridge in a similar fashion to Gwen Stacy's death in the main continuity. In the present, the Goblin orchestrates a prison break at Ravencroft Asylum to lure in Nighthawk and have the hero's partner, Dr. Gwen Stacy / Night-Gwen, kill him after exposing her to Goblin Gas. While Nighthawk saves Gwen and spares the Goblin, the villain commits suicide, revealing how the world has changed to Nighthawk.


title: Norman Osborn

text: During the "Infinity Wars" storyline, when the universe was folded, Norman Osborn got fused with Jack Russell to create Goblin by Night. Norman Russell was cursed to be the Goblin by Night and killed Ben Spector, May Spector, and nearly killed Peter Spector leaving Peter to become ArachKnight. During a battle with Peter, Norman was injured and was saved by his son, Harry Russell. While Harry was taking care of his father, Norman lost control and bit Harry, passing the curse to him. Harry now as the new Goblin by Night, starts using the Glider that Peter built for him prior to becoming the Goblin, leaving Norman free from the curse and being forgiven by Peter and decide to find a way to cure Harry.


title: Norman Osborn

text: In "Spider-Man Fairy Tales" #1 (an adaptation of "Little Red Riding Hood") Osborn makes an appearance as one of the woodsmen in the employ of Jameson alongside Peter and Thompson. Norman Osborn and Harry Osborn also appear in issue four of "Spider-Man Fairy Tales", a gender-swapped retelling of the story of Cinderella. Norman is the cruel guardian of Peter Parker, and his coat of arms and armor have a goblin/pumpkin motif.


title: Norman Osborn

text: In the Marvel Noir universe, Norman Osborn is a former circus freak who was mistreated by the audience for his reptile-like skin disorder. This fueled his ambitions in earning his "respect" by becoming the major Crime Lord in New York. He used a mask to hide his true appearance. Earning the name "the Goblin", he organized his group composing of former circus and carnival freak shows: Kraven the Hunter, Adrian Toomes, and Chameleon.


title: Norman Osborn

text: The Goblin's reputation earned him as a freelancer from among New York City's politicians and businessmen in hired to commit illegal acts such as suppressing public protests and even acts of assassinations on public objectors. These actions eventually caused him to come into conflict with Spider-Man after he order The Vulture to kill the vigilante's uncle. Later, reporter Ben Urich became a problem for Norman, so the mob boss sent The Chameleon dressed as J. Jonah Jameson to kill him as Osborn kidnapped the real one. After murdering Urich, the Chameleon was killed by Felicia Hardy.


title: Norman Osborn

text: The Goblin then took Felicia to one of his hideouts, only for Spider-Man track him down. Norman escaped to the sewers with Hardy as Spider-Man was fighting Osborn's thugs. During the battle, Kraven (one of the thugs) hit a glass full of spiders, causing the animals to fall on him. Spider-Man then saved Jameson and went after Osborn. New York City's vigilante and its main mob boss fought until each one of them got unmasked, Spider-Man was revealed to be Peter Parker and Osborn reveals his green and scaled skin to him. Parker decides not to kill Norman, however a spider-infested Kraven then shows up and attacks Osborn, apparently killing him.


title: Norman Osborn

text: In the "Marvel Zombies" universe, a zombified Green Goblin appears attacking Galactus alongside several other undead supervillains. Also in "Marvel Zombies: Dead Days", the zombified Green Goblin, alongside several other undead Spider-Man villains, appears to attack Wolverine and Magneto as the two are saving innocent civilians from zombies. An alternative version of the Green Goblin was also infected by a zombified Spider-Man, causing him to "participate" with other zombie members of the Sinister 6 into devouring Peter's friends. Grieving, dumb, angered, and devastated, the Zombie Spider-Man obliterates him along with the other undead Sinister 6 members.


title: Norman Osborn

text: In the MC2 universe, Norman Osborn is very much the same character from his 1996-1999 portion of the original 616 timeline, only in this universe, he abducts Peter's daughter Mayday Parker and leaves her in the care of Allison Mongraine. However, Peter's wayward original clone Kaine, along with a remorseful Mongraine, returns baby May to the Parkers.


title: Norman Osborn

text: Two years later, Norman would attempt to gain incredible power through the Gathering of Five, but in a final battle with Spider-Man, Osborn is slain in an explosion that also severely injures Peter, costing him one of his legs.


title: Norman Osborn

text: After discovering a living twin of May Parker (kept in suspended animation) among his grandfather's possessions, Normie Osborn wondered whether it was a clone or whether the original Goblin had put the real May in suspended animation and arranged for her parents to receive a clone of May to raise. He visited Élan in prison and questioned her about this, but she refused to say anything. She was then later broken out of jail by an unknown benefactor, then she released the clone May on to the world and towards the original May. She also had Peter Parker kidnapped and brainwashed into thinking he was Norman Osborn. The brainwashed Peter joins with the May clone, who is half symbiote, and becomes the Goblin God. It is through this brainwashing that Norman Osborn's consciousness resurfaces.


title: Norman Osborn

text: In a psychic duel, Peter, Mayday, the clone and the spirit of Aunt May defeated Norman's psychic representation, which in turn cured Peter of his condition, ending Osborn's threat yet again.


title: Norman Osborn

text: In "The Amazing Spider-Man" newspaper strip by Stan Lee and Larry Lieber a brief flashback showed Spider-Man fighting the Green Goblin, designed similarly to the version in the Sam Raimi Spider-Man films, to save Mary Jane.


title: Norman Osborn

text: A later story showing Harry Osborn as the Hobgoblin flashed back to Norman Osborn's death in a battle against Spider-Man and showed Harry's realization that his father was the murderous Green Goblin.


title: Norman Osborn

text: On Earth-807128, Mysterio used an illusion of Green Goblin and other villains to trick Wolverine into killing the X-Men. There is also a location on the map in Ohio called Osborn City.


title: Norman Osborn

text: In the pages of "Old Man Logan" that takes place on Earth-21923, the illusion of Norman Osborn remains intact and that he also fought Spider-Man during the Battle of New York. In the pages of "Avengers of the Wastelands", it was revealed that Green Goblin rules a location in Ohio called Osborn City. When Danielle Cage's group arrive in Osborn Country, Green Goblin led Absorbing Man, Enchantress, MODOK, Shocker, and Wild Child in attacking them. While Viv Vision killed MODOK, Dwight Barrett used his Ant-Man helmet to summon a swarm of insects that kill Green Goblin and the villains with him.


title: Norman Osborn

text: In the retelling of the Clone Saga by Tom DeFalco, Norman did not survive his battle with Spider-Man following the death of Gwen Stacy. The Jackal plans to clone him as a plot to torment Ben Reilly and Peter Parker (though they are not aware of this) before he is murdered by Kaine. However, Harry Osborn, who is still alive in this reality, manages to obtain the clone pod and releases Norman. This clone is quite sane due to never being exposed to the goblin formula, and he makes repeated efforts to convince his insane son to stop his maniacal plans. He ultimately sacrifices himself to save the Parkers and baby May from Harry, who swears vengeance.


title: Norman Osborn

text: features an alternate continuity where the characters naturally age when Peter debuted as Spider-Man in 1962. In 1966, Osborn loses his memories as the Green Goblin shortly after a fight with Spider-Man. While initially fearful of Osborn getting his memory back and revealing his secret identity, Peter later gives an anonymous tip to the police to get Osborn arrested and prevent the Green Goblin from hurting anyone.


title: Norman Osborn

text: In 1977, the still imprisoned Norman convinces Harry to suit up as the Black Goblin to steal "The Gemini Project" from Miles Warren, which is revealed to be a clone of himself. Harry discovers that Miles also cloned Peter and Gwen Stacy and deduces that Norman cloned Peter because he still considered Peter the more worthy heir. After Peter convinces Harry of his father's manipulations, Harry blows up the containment tubes the clones were in, killing all of them except for Peter's clone. However, Miles reveals that the Gwen in the containment tube was actually the real Gwen.


title: Norman Osborn

text: Norman is eventually released from prison and feigns his old age affecting his mental state before disappearing from the public. In 1995, he reveals Spider-Man's secret identity and information about his clone Ben Reilly to Doctor Octopus, who kidnaps them and threatens Harry into using Oscorp technology to study a way to clone himself. In the process, he discovers that Peter is supposedly the clone while Ben is the original. In the ensuing chaos, Doctor Octopus kills Harry after attempting to kill Peter and Ben. Peter allows Ben to take over his life in New York before tracking down Norman to an industrial area in New Jersey with Jessica Jones' help. Peter reveals he kept tabs on Norman after he was released from prison and knew Norman rigged the machines to trick Peter into thinking he was the clone. After learning of Harry's death from Peter, Norman blames Peter for the incident and tries to attack him, but then dies of a heart attack cursing Spider-Man.


title: Norman Osborn

text: The "Spider-Man Unlimited" comics that tie in with the series depict the Green Goblin's first encounter with Spider-Man, and their rescue of several Beastials and humans from Venom and Carnage's clutches. Later, the Goblin helps Spider-Man look in the sewers for the missing people that were kidnapped by an octopus-like creature. They fight the creature that took them to a place called "Heaven" where they were taken hostage by the villagers, but were rescued by a Counter-Earth version of Gwen Stacy that lived in this village.


title: Norman Osborn

text: The Ultimate Marvel version of Norman Osborn is a corrupt industrialist and scientist who is trying to perfect the Super Soldier drug for S.H.I.E.L.D., an obsession that leads to the neglect of his wife Martha Osborn and son Harry Osborn. When an OZ-injected spider bites Peter Parker on a field trip, and develops amazing abilities, Norman theorizes that if the OZ combined with spider DNA were behind Parker's abilities of a spider, then Norman with OZ combined with his "own" DNA would become a heightened version of himself. But his experiment goes wrong, and he himself is transformed into a muscular, grotesque, goblin-looking monster, granting him superhuman strength, reflexes, stamina, speed and durability, and enabling him to leap great distances. He is also pyrokinetic, as he can throw flaming balls of destructive energy. His alter-ego is later referred to as the "Green Goblin" by the public.


title: Norman Osborn

text: In Peter Porker the Spectacular Spider-Ham, Norman Osborn is a turkey and enemy to Spider-Ham calling himself the Green Gobbler.


title: Norman Osborn

text: Comics journalist and historian Mike Conroy writes of the character: "Of all the costumed villains who've plagued Spider-Man over the years, the most flat-out unhinged and terrifying of them all is the Green Goblin."


title: Norman Osborn

text: IGN ranked Norman as the thirteenth greatest comic book villain of all time being the seventh highest Marvel Comics supervillain on the list. They referenced storylines such as "The Night Gwen Stacy Died" and "Dark Reign" saga as one of his most prominent roles. While an ongoing comic book storyline during the time of the list, they praised his depiction in the "Dark Reign" saga stating that while he was once a great villain in his Green Goblin persona, he evolved past that when briefly being successful taking over S.H.I.E.L.D. and the Avengers on his own without the Green Goblin persona. IGN then ranked Osborn as the 13th greatest Marvel Comics supervillain in 2014. Stating that "no villain has taken so much from Peter Parker or left such a lasting impact on his life". IGN also ranked him as twenty fourth on their top 100 villains list in 2016 being the third highest Marvel Comics supervillain on the list after Magneto and Doctor Doom and the fifth highest comic book supervillain with DC Comics supervillains Joker and Lex Luthor being the only other higher ranked. IGN ranked him as the second greatest Spider-Man villain in 2014 only behind Doctor Octopus. His rivalry with Spider-Man is listed as the second greatest archenemies in comics.


title: Norman Osborn

text: "Wizard" magazine also ranked Norman's Green Goblin persona as the nineteenth greatest villain of all time with Galactus, Magneto and Doctor Doom being the only Marvel Comics characters higher on the list. They also placed him twenty eighth on the greatest comic book character list being the fifth highest supervillain only lower than Doctor Doom, Magneto, Joker and Luthor. "Newsarama" placed the Green Goblin as the second greatest Spider-Man villain of all time in 2017 behind Doctor Octopus. "CollegeHumor" ranked him as the fourteenth greatest comic book villain of all-time. "Complex" ranked him as seventh in the 100 greatest comic book villains of all time. WhatCulture named him as the seventeenth greatest comic book villains of all time. "Screen Rant" named him as the second best Spider-Man villain of all-time. Comicbook.com placed the character debut in the third place as the best Spider-Man villain. "GamesRadar" ranked him as the third in the top 50 greatest Spider-Man villains. ComicsAlliance ranked him as the number one greatest Spider-Man villain.


title: Norman Osborn

text: In 2020, "CBR.com" included Red Goblin in their "Spider-Man: The Best New Villains of the Century" list.


title: Norman Osborn

text: In 2020, "CBR.com" ranked Norman Osborn 1st in their "Marvel: Dark Spider-Man Villains, Ranked From Lamest To Coolest" list.


title: Norman Osborn

text: In 2022, "Screen Rant" ranked Red Goblin in their "10 Most Powerful Silk Villains In Marvel Comics" list.


title: Norman Osborn

text: In 2022, "Screen Rant" ranked Green Goblin 3rd in their "10 Most Powerful Silk Villains In Marvel Comics" list.


title: Norman Osborn

text: Norman Osborn has appeared in comics, cartoons, films, video games, coloring books, novels, records, and children's books. Osborn also appeared in other print forms besides the comics, including novels, children's books, and the daily newspaper comic strip "The Amazing Spider-Man", which debuted in January 1977, with the earliest installments written by Stan Lee and drawn by John Romita, Sr. Osborn has been adapted to other media including games, toys, collectibles, and miscellaneous memorabilia, and has appeared as the main character in numerous computer and video games on over 15 gaming platforms.


title: Norman Osborn

text: In television, he first was featured in the ABC animated series "Spider-Man" (1967–1970) and later on other animated series featuring the superhero include the syndicated "Spider-Man" (1981–1982), "Spider-Man and His Amazing Friends" (1981–1983), Fox Kids' "Spider-Man" (1994–1998), "Spider-Man Unlimited" (1999–2000), "" (2003), "The Spectacular Spider-Man" (2008–2009), "Ultimate Spider-Man" (2012–2017), "" (2014–2015), and "Spider-Man" (2017–present). Osborn will also appear in the upcoming series "" (2024), which is part of the Marvel Cinematic Universe (MCU) franchise.


title: Norman Osborn

text: Norman was featured in a trilogy of live-action films directed by Sam Raimi and played by Willem Dafoe. He was the main antagonist in the first film (2002), and later made cameo appearances in "Spider-Man 2" (2004) and "Spider-Man 3" (2007) as a hallucination. Marc Webb's "The Amazing Spider-Man" film reboot (2012) featured many references to the character who appeared in the sequel "The Amazing Spider-Man 2" (2014) portrayed by Chris Cooper. Dafoe reprised the role, again as the main antagonist, in the Marvel Cinematic Universe film "" (2021).


title: Norman Osborn

text: Osborn was one of the characters portrayed in the 1987 live adaptation of Spider-Man's wedding at Shea Stadium. Osborn appeared as the main antagonist in the Broadway musical "", began previews on November 14, 2010 at the Foxwoods Theatre on Broadway, with the official opening night on June 14, 2011. He also appears in the 2014 "Marvel Universe Live!" stage show.


title: Dancehall

text: Dancehall is a genre of Jamaican popular music that originated in the late 1970s. Initially, dancehall was a more sparse version of reggae than the roots style, which had dominated much of the 1970s. In the mid-1980s, digital instrumentation became more prevalent, changing the sound considerably, with digital dancehall (or "ragga") becoming increasingly characterized by faster rhythms. Key elements of dancehall music include its extensive use of Jamaican Patois rather than Jamaican standard English and a focus on the track instrumentals (or "riddims").


title: Dancehall

text: Dancehall saw initial mainstream success in Jamaica in the 1980s, and by the 1990s, it became increasingly popular in Jamaican diaspora communities. In the 2000s, dancehall experienced worldwide mainstream success, and by the 2010s, it began to heavily influence the work of established Western artists and producers, which has helped to further bring the genre into the Western music mainstream.


title: Dancehall

text: Dancehall is named after Jamaican dance halls in which popular Jamaican recordings were played by local sound systems.


title: Dancehall

text: They began in the late 1940s among people from the inner city of Kingston, who were not able to participate in dances uptown. Social and political changes in late-1970s Jamaica, including the change from the socialist government of Michael Manley (People's National Party) to Edward Seaga (Jamaica Labour Party), were reflected in the shift away from the more internationally oriented roots reggae towards a style geared more towards local consumption and in tune with the music that Jamaicans had experienced when sound systems performed live. Themes of social injustice, repatriation and the Rastafari movement were overtaken by lyrics about dancing, violence and sexuality. Though the revolutionary spirit was present in Jamaica due to this social upheaval, the radio was very conservative and failed to play the people's music. It was this gap that the sound system was able to fill with music that the average Jamaican was more interested in.


title: Dancehall

text: Musically, older rhythms from the late 1960s were recycled, with Sugar Minott credited as the originator of this trend when he voiced new lyrics over old Studio One rhythms between sessions at the studio, where he was working as a session musician. In the 1970s, Big Youth, U Roy, and I Roy were famous DJs. Around the same time, producer Don Mais reworked old rhythms at Channel One Studios, using the Roots Radics band. The Roots Radics would go on to work with Henry "Junjo" Lawes on some of the key early dancehall recordings, including those that established Barrington Levy, Frankie Paul, and Junior Reid as major reggae stars. Other singers to emerge in the early dancehall era as major stars included Don Carlos, Al Campbell, and Triston Palma, while more established names such as Gregory Isaacs and Bunny Wailer successfully adapted.


title: Dancehall

text: Sound systems such as Killimanjaro, Black Scorpio, Silver Hawk, Gemini Disco, Virgo Hi-Fi, Volcano Hi-Power and Aces International soon capitalized on the new sound and introduced a new wave of deejays. The older toasters were overtaken by new stars such as Captain Sinbad, Ranking Joe, Clint Eastwood, Lone Ranger, Josey Wales, Charlie Chaplin, General Echo and Yellowman — a change reflected by the 1981 Junjo Lawes-produced album "A Whole New Generation of DJs", although many went back to U-Roy for inspiration. Deejay records became, for the first time, more important than records featuring singers. Another trend was "sound clash" albums, featuring rival deejays /or sound systems competing head-to-head for the appreciation of a live audience, with underground sound clash cassettes often documenting the violence that came with such rivalries.


title: Dancehall

text: Yellowman, one of the most successful early dancehall artists, became the first Jamaican deejay to be signed to a major American record label, and for a time enjoyed a level of popularity in Jamaica to rival Bob Marley's peak. The early 1980s also saw the emergence of female deejays in dancehall music, such as Lady G, Lady Saw, and Sister Nancy. Other female dancehall stars include artistes like Diana King and in the late 1990s to the 2000s Ce'cile, Spice, Macka Diamond and more.


title: Dancehall

text: With a little help from deejay sound, "sweet sing" (falsetto voice) singers such as Pinchers, Cocoa Tea, Sanchez, Admiral Tibet, Frankie Paul, Half Pint, Courtney Melody, and Barrington Levy were popular in Jamaica.


title: Dancehall

text: Sound systems and the development of other musical technology heavily influenced dancehall music. The music needed to "get where the radio didn't reach" because Jamaicans often were outside without radios. Especially because the audience of dancehall sessions were lower-class people, it was extremely important that they be able to hear music. Sound systems allowed people to listen to music without having to buy a radio. Therefore, the dancehall culture grew as the use of technology and sound systems got better.


title: Dancehall

text: The Jamaican dancehall scene was one created out of creativity and a desire for accessibility, and one that is inseparable from sound system culture. The term 'Dancehall', while now typically used in reference to the specific and uniquely Jamaican genre of music, originally referred to a physical location. This location was always an open-air venue from which DJs and later "Toasters", a precursor to MCs, could perform their original mixes and songs for their audience via their sound systems. The openness of the venue paired with the innately mobile nature of the sound system, allowed performers to come to the people. At the onset of the dancehall scene, sound systems were the only way that some Jamaican audiences might hear the latest songs from popular artist. Through time, it transformed to where the purveyors of the sound systems were the artists themselves and they became whom the people came to see along with their own original sounds. With the extreme volume and low bass frequencies of the sound systems local people might very well feel the vibrations of the sounds before they could even hear them, though the sound itself did travel for miles. This visceral sensory pleasure acted as an auditory beacon, redefining musical experience.


title: Dancehall

text: Jamaica was one of the first cultures to pioneer the concept of remixing. As a result, production level and sound system quality were critical to Jamaica's budding music industry. Since many locals couldn't afford sound systems in their home, listening to one at a dance party or at a festival was their entry into audible bliss. Writer Brougtton and Brewster's book "Last Night a DJ Saved My Life" states that sound systems were a product of Jamaican social lifestyle. The success of music wasn't just in the hands of one person anymore, it was a factor of the DJ, speaking poetic words to the audience, the Selector, harmonizing beats in an aesthetically pleasing way, and the Sound Engineer, wiring the sound systems to handle deeper and louder bass tones. Music became a factor of many elements and the physicality of that sound was a strategic puzzle left for musicians to solve.


title: Dancehall

text: InnerCity Promotions Led by Mike Tomlinson And Lois Grant played a very significant role in the development of Jamaica's popular "DanceHall" music. Their promotion company through a series of concerts led to the then emerging music from which they labelled, "DanceHall." The team started a series called "Saturday Night Live" at Harbour View Drive-In. US soul group Gladys Knight and the Pips headlined the initial concert and the showcase also featured boxing presentations from Muhammed Ali. InnerCity Promotions was responsible for establishing and promoting numerous events, their first DanceHall concert was staged in 1984. This was significant because it marked the beginnings of the music's recognition as the "DanceHall" genre. Mr. Tomlinson recalls the opposition received from journalist, radio and TV managers at the time, some who refused to run the commercials or play the music to promote the DanceHall series. Dancehall musicians such as U-Roy, I-Roy, Admiral Bailey, Mikey "lickShot" Palmer, Half Pint, Tenor Saw, Charlie Chaplain(Jamaica), Leroy Sibbles, Papa San, Lieutenant Stitchie, Super Cat, General Trees, Ninjaman, Shabba Ranks, Buju Banton, Yellow Man, Pinchers, Courtney Melody, Jose Wales, Barrington Levy, Mad Cobra, Sugar Minott and Shinehead were popular during the 80s. The series continued into the early 1990s, the team Mike Tomlinson and Lois Grant played an important role in nurturing and promoting the young talents of the inner city and sound system culture of that era. Through their DanceHall live concerts, many performers found a place to use their voice and make a mark due to the opportunities afforded by InnerCity Promotions. This is from the International Reggae Awards special awarded honors(irawma awards).


title: Dancehall

text: King Jammy's 1985 hit, "(Under Me) Sleng Teng" by Wayne Smith, with an entirely-digital rhythm hook took the dancehall reggae world by storm. Many credit this song as being the first digital rhythm in reggae, featuring a rhythm from a digital keyboard. However, The "Sleng Teng" rhythm was used in over 200 subsequent recordings. This deejay-led, largely synthesized chanting with musical accompaniment departed from traditional conceptions of Jamaican popular musical entertainment.


title: Dancehall

text: Dub poet Mutabaruka said, "if 1970s reggae was red, green and gold, then in the next decade it was gold chains". It was far removed from reggae's gentle roots and culture, and there was much debate among purists as to whether it should be considered an extension of reggae.


title: Dancehall

text: This shift in style again saw the emergence of a new generation of artists, such as Sean Paul, Capleton, Beenie Man and Shabba Ranks, who became famous ragga stars. A new set of producers also came to prominence: Philip "Fatis" Burrell, Dave "Rude Boy" Kelly, George Phang, Hugh "Redman" James, Donovan Germain, Bobby Digital, Wycliffe "Steely" Johnson and Cleveland "Clevie" Brown (aka Steely & Clevie) rose to challenge Sly & Robbie's position as Jamaica's leading rhythm section.


title: Dancehall

text: By the early 2000s, Dancehall had gained mainstream popularity in Jamaica, as well as in the United States, Canada, Australasia and Western parts of Europe. This was first seen with artists such as Sean Paul, whose single "Get Busy" (2003) became the first dancehall single to reach number one on the US "Billboard" Hot 100.


title: Dancehall

text: Unlike earlier Dancehall, this new evolution was characterized by structures of music commonly heard in mainstream pop music, such as repeated choruses, melodic tunes, and hooks. Some lyrics were cleaner and featured less sexual content and profanity.


title: Dancehall

text: Some of the artists who popularised this new era of Dancehall were Bounty Killer, Beenie Man, Elephant Man, Popcaan, Vybz Kartel, Konshens, Mr. Vegas, Mavado, Ward 21, Lady Saw and Spice, some of whom saw international success.


title: Dancehall

text: Dancehall saw a new wave of popularity in Western markets in the mid-late 2010s, with immense commercial success being achieved by a number of dancehall-pop singles, including Rihanna's "Work" (2016) and Drake's "One Dance" and "Controlla" (2016).


title: Dancehall

text: A variety of western artists have spoken of being inspired by Dancehall music, including Major Lazer, whose commercially successful singles Lean On (2015), Light It Up (2015) and Run Up (2017) all heavily rely upon dancehall music. Several hip-hop and R&B artists have also released material inspired by dancehall music, including Drake, who has cited Vybz Kartel as one of his "biggest inspirations."


title: Dancehall

text: In 2014, Drake took an interest into Popcaan and linked him up with MixPak producer Dre Skull to release his debut album 'Where We Come From'. This saw huge commercial success and went on to receive a UK MOBO award for Best Reggae Album in 2015. The year of 2016 saw Popcaan's rival-artist Alkaline release his debut album 'New Level Unlocked' under DJ Frass Records, which topped the charts in Jamaica, as well as being well received in the US and UK.


title: Dancehall

text: Popcaan and Alkaline have always been rival music artists in Jamaica and it is much debated who is the new Dancehall King, since Vybz Kartel was incarcerated in 2011. It has been said that Popcaan's success is largely due to early support from Vybz Kartel(KOTD) and more recent support from Drake.


title: Dancehall

text: By 2016, Dancehall had re-emerged into global popularity, artists such as Alkaline, Popcaan, Masicka, Aidonia and Rygin King are known as some of the most profound and active artists of this period to date.


title: Dancehall

text: Since 2017, Dancehall artists from Jamaica have been frequently collaborating with UK acts such as Chip, Stefflon Don and J Hus. This is well in-tune with the boost of urban acts in the UK rising up, and the re-birth of Grime in 2014.


title: Dancehall

text: In the late 2010s, a new wave of artists rose to popularity in Jamaica. These artists come from rural parishes, especially Montego Bay, outside of the commercial center of the Jamaican music industry. They are influenced by American trap music, and sometimes refer to lottery scamming in their lyrics. Some of the most popular artists in this style are Chronic Law, Rygin King, and Squash.


title: Dancehall

text: The changing sounds in dancehall have largely been down to the producers behind the tracks. The most notable producers creating the new sound of Jamaica today are: DJ Frass, Notnice, and Lee Milla.


title: Dancehall

text: Three major elements of Jamaican dancehall music are the use of digital instruments, particularly the Casio Casiotone MT-40 electronic keyboard, the Oberheim DX drum machine, and the use of riddims, instrumentals to which lyrics are added, resulting in an unusual process of creating songs from separate components. More specifically, many riddims are created using digital instruments like the MT-40, a practice that first became popular in 1985 with the release of 'Under Mi Sleng Teng,' whose success made the accessibility of digitally-composed riddims apparent (Manuel-Marshall, p. 453).


title: Dancehall

text: A single riddim can be used in multiple songs, paired with different sets of lyrics, and the inverse is also possible with a single set of lyrics being attached to different riddims.  Riddims and lyric sets are not exclusive to any one artist, and these can be and are spread around with one particular riddim, 'Real Rock,' first recorded in 1967 for a song of the same name, being used in at least 269 songs by 2006 over the course of 39 years. Peter Manuel and Wayne Marshall noted in 2006 that most songs were set to one of about a dozen riddims that were in vogue, with the exceptions being the work of individual, often high-ranked, artists. Recording over riddims forms the basis of dancehall, with modern dancehall layering vocals over ostinatos; the DJs providing the vocals thus, in the words of Manuel and Marshall, carry the song, unlike older dancehall where vocals were interwoven with full songs.


title: Dancehall

text: These practices' roots can be described with the concept of families of resemblance as coined by George Lipsitz in 1986 – similarities between other groups' experiences and cultures (Lipsitz, p. 160). Here, the term might describe the links between different artists via shared riddims and lyric sets and through common experiences incorporated into the music.


title: Dancehall

text: Donna P. Hope defines dancehall culture as a "space for the cultural creation and dissemination of symbols and ideologies that reflect the lived realities of its adherents, particularly those from the inner cities of Jamaica." Dancehall culture actively creates a space for its "affectors" (creators of dancehall culture) and its "affectees" (consumers of dancehall culture) to take control of their own representation, contest conventional relationships of power, and exercise some level of cultural, social and even political autonomy.


title: Dancehall

text: Kingsley Stewart outlines ten of the major cultural imperatives or principles that constitute the dancehall worldview. They are:


title: Dancehall

text: Such a drastic change in the popular music of the region generated an equally radical transformation in fashion trends, specifically those of its female faction. In lieu of traditional, modest "rootsy" styles, as dictated by Rastafari-inspired gender roles; women began donning flashy, revealing – sometimes X-rated outfits. This transformation is said to coincide with the influx of "slack" lyrics within dancehall, which objectified women as apparatuses of pleasure. These women would team up with others to form "modeling posses", or "dancehall model" groups, and informally compete with their rivals.


title: Dancehall

text: This newfound materialism and conspicuity was not, however, exclusive to women or manner of dress. Appearance at dance halls was exceedingly important to acceptance by peers and encompassed everything from clothing and jewelry, to the types of vehicles driven, to the sizes of each respective gang or "crew", and was equally important to both sexes.


title: Dancehall

text: One major theme behind dancehall is that of space. Sonjah Stanley Niaah, in her article "Mapping Black Atlantic Performance Geographies", says


title: Dancehall

text: Dancehall occupies multiple spatial dimensions (urban, street, police, marginal, gendered, performance, liminal, memorializing, communal), which are revealed through the nature and type of events and venues, and their use and function. Most notable is the way in which dancehall occupies a liminal space between what is celebrated and at the same time denigrated in Jamaica and how it moves from private community to public and commercial enterprise.


title: Dancehall

text: Dancehall is ultimately a celebration of the disenfranchised selves in postcolonial Jamaica that occupy and creatively sustain that space. Structured by the urban, a space that is limited, limiting, and marginal yet central to communal, even national, identity, dancehall's identity is as contradictory and competitive as it is sacred. Some of Jamaica's significant memories of itself are inscribed in the dancehall space, and therefore dancehall can be seen as a site of collective memory that functions as ritualized memorializing, a memory bank of the old, new, and dynamic bodily movements, spaces, performers, and performance aesthetics of the New World and Jamaica in particular.


title: Dancehall

text: These same notions of dancehall as a cultural space are echoed in Norman Stolzoff's "Wake the Town and Tell the People". He notes that dancehall is not merely a sphere of passive consumerism, but rather is an alternative sphere of active cultural production that acts as a means through which black lower-class youth articulate and project a distinct identity in local, national, and global contexts. Through dancehall, ghetto youths attempt to deal with the endemic problems of poverty, racism, and violence, and in this sense the dancehall acts as a communication center, a relay station, a site where black lower-class culture attains its deepest expression. Thus, dancehall in Jamaica is yet another example of the way that the music and dance cultures of the African diaspora have challenged the passive consumerism of mass cultural forms, such as recorded music, by creating a sphere of active cultural production that potentially may transform the prevailing hegemony of society.


title: Dancehall

text: In "Out and Bad: Toward a Queer Performance Hermeneutic in Jamaican Dancehall" Nadia Ellis explicates the culture of combined homophobia and unabashed queerness within Jamaican dancehall culture. She details the particular importance of the phrase "out and bad" to Jamaica when she writes, "This phrase is of queer hermeneutical possibility in Jamaican dancehall because it registers a dialectic between queer and gay that is never resolved, that relays back and forth, producing an uncertainty about sexual identity and behavior that is usefully maintained in the Jamaican popular cultural context." In discussion of the possibility of a self identifying homosexual dancer performing to homophobic music she writes, "In appropriating the culture and working from within its very center, he produces a bodily performance that gains him power. It is the power or mastery, of parody, and of getting away with it."


title: Dancehall

text: Ellis not only examines the intersection of queerness and masculinity within the Jamaican dancehall scene, but suggests that the overt homophobia of certain dancehall music actually creates a space for queer expression. In general, homosexuality and queerness are still stigmatized in dancehalls. In fact, some of the songs used during dancehall sessions contain blatant homophobic lyrics. Ellis argues, however, this explicit, violent rhetoric is what creates a space for queer expression in Jamaica. She describes the phenomenon of all male dance groups that have sprung up within the dancehall scene. These crews dress in matching, tight clothing, often paired with makeup and dyed hair, traditional hallmarks of queerness within Jamaican culture. When they perform together, it is the bodily performance that give the homosexual dancers power.


title: Dancehall

text: The popularity of dancehall has spawned dance moves that help to make parties and stage performances more energetic. Dancing is an integral part of bass culture genres. As people felt the music in the crowded dancehall venues, they would do a variety of dances. Eventually, dancehall artists started to create songs that either invented new dances or formalized some moves done by dancehall goers. Many dance moves seen in hip hop videos are actually variations of dancehall dances. Examples of such dances are: "Like Glue", "Bogle", "Whine & Dip", "Tek Weh Yuhself", "Whine Up", "Shake It With Shaun" (a mix of various genres), "Boosie Bounce", "Drive By", "Shovel It", "To Di World", "Dutty Wine", "Sweep", "Nuh Behavior", "Nuh Linga", "Skip to My Lou", "Gully Creepa", "Breakdancing" ,"Bad Man Forward Bad Man Pull Up", "Keeping it Jiggy", "Pon Di River", "One Drop", "Whine & Kotch", "Bubbling", "Tic Toc", "Willie Bounce", "Wacky Dip", "Screetchie", "One Vice" and "Daggering".


title: Dancehall

text: Dancehall combines elements of materialism and stories of hardships of Kingston, Jamaica. This is seen in the use of gun talk by artists like Buju Banton and Capleton, or the sporting of bling-bling by "Gangsta Ras" artists like Mavado and Munga. The term "Gangsta Ras", which combines thuggish imagery with Rastafari is according to Rasta critics, an example of how in dancehall, "the misuse of Rastafari culture has diluted and marginalised the central tenets and creed of the Rastafari philosophy and way of life".


title: Dancehall

text: Kingsley Stewart points out that artists sometimes feel an "imperative to transcend the normal", exemplified by artists like Elephant Man and Bounty Killer doing things to stand out, such as putting on a synthetic cartoonish voice or donning pink highlights while constantly re-asserting hypermasculine attributes. Donna P. Hope argues that this trend is related to the rise of market capitalism as a dominant feature of life in Jamaica, coupled with the role of new media and a liberalized media landscape, where images become of increasing importance in the lives of ordinary Jamaicans who strive for celebrity and superstar status on the stages of dancehall and Jamaican popular culture.


title: Dancehall

text: Another point of dissension of dancehall from reggae, and from its non-western roots in Jamaica, is on the focus on materialism. Dancehall has also become popular in regions such as Ghana and Panama. Prominent males in the dancehall scene are expected to dress in very expensive casual wear, indicative of European urban styling and high fashion that suggest wealth and status. Since the late 1990s, males in the dancehall culture have rivalled their female counterparts to look fashioned and styled. The female dancehall divas are all scantily clad, or dressed in spandex outfits that accentuate more than cover the shape of the body. In the documentary "It's All About Dancing", prominent dancehall artist Beenie Man argues that one could be the best DJ or the smoothest dancer, but if one wears clothing that reflects the economic realities of the majority of the partygoers, one will be ignored, and later Beenie Man returned to perform as Ras Moses.


title: Dancehall

text: According to Carolyn Cooper in "Sound Clash", written in 2004, dancehall music and its following were frequently attacked for frequent references to guns and violence in lyrics, with Cooper responding by arguing that the emergence of firearms was less a sign of genuinely violent undercurrents in dancehall and more a theatrical adoption of the role of guns as tools of power. That ties into the concepts of the badman, a defiant, rebellious figure who often use a gun to maintain a level of respect and fear.  Said concepts, Cooper argues, originate in historical resistance to slavery and emulation of imported films, specifically North American action films with gun-wielding protagonists.


title: Dancehall

text: Adding to the concept of gunfire as theatrical element is the use of gunfire as a way to show support for a performing DJ or singer, which eventually gave way to flashing cigarette lighters, displaying glowing cellphone monitors, and igniting aerosol sprays. Gunfire as a form of cheering has extended beyond dancehall culture with the phrase "pram, pram!" becoming a general expression of approval or support.


title: Dancehall

text: However, Cooper's assessment of the presence of guns in Jamaican dancehall is not wholly uncritical, with a discussion of Buju Banton's 'Mr. Nine' interpreting the song as a denouncement of what Cooper describes as gun culture gone out of control.


title: Dancehall

text: Part of the criticism of Jamaican dancehall appears to be the product of cultural clash stemming from a lack of insider knowledge on the nuances of the music's content and the culture surrounding said music.  This struggle is something ethnomusicologists struggle with, even within an academic setting, with Bruno Nettl describing in "The Study of Ethnomusicology" how "insider" and "outsider" viewpoints would reveal different understandings on the same music. Indeed, Nettl later mentions growing questions of who ethnomusicological studies benefited, especially from the groups being studied.  And even then, in "May It Fill Your Soul", Timothy Rice mentioned that even insider scholars required a level of distanciation to scrutinize their own cultures as needed.


title: Dancehall

text: After the popularizing of Buju Banton's dancehall song "Boom Bye Bye" in the early 1990s, dancehall music came under criticism from international organizations and individuals over anti-gay lyrics. In some cases, dancehall artists whose music featured anti-gay lyrics have had their concerts cancelled. Various singers were investigated by international law enforcement agencies such as Scotland Yard, on the grounds that the lyrics incited the audience to assault gay people. For example, Buju Banton's 1993 hit "Boom Bye Bye" advocates the violent assaults and murders of gay people. Another example, T.O.K.'s song "Chi Chi Man" which advocates the killing of gay men and women.


title: Dancehall

text: Some of the affected singers believed that legal or commercial sanctions were an attack against freedom of speech and were affected by anti-Black attitudes in the music industry internationally. Many artists have over time apologized for their mistreatment of LGBTQ+ communities, particularly in Jamaica, and agreed to not use anti-gay lyrics nor continue to perform or profit off their previously anti-gay music. "Stop Murder Music" is/was a movement against homophobia in dancehall music. This movement actively targeted homophobia in dancehall music and was partially initiated by a controversial UK based group OutRage! and supported by the Black Gay Men's Advisory Group (UK based) and J-Flag (Jamaica based). It led to some dancehall artists signing the Reggae Compassionate Act. Dancehall artist Mista Majah P has created dancehall music more recently that celebrates and advocates for LGBTQ+ people.


title: Dancehall

text: Some artists agreed not to use anti-gay lyrics during their concerts in certain countries internationally because their concerts kept being protested and cancelled. However, this fails to address the most serious effects of the anti-gay lyrics in dancehall music which are on the LGBTQ+ people of Jamaica, where this music is most present.


title: Dancehall

text: The global treatment of dancehall can often represent the continued anti-Black association of homophobia with Blackness. For example, dancehall artists that have not used anti-gay lyrics and even write music advocating for gay rights have been excluded internationally from certain spaces because it is assumed they are homophobic. Additionally, groups internationally have acted as though the gay-rights criticism of homophobic dancehall songs or artists is not important to Black communities. This represents the anti-Black and anti-gay attitude that work to erase intersectional Black LGBTQ+ identities. In fact, many LGBTQ+ Black people, particularly with connections to Jamaica, continue to experience the complexities of dancehall music, both culturally important and at times deeply violent. This is demonstrated in the film "Out and Bad: London's LGBT Dancehall Scene" which discusses the experience of a group of LGBTQ+ Black, and mostly Jamaican, people in London. Dancehall is important to their culture, both in connection with Jamaican heritage and in how social interactions are constructed around dance and music. However, it is discussed how many dancehall songs contain homophobic and transphobic lyrics. One interviewee comments "We still enjoy ourselves to these kinds of music because [what matters to us is] the rhythm of the music, the beat, the way the music makes us feel."


title: Dancehall

text: Scholars have theorized around the significance and meaning around the use of anti-gay lyrics in dancehall music. Donna P. Hope argues that dancehall culture's anti-gay lyrics formed part of a macho discussion that advanced the interest of the heterosexual male in Jamaica, which is a Christian society with strong Rastafari movement influence as well. Dancehall culture in Jamaica often included imagery of men dressing and dancing in a way stereotypically associated with gay-male style. However, the cultural, religious, and social gender-norms continued to advance the ideal man as macho and heterosexual, any divergence from this would be identified as inadequate and impure portraits of true masculinity.


title: Dancehall

text: Some authors have suggested that this duality, the presentation of "queerness," in dance style and dress, and the violent homophobia, in dancehall spaces can be explained by the ritualistic "doing away with 'homosexuality'." Scholar Nadia Ellis suggests that when songs with homophobic lyrics are played, the environment of dancehall spaces can become serious and individuals can use the opportunity to reinstate their allegiance to heteronormativity. These songs thus act to "consecrate" the spaces as straight and masculine. In the safety this ritualized hetero-normativity creates, the space may be opened to more free expression and participants can then more openly engage with styles and dancing that might have been seen as queer. Ellis writes: "The songs are played; no one is 'gay'; everyone can turn a blind eye."


title: Dancehall

text: The backlash to Banton's violently anti-gay "Boom Bye-Bye", and the reality of Kingston's violence which saw the deaths of deejays Pan Head and Dirtsman saw another shift, this time back towards Rastafari and cultural themes, with several of the hardcore slack ragga artists finding religion, and the "conscious ragga" scene becoming an increasingly popular movement. A new generation of singers and deejays emerged that harked back to the roots reggae era, notably Garnett Silk, Tony Rebel, Sanchez, Luciano, Anthony B and Sizzla. Some popular deejays, most prominently Buju Banton and Capleton, began to cite Rastafari and turn their lyrics and music in a more conscious, rootsy direction. Many modern dancehall Rasta artists identify with Bobo Ashanti.


title: Dancehall

text: Dancehalls are used to communicate messages of women's power and control in a protest against their gendered experience embedded in Jamaican culture. Danger, a dancehall queen and the winner of the International Dancehall Queen Competition in 2014, expresses her power through dancehalls as she explains: "We are queens, we are not afraid to go out there to do what we want to, demand what we want, and to live how we want, and represent women all over the world and to let them know it is okay to be yourself and that it is ok to not hold back" Raquel, also known as Dancing Princess, describes her ability to communicate through the dancehall: "What you've lived, what you feel, put it in the dance. That's what dance is, expressing with your body what you feel and who you are. (...) dancehall is the way of the woman to say no, I am a woman respect me." As evidenced by these women, dancehall is a space that allows for women to be empowered and to communicate their liberation from the boundaries imposed on them. Rather by negotiating their own boundaries in the dancehall, by taking control of their bodies, and by communicating their power, they are demanding respect when confronted by those who do not believe they deserve it.