title: Garage rock

text: Outside of the mainland, garage rock became a fixture in the islands and territories adjacent to the continent. The Savages from Bermuda recorded the album "Live 'n Wild", which features "The World Ain't Round It's Square", an angry song of youthful defiance.


title: Garage rock

text: The garage phenomenon, though most often associated with North America, was not exclusive to it. As part of the international beat trend of the 1960s, other countries developed grass-roots rock movements that closely mirrored what was happening in North America, which have sometimes been characterized as variants of garage rock or as closely related forms.


title: Garage rock

text: Although Britain did not develop a distinct garage rock genre in the same way as the United States, many British beat groups shared important characteristics with the American bands who often attempted to emulate them, and the music of certain UK acts has been mentioned in particular relation to garage.


title: Garage rock

text: Beat music emerged in Britain in the early 1960s, as musicians who originally came together to play rock and roll or skiffle assimilated American rhythm and blues influences. The genre provided the model for the format of many later rock groups. The Liverpool area had a particularly high concentration of acts and venues, and the Beatles emerged from this thriving music scene. In London and elsewhere, certain groups developed a harder-driving, distinctively British blues style. Nationally popular blues- and R&B- influenced beat groups included the Rolling Stones and the Yardbirds from London, the Animals from Newcastle, and Them, from Belfast, Northern Ireland, featuring Van Morrison.


title: Garage rock

text: Coinciding with the "British Invasion" of the US, a musical cross-fertilization developed between the two continents. In their 1964 transatlantic hits "You Really Got Me" and "All Day and All of the Night", the Kinks took the influence of the Kingsmen's version of "Louie Louie" and applied greater volume and distortion, which in turn, influenced the approach of many American garage bands. With Van Morrison, Them recorded two songs widely covered by American garage bands: "Gloria", which became a big hit for Chicago's the Shadows of Knight, and "I Can Only Give You Everything". Keith Richards's use of fuzz distortion in the Rolling Stones' 1965 hit, "(I Can't Get No) Satisfaction" affected the sound of countless American garage bands. Also influential were the Pretty Things and the Downliners Sect, both of whom were known for a particularly raw approach to blues-influenced rock that has sometimes been compared to garage.


title: Garage rock

text: By 1965, bands such as the Who and the Small Faces tailored their appeal to the mod subculture centered in London. Some of the harder-driving and more obscure bands associated with the mod scene in the UK are sometimes referred to as Freakbeat, which is sometimes viewed as a more stylish British equivalent of garage rock. Several bands often mentioned as Freakbeat are the Creation, the Action, the Move, the Smoke, the Sorrows, and Wimple Winch.


title: Garage rock

text: Some commentators have branded the Troggs as garage rock.<ref name="presley/troggs/garage"></ref> Extolling the virtues of their seemingly unrepentant primitivism and sexually charged innuendo, in 1971 Lester Bangs memorialized the Troggs as a quintessential "punk" [i.e. garage] band of the 1960s. They had a worldwide hit in 1966 with "Wild Thing", written by American Chip Taylor. The Equals, a racially integrated band from North London whose membership included guitarist Eddy Grant, later a popular solo artist, specialized in an upbeat style of rock—their 1966 recording "Baby Come Back" was a hit in Europe before becoming a British number one in 1968.


title: Garage rock

text: The beat boom swept through continental Europe, resulting in the emergence of national movements sometimes cited as European variants of garage rock. The Netherlands had one of the largest scenes, sometimes retroactively described as Nederbeat. From Amsterdam, the Outsiders, who Richie Unterberger singled out as one of the most important 1960s rock acts from a non-English speaking country, featured Wally Tax on lead vocals and specialized in an eclectic R&B and folk-influenced style. Q65 from the Hague had a diverse but primitive sound, particularly on their early records. Also from the Hague, the Golden Earrings, who later gained international fame in the 1970s and 1980s as Golden Earring, had a top ten hit in the Netherlands in 1965 with "Please Go", followed by "That Day", which went to number two on the Dutch charts.


title: Garage rock

text: Having nurtured the Beatles' early development in Hamburg, Germany was well-positioned to play a key role as beat music overtook the continent. Bands from Britain and around Europe traveled there to gain exposure, playing in clubs and appearing on popular German television shows such as "Beat Club" and "Beat! Beat! Beat!" The Lords, founded in Düsseldorf in 1959, pre-dated the British Invasion by several years, and adapted their sound and look to reflect the influence of the British groups, even singing in English, but providing a comic twist. The Rattles from Hamburg also had a lengthy history, but were more serious in their approach. There were numerous bands active in Spain, such as Los Bravos, who had a worldwide hit with "Black Is Black", as well as los Cheyenes and others.


title: Garage rock

text: Latin America got swept up in the worldwide beat trend and developed several of its own national scenes. Mexico experienced its own equivalent to North American garage. The nation's proximity to the United States was detectable in the raw sounds produced by a number of groups while the country simultaneously embraced the British Invasion. One of Mexico's most popular acts were Los Dug Dug's, who recorded several albums and stayed active well into the 1970s.


title: Garage rock

text: The beat boom flourished in Uruguay during the mid-1960s in a period sometimes referred to as the Uruguayan Invasion. Two of the best known acts were Los Shakers and Los Mockers. In Peru, los Saicos were one of the first bands to gain national prominence. Their 1965 song "¡Demolición!" with its humorously anarchistic lyrics was a huge hit in Peru. About them Phil Freeman noted "These guys were a punk rock band, even if nobody outside Lima knew it at the time". Los Yorks became one of Peru's leading groups. Colombia hosted bands such Los Speakers and Los Flippers from Bogotá, Los Yetis from Medellín. Los Gatos Salvajes, who came from Rosario, Argentina, were one of the country's first beat groups, and two of their members went on to form Los Gatos, a popular act in Argentina during the late 1960s.


title: Garage rock

text: The far East was not immune to the beat craze, and Japan was no exception, particularly after the Beatles' 1966 visit, when they played five shows at Tokyo's Budokan arena. The popular 1960s beat/garage movement in Japan is often referred to as Group Sounds (or "GS"). The Spiders were one of the better-known groups. Other notable bands were the Golden Cups and the Tigers.


title: Garage rock

text: Despite famine, economic hardship, and political instability, India experienced its own proliferation of garage bands in the 1960s, persisting into the early 1970s with the 1960s musical style still intact even after it fallen out of favor elsewhere. Mumbai, with its hotels, clubs, and nightlife, had a bustling music scene. The Jets, who were active from 1964 to 1966, were perhaps the first beat group to become popular there. Also popular in Mumbai were the Trojans, featuring Biddu, originally from Bangalore, who later moved to London and become a solo act. Every year the annual Simla Beat Contest was held in Bombay by the Imperial Tobacco Company. Groups from all over India, such as the Fentones and Velvet Fogg, competed in the event.


title: Garage rock

text: Australia and New Zealand experienced a garage/beat explosion in the mid-1960s. Before the British Invasion hit, the region enjoyed a sizable surf rock scene, with popular bands such as the Atlantics, who had several instrumental hits, as well as the Aztecs and the Sunsets. In late 1963 and early 1964 British Invasion influence began to permeate the music scenes there. In June 1964 the Beatles visited Australia as part of their world tour and were greeted by a crowd of an estimated 300,000 in Adelaide. In response, many prior Australian surf bands adapted by adding vocals over guitars, and a host of new bands formed. The first wave of British-inspired bands tended towards the pop-oriented sound of the Merseybeat. With rise in popularity of bands such as the Rolling Stones and the Animals, a second wave of Australian bands emerged that favored a harder, blues-influenced approach.


title: Garage rock

text: Sydney was the host to numerous acts. The Atlantics switched to a vocal rock format and brought in veteran singer Johnny Rebb, formerly with Johnny Rebb and His Rebels. "Come On" was their best-known song from this period. The Easybeats, featuring vocalist Stevie Wright and guitarist George Young, the older brother of Angus and Malcolm Young of the later hard rock group AC/DC, became the most popular group in Australia during the mid-1960s. One of Sydney's most notorious acts was the Missing Links, who throughout 1965 went through a complete and total lineup change between the release their first single in March and on the subsequent releases later that year, such as the primitivist anthems "Wild About You", as well as their self-titled LP. In 1966, the Throb had a hit in Australia with their version of "Fortune Teller", and later that year released "Black", a brooding version of a traditional folk ballad noted for its expressionistic use of guitar feedback. The Black Diamonds' "I Want, Need, Love You" featured an intense and hard-driving guitar sound that Ian D. Marks described as "speaker cone-shredding".


title: Garage rock

text: From Brisbane came the Pleazers and the Purple Hearts, and from Melbourne the Pink Finks, the Loved Ones, Steve and the Board, and the Moods. Like Sydney's the Missing Links, the Creatures were another notorious group of the period, who Iain McIntyre remarked "Thanks to their brightly coloured hair and bad-ass attitude, the Creatures left in their wake a legacy of multiple arrests, bloodied noses and legendary rave ups". The Masters Apprentices' early sound was largely R&B-influenced garage and psychedelic.


title: Garage rock

text: From New Zealand, the Bluestars cut the defiant "Social End Product", aimed at social oppression much in the manner of 1970s punk rock acts. Chants R&B were known for a raw R&B-influenced sound. The La De Das recorded a version of the Changin' Times' "How is the Air Up There?", which went to No. 4 on the nation's charts.


title: Garage rock

text: Increasingly throughout 1966, partly due to the growing influence of drugs such as marijuana and LSD, numerous bands began to expand their sound, sometimes employing eastern scales and various sonic effects to achieve exotic and hypnotic soundscapes in their music. The development was nonetheless the result of a longer musical evolution growing out of folk rock and other forms, and prefigured even in certain surf rock recordings. As the decade progressed, psychedelic influences became pervasive in much garage rock.


title: Garage rock

text: By the mid-1960s numerous garage bands began to employ tone-altering devices such as on guitars often for the purpose of enhancing the music's sonic palate, adding an aggressive edge with loudly amplified instruments to create a barrage of "clanging" sounds, in many cases expressing anger, defiance, and sexual frustration. The genre came into its peak of popularity at a time when a collective sense of discontent and alienation crept into the psyche of the youth in the United States and elsewhere—even in the largely conservative suburban communities which produced so many garage bands. Garage bands, though generally apolitical, nonetheless reflected the attitudes and tenor of the times. Nightly news reports had a cumulative effect on the mass consciousness, including musicians. Detectable in much of the music from this era is a disparate array of raw sounds and emotions, coinciding with surrounding events, such as the assassinations of major political figures and the ongoing escalation of troops sent to Vietnam, yet certain commentators have also noted an apparent bygone innocence as part of the style's appeal to later generations.


title: Garage rock

text: In 1965, the influence of artists such as Bob Dylan, who moved beyond political protest by experimenting with abstract and surreal lyrical imagery and switched to electric guitar, became increasingly pervasive across the musical landscape, affecting a number of genres, including garage rock. The members of garage bands, like so many musicians of the 1960s, were part of a generation that was largely born into the paradigm and customs of an older time, but grew up confronting a new set of issues facing a more advanced and technological age. Postwar prosperity brought the advantages of better education, as well as more spare time for recreation, which along with the new technology, made it possible for an increasing number of young people to play music. With the advent of television, nuclear weapons, civil rights, the Cold War, and space exploration, the new generation was more global in its mindset and began to conceive of a higher order of human relations, attempting to reach for a set of transcendent ideals, often expressed through rock music. Though set to a backdrop of tragic events that proved increasingly disillusioning, various forms of personal and musical experimentation held promise, at least for a time, in the minds of many. While opening boundaries and testing the frontiers of what the new world had to offer, 1960s youth ultimately had to accept the limitations of the new reality, yet often did so while experiencing the ecstasy of a moment when the realm of the infinite seemed possible and within reach.


title: Garage rock

text: Tapping into the psychedelic zeitgeist, musicians sonically pushed barriers and explored new horizons. Garage acts, while generally lacking the budgetary means to produce musical extravaganzas on the scale of the Beatles' "Sgt. Pepper's Lonely Hearts Club Band" or the instrumental virtuosity of acts such as Jimi Hendrix or Cream, nonetheless managed to infuse esoteric elements into basic primitive rock. The 13th Floor Elevators from Austin, Texas, are usually thought to be first band to use the term "psychedelic"—in their promotional literature in early 1966. They also used it in the title of their debut album released in November, "The Psychedelic Sounds of the 13th Floor Elevators". In August 1966, the Deep traveled from New York to Philadelphia to record a set of hallucinogenic songs for the album "Psychedelic Moods: A Mind-Expanding Phenomena", released in October 1966, one month before the 13th Floor Elevators' debut album, and whose all-night sessions produced mind-expanding stream of consciousness ramblings.<ref name="Benes (Deep/Psych Moods)"></ref> Other notable bands that incorporated psychedelia into garage rock were the Electric Prunes, the Music Machine, the Blues Magoos, and the Chocolate Watchband. Garage rock helped lay the groundwork for the acid rock of the late 1960s.


title: Garage rock

text: Certain acts conveyed a world view markedly removed from the implicit innocence of much psychedelia and suburban garage, often infusing their work with subversive political or philosophical messages, dabbling in experimental musical forms and concepts considered at the time to be decidedly out of the mainstream. Such artists shared certain characteristics with the garage bands in their use of primitivistic instrumentation and arrangements, while displaying psychedelic rock's affinity for exploration—creating more urbanized, intellectual, and avant garde forms of primitivist rock, sometimes characterized as variants of garage rock. New York City was the home to several such groups. The Fugs, who formed in 1963, were one of rock's first experimental bands and its core members were singer, poet, and social activist Ed Sanders, along with Tuli Kupferberg and Ken Weaver. They specialized in a satirical mixture of amateurish garage rock, jug, folk, and psychedelic laced with leftist political commentary. In a 1970 interview, Ed Sanders became the first known musician to describe his music as "punk rock".<ref name="Essor-Winston (Sanders/Punk)"></ref>


title: Garage rock

text: The Velvet Underground, whose roster included Lou Reed, are now generally considered the foremost experimental rock group of the period. At the time of recording their first album, they were involved with Andy Warhol, who produced some its tracks, and his assemblage of "scenesters" at the Factory, including model-turned-singer Nico. She shared billing with them on the resulting album, "The Velvet Underground & Nico". The album's lyrics, though generally apolitical, depict the world of hard drugs in songs such as "I'm Waiting for the Man" and "Heroin", and other topics considered taboo at the time.


title: Garage rock

text: Outside of New York were the Monks from Germany, whose members were former US servicemen who chose to remain in Germany, where in 1965 they developed an experimental sound on their album "Black Monk Time".<ref name="Deming (Monks/album)"></ref> The group, who sometimes wore habits and partially shaven tonsures, specialized in a style featuring chanting and hypnotic percussion.


title: Garage rock

text: Even at the height of garage rock's popularity in the mid-1960s, the success of most of its records, in spite of a handful of notable exceptions, was relegated to local and regional markets. In the wake of psychedelia, as rock music became increasingly sophisticated, garage rock began to fade. After the release of "Sgt. Pepper's Lonely Hearts Club Band" and other late-1960s big-production spectaculars, rock albums became increasingly elaborate and were expected to display a high level of maturity and complexity, while the 45-RPM single ceded to the long-play album as the preferred medium.


title: Garage rock

text: Album-oriented FM radio stations eventually overtook AM radio in popularity, and as the large major-label record companies became more powerful and less willing to sign new acts, the once plentiful local and regional independent labels of the mid-1960s began to fold. Radio playlists became more regimented and disc jockeys began to have less freedom, making it increasingly difficult for local and regional bands to receive airplay. Teen clubs and dance venues which previously served as reliable and steady engagements for young groups started to close. The garage sound disappeared at both the national and local level, as band members graduated and departed for college, work, or the military. Musicians in bands frequently faced the prospect of the Vietnam War draft, and many were selected for service. Some died in action. With the tumultuous political events of 1968, the tense mood of the country reached a breaking point, while increasing use of drugs and other factors intermingled with shifting musical tastes. New styles either evolved out of garage rock or replaced it, such as acid rock, progressive rock, heavy metal, country rock, and bubblegum. By 1969 the garage rock phenomenon had largely passed.


title: Garage rock

text: Though the garage rock boom faded at the end of the 1960s, a handful of maverick acts carried its impetus into the next decade, seizing on the style's rougher edges, while brandishing them with increased volume and aggression. Such acts, often retroactively described as "proto-punk", worked in a variety of rock genres and came from various places, most notably Michigan, and specialized in music that was often loud, but more primitive than the typical hard rock of the time.


title: Garage rock

text: In the late 1960s and early 1970s, several Michigan bands rooted in garage rock recorded works that became highly influential, particularly with the 1970s punk movement. In 1969, MC5 issued their live debut LP, "Kick Out the Jams", which featured a set of highly energetic, politically charged songs. The Stooges, from Ann Arbor were fronted by lead singer Iggy Pop, Describing their approach, Stephen Thomas Erlewine commented: "Taking their cue from the over-amplified pounding of British blues, the primal raunch of American garage rock, and the psychedelic rock (as well as the audience-baiting) of the Doors, the Stooges were raw, immediate, and vulgar." The group released three albums during this period, beginning with the self-titled "The Stooges" in 1969 and culminating with "Raw Power" (now billed as Iggy and the Stooges) in 1973, which featured the cathartic "Search and Destroy" as its opening track. The Alice Cooper band (previously the Spiders) relocated to Detroit, where they began to gain success with a new "shock rock" image, and recorded 1971's "Love It to Death", which featured their breakout hit "I'm Eighteen".


title: Garage rock

text: Two bands that formed during the waning days of the Detroit scene in the early 1970s were the Punks and Death. The Punks had a sometimes thrashing sound that caught the attention of rock journalist Lester Bangs, and their song "My Time's Comin was retroactively featured in a 2016 episode of HBO's "Vinyl". In 1974, Death, whose membership was made up of brothers David, Bobby, and Dannis Hackney, recorded tracks for an album that remained unreleased for over 30 years, "...For the Whole World to See", which, along with the release of their other previously unissued tracks, finally earned them a reputation as pioneers in punk rock. Death's music anticipated the arrival of later African American punk acts such as the Bad Brains.


title: Garage rock

text: In Boston, the Modern Lovers, led by Velvet Underground devotee Jonathan Richman, gained attention with their minimalistic style. In 1972, they recorded a set of demos that formed the basis of their belated "Modern Lovers" album in 1976. In 1974, an updated garage rock scene began to coalesce around the Rathskeller club in Kenmore Square.<ref name="(Time/Boston)"></ref> The Real Kids, a leading band in the scene, were founded by former Modern Lover John Felice. The Electric Eels, who formed in 1972, were a fixture in the underground rock scene in Cleveland, Ohio, which has sometimes been mentioned as a precursor to the punk scenes in New York and London.<ref name="Eels/Guardian"></ref> The Electric Eels were notorious for mayhem at their shows and had a markedly nihilistic approach suggestive of later acts and recorded a set of demos in 1975, from which the single "Agitated" b/w "Cyclotron" was eventually released in 1978, several years after the group's demise.<ref name="Eels/Dangerous"></ref>


title: Garage rock

text: Between 1969 and 1975, other movements further removed from the American garage rock tradition emerged, that nonetheless displayed hallmarks of proto-punk, such as Glam and pub rock in Great Britain, as well as Krautrock in Germany. Conversely, glam rock had an influence on the garage/proto-punk sound of the New York Dolls from New York, exhibited on their 1973 self-titled debut album and its follow-up, "Too Much Too Soon".<ref name="Dolls/Elewine"></ref><ref name="Dolls/SOS"></ref> The Dictators, fronted by Handsome Dick Manitoba, were another influential New York act of this period. The music from these disparate scenes helped set the stage for the punk rock phenomenon of the mid- to late- 1970s.


title: Garage rock

text: Identification of garage rock by certain critics in the early 1970s (and their use of the term "punk rock" to describe it), as well as the 1972 "Nuggets" compilation exerted a marked degree of influence on the punk movement that emerged in the mid-to-late 1970s. As a result of the popularity of "Nuggets" and critical attention paid to primitive-sounding rock of the past and present, a self-conscious musical aesthetic began to emerge around the term "punk" that eventually manifested in the punk scenes of New York, London, and elsewhere between 1975 and 1977, and in the process transformed into a new musical and social movement having its own separate subculture, identity, and values.


title: Garage rock

text: The mid- to late-1970s saw the arrival of the acts now most commonly identified as punk rock. Frequently mentioned as the first of these were the Ramones from New York, some of whose members earlier played in 1960s garage bands. They were followed by the Sex Pistols in London, who struck a far more defiant pose and effectively heralded the arrival punk as a "cause célèbre" in the larger public mind. Both bands spearheaded the popular punk movement from their respective locations. Simultaneously, Australia developed its own punk scene, which derived some of its inspiration from the 1960s Australian garage/beat movement. One of its leading bands the Saints, from Brisbane, included a rendition of the Missing Links' 1965 song "Wild About You" on their 1977 debut album.


title: Garage rock

text: Despite the influence of garage rock and proto-punk on the originating musicians of these scenes, punk rock emerged as a new phenomenon, distinct from its prior associations, and the garage band era of the 1960s came to be viewed as a distant forerunner.


title: Garage rock

text: Garage rock has experienced various revivals in the ensuing years and continues to influence numerous modern acts who prefer a "back to basics" and "do it yourself" musical approach.


title: Garage rock

text: The earliest group to attempt to revive the sound of 1960s garage was the Droogs, from Los Angeles, who formed in 1972 and pre-dated many of the revival acts of the 1980s. In the early 1980s, revival scenes linked to the underground music movements of the period sprang up in Los Angeles, New York, Boston, and elsewhere, with acts such as the Chesterfield Kings, the Fuzztones, the Pandoras, and the Lyres earnestly attempting to replicate the sound and look of the 1960s garage bands. This trend fed in into the alternative rock movement and future grunge explosion, which embraced influences by 1960s garage bands such as the Sonics and the Wailers.


title: Garage rock

text: Out of the garage revival, a more aggressive form of garage rock known as garage punk emerged in the late 1980s. It differed from the "retro" revival in that its acts did not attempt to replicate the exact look and sound of 1960s groups, and their approach tended to be louder, often infusing garage rock with elements of Stooges-era proto-punk, 1970s punk rock, and other influences, creating a new hybrid. Several notable garage punk bands were the Gories, thee Mighty Caesars, the Mummies and thee Headcoats. Originally associated with the 1960s garage revival of the early 1980s, the Pandoras' sound became increasingly harder as decade progressed. Out of Japan came Guitar Wolf from Nagasaki and the 5.6.7.8's from Tokyo. Garage punk and revival acts persisted into the 1990s and the new millennium, with independent record labels releasing records by bands playing fast-paced, lo-fi music. Some of the more prolific independent labels include Estrus, Get Hip, Bomp!, and Sympathy for the Record Industry.


title: Garage rock

text: In the early 2000s, a garage rock or post-punk revival achieved the airplay and commercial success that had eluded garage rock bands of the past. This was led by four bands: the Strokes of New York City, the Hives of Fagersta, Sweden, the Vines of Sydney, and the White Stripes from Detroit, Michigan. Other products of the Detroit rock scene included the Von Bondies, Electric 6, the Dirtbombs, the Detroit Cobras, and Rocket 455. Elsewhere, acts such as Billy Childish and the Buff Medways from Chatham, England, the (International) Noise Conspiracy from Umeå, Sweden, and Jay Reatard and the Oblivians from Memphis, enjoyed moderate underground success and appeal. A second wave of bands that gained international recognition as a result of the movement included the Black Keys, Black Rebel Motorcycle Club, Death from Above 1979, the Yeah Yeah Yeahs, the Killers, Interpol, Cage the Elephant, and Kings of Leon from the US, the Libertines, Arctic Monkeys, Bloc Party, Editors, and Franz Ferdinand from the UK, Jet from Australia, and the Datsuns and the D4 from New Zealand.


title: Garage rock

text: The mid-2000s saw several underground bands achieve mainstream prominence. Acts such as Ty Segall, Thee Oh Sees, Black Lips and Jay Reatard, that initially released records on smaller garage punk labels such as In the Red Records, began signing to larger, better-known independent labels. Several bands followed them in signing to larger labels such as Rough Trade and Drag City.


title: Garage rock

text: According to Peter Aaron, there are over a thousand garage rock compilations featuring work by various artists of the 1960s. The first major garage rock compilation, "", was released by Elektra Records in 1972. "Nuggets" grew into a multi-volume series, when Rhino Records in the 1980s released fifteen installments that consisted of songs from the original album plus additional tracks. In 1998, Rhino released a four-CD box set version of "Nuggets", containing the original album and three additional discs of material, that included extensive liner notes by some of garage rock's most influential writers.


title: Garage rock

text: The "Pebbles" series was begun by Greg Shaw and originally appeared on his Bomp label in 1978 and has been issued in successive installments on LP and CD. "Back from the Grave" is a series issued by Crypt Records that focuses on hard-driving and primitive examples of the genre. Big Beat Records' "" also features harder material. There are several notable anthologies devoted to female garage bands from the 1960s. "Girls in the Garage" was the first female garage rock series, and Ace Records' issued the more recent "Girls with Guitars" compilations.


title: Garage rock

text: There are numerous collections featuring garage/beat music from outside of North America. Rhino's "" 4-CD box set includes music from the United Kingdom and other countries in the British commonwealth. It is of particular interest to fans of freakbeat. The "Trans World Punk Rave-Up" series focuses on garage and Nederbeat music from Continental Europe from the 1960s. "Ugly Things" was the first compilation series to highlight 1960s Australian garage bands. "" is also devoted to Australian acts, while "Do the Pop! The Australian Garage Rock Sound 1976-1987" covers more recent bands."


title: Garage rock

text: "Los Nuggetz Volume Uno" is devoted primarily to Latin American groups of the 1960s and is available in a single-CD edition, as well as an expanded 4-CD box set. "" and its companion piece "" Both sets feature GS acts from Japan. The "Simla Beat 70/71" compilation consists of recordings by garage rock acts from India that competed in the 1970 and 1971 Simla Beat contests. Though its tracks were recorded at the turn of the 1970s, most of them bear a striking resemblance to music made in the West several years earlier.


title: The Marshall Mathers LP 2

text: The Marshall Mathers LP 2 is the eighth studio album by American rapper Eminem. It was released on November 5, 2013 by Aftermath Entertainment, Shady Records, and Interscope Records. The album is Eminem's last to have the involvement of independent label Web Entertainment. It serves as a sequel to his third album "The Marshall Mathers LP" (2000). Recorded from 2012 to 2013 with several producers, Dr. Dre and Rick Rubin served as executive producers for "The Marshall Mathers LP 2". It features guest appearances from Skylar Grey, Rihanna, Nate Ruess, and rapper Kendrick Lamar, among others.


title: The Marshall Mathers LP 2

text: The idea of a sequel to "The Marshall Mathers LP" came about after Eminem recorded a handful of songs in the early stages of the creation of the album that reminded him of his earlier music, though Eminem wanted to experiment with "retro, vintage" sounds from turntablism for the sequel. The album draws influences from arena rock and old-school hip hop, mainly inspired by the Beastie Boys' "Licensed to Ill" era and LL Cool J's "Radio" era, while the production is more minimalist than Eminem's previous records.


title: The Marshall Mathers LP 2

text: "The Marshall Mathers LP 2" was regarded as one of the most anticipated albums of 2013. The album was revealed during the 2013 MTV Video Music Awards in August 2013, alongside a preview of its lead single "Berzerk". It was followed by two more singles: "Survival" and "Rap God". "The Monster", featuring Rihanna, was released as the album's fourth single and reached number one on the "Billboard" Hot 100. The album's fifth single "Headlights", featuring Ruess, was released in 2014.


title: The Marshall Mathers LP 2

text: "The Marshall Mathers LP 2" debuted at number one on the US "Billboard" 200, selling more than 792,000 copies in its first week. In March 2017, it was certified quadruple platinum by the Recording Industry Association of America (RIAA). It was met with positive reviews by critics, with praise directed at Eminem's technical rapping abilities and production choices. The album marked an improvement in a reception over Eminem's previous three albums, and was named on multiple best album year-end lists. It won Eminem a record sixth Grammy Award for Best Rap Album at the 2015 Grammy Awards.


title: The Marshall Mathers LP 2

text: On May 24, 2012, Eminem revealed that he was working on his next album, during an interview on Hot 97's morning show with Peter Rosenberg. On June 30, 2012, Eminem talked about the album with DJ Whoo Kid, on his own radio station, Shade 45. He stated that the material was taking shape, and that Dr. Dre would be involved in some way. Eminem explained: "I usually get going and kind of start going a certain direction and just record what I'm feeling. Then I'll go see Dre and fill in some of those pieces."


title: The Marshall Mathers LP 2

text: On August 1, 2012, Nick Craig interviewed Eminem on Channel 95.5, where he explained that he was working on the album, but was focused on finishing Slaughterhouse's Shady Records debut "", On August 10 however, Eminem appeared on Shade 45 and told Sway Calloway: "We actually just finished the [Slaughterhouse] album last week ... Now I've got time to be able to start doing things for my own project." Royce da 5'9" appeared on MTV's "RapFix", hosted by Calloway, with his group Slaughterhouse, on August 30, 2012, and talked about Eminem's album. Royce confessed: "Marshall is the studio right now, laying the most awesome lyrics in the world. I'm not so sure how the world is going to respond from some of the things that I've heard from him."


title: The Marshall Mathers LP 2

text: On February 8, 2013, Shady Records president and Eminem's manager Paul Rosenberg told "Billboard" that Eminem's eighth studio album would be released after Memorial Day, 2013 (May 27). "We fully expect to be releasing a new Eminem album in 2013. He's been working on it for some time," said Rosenberg. "It's safe to say that it will be post-Memorial Day at some point, but we're not exactly sure when. We've got some dates locked in for him to perform live in Europe in August, so we're trying to see what else lines up." On March 22, 2013, during an interview with Power 106, Dr. Dre said that he was working with Eminem, and that Eminem was "finishing up his project."


title: The Marshall Mathers LP 2

text: On June 17, 2013, Shady Records producer The Alchemist appeared on "RapFix Live", and tweeted to shadygodz (One of the Stan fans aka Sanket Kale Mathers) about Eminem's upcoming album: "That's my boss. I DJ for him and I'm not at liberty to speak on much, but you know his caliber and what he does. Clearly going to further territories. I think what you would expect, especially after the last go-round. He was just getting his feet back on "Relapse" and then "Recovery" just came with the smash hits and everything and I think now — he's Eminem." Prior to the announcement of the album's name, it was named to multiple "Most Anticipated Albums of 2013" lists; including MTV, "Complex" where it was listed in sixth position (and later on in second); and "XXL", where it was listed in fifth.


title: The Marshall Mathers LP 2

text: On June 17, 2013, producer S1 told "Hip Hop Weekly": "I've been working on Eminem's new album and I'm very excited about that." The track list reveal showed "Bad Guy" as the opening track, and S1 confirmed that he and vocalist Sarah Jaffe, one half of S1's duo The Dividends, are featured on the song. He also credited Aussie M-Phazes and Streetrunner as co-producers. M-Phazes himself confirmed this in an October 2013 interview.


title: The Marshall Mathers LP 2

text: Tim Riley, vice president of music affairs at Activision Blizzard, explained to "Billboard" in August 2013 that he was contacted by Eminem's manager Rosenberg in March to partner Eminem with "". In June, Riley and members of his team flew to Detroit to meet Eminem and Rosenberg. The team was showcased a "handful" of songs, while Eminem was shown early concept art and gameplay footage of "Ghosts". "Survival" was picked as the best-fitting song, but the final version differed vastly from the earliest version of the track. Over the next couple of months, Eminem turned in five successive versions of the song, each one "bigger and more anthemic sounding than the last." – The final version was turned in only a day before its reveal on August 14.


title: The Marshall Mathers LP 2

text: In a behind the scenes video for "Berzerk", released in October 2013, Rubin explained that he met Rosenberg a few years back and that they had discussed the possibility of him and Eminem working together. He stated that the idea of "throwback" song to earlier hip hop recordings was an idea conceived later in the creative process of the album. He noted that initial sample the song was built around ended up not being used, and that the final product differs greatly from the original.


title: The Marshall Mathers LP 2

text: In an October 2013 interview with MTV, DVLP said that the instrumental for "Rap God" had been in the making two years prior to the track's release. While the instrumental had been offered to rappers such as T.I. and Fabolous, the producer didn't feel the record fit their music. He estimated that Shady Records got hold of the instrumental around Fall 2012, and DVLP himself did not hear "Rap God" until Eminem phoned him after its release.


title: The Marshall Mathers LP 2

text: The idea of a sequel to "The Marshall Mathers LP" came about after Eminem recorded a handful of songs in the early stages of the creation of the album that reminded him and his friends, namely Rosenberg, of Eminem's earlier recordings; " The more I listened to it, the more it made sense to call it that," said Eminem. Eminem also wanted to experiment with "retro, vintage" sounds such as beatbreaks and scratches, and he felt that Rubin could help him "take that to another level."


title: The Marshall Mathers LP 2

text: Rihanna, with whom Eminem previously collaborated on "Love the Way You Lie" from Eminem's previous studio effort, "Recovery" (2010), was featured on the song "The Monster". On September 11, 2013, she hinted at the collaboration on Twitter: "Just left the studio ... Recorded a #monster hook for one of my favorite artists! And that's all I can give you ... #NavyShit". Upon the track list announcement, Staten Island singer Bebe Rexha revealed on Twitter that she had co-written the Rihanna collaboration featured on the album. Rexha recorded "The Monster" in November 2012 in Harlem's Stadium Red studio while working on her debut album. The producer of the track, Frequency, auditioned records for Shady Records VP of A&R Riggs Morales, who "freaked out" upon hearing "The Monster", instantly requesting for the verses to be stripped and Pro Tools sessions sent to Eminem. Eminem added his own verses and tweaked the instrumental, while keeping Rexha's backing vocals. The song was revealed to be a part of the album with the reveal of the track listing. In an October 2013 interview, Rexha claimed that she said "This is an Eminem record, y'all" while standing in the booth after she recorded the chorus, and that she "know[s] when [Eminem] heard it, it spoke to him."


title: The Marshall Mathers LP 2

text: Rapper and fellow Aftermath Entertainment artist Kendrick Lamar, who toured with Eminem in 2013, was featured on "Love Game", while indie pop band Fun. frontman Nate Ruess was featured on "Headlights".


title: The Marshall Mathers LP 2

text: Skylar Grey, a frequent Eminem collaborator since "Recovery" was featured on the song "Asshole". In an October 2013 interview with "American Songwriter", "Love the Way You Lie" producer Alex da Kid revealed that he has submitted further beats for Eminem, but said "you never know what they're going to use or not going to use." He would later be confirmed as the producer of "Asshole" and two of the deluxe edition bonus tracks. "Asshole" was initially created during a studio session with Alex and Eminem in Detroit in 2012. Grey was writing songs for her Eminem-executive-produced album "Don't Look Down" in Detroit, and visited Eminem to exchange song ideas and hooks. She wrote the hook for "Asshole" during the trip, while in her hotel room.


title: The Marshall Mathers LP 2

text: "Legacy" was written approximately two years ago during a session between Russian singer-songwriter Polina and songwriter David Brook in New York. A few months later, Polina visited Interscope executive Neil Jacobson, who, upon hearing the song, commanded her: "Don't play this for anyone. It's an Eminem record." The following week, Polina and Brook joined Emile in the studio where he produced the song and then sent it to Eminem. Eminem added his own verses to the song, but left Polina's vocals untouched.


title: The Marshall Mathers LP 2

text: In July 2012, Eminem's close friend and label-mate 50 Cent stated that he was involved in the recording for Eminem's upcoming album and would probably appear on the lead or second single, but ended up not being featured on the album at all.


title: The Marshall Mathers LP 2

text: The opening track "Bad Guy", produced by S1, M-Phazes, and Streetrunner, with a chorus sung by Sarah Jaffe, has been described as a sequel to Eminem's "Stan" from "The Marshall Mathers LP". "Survival" features a chorus sung by Liz Rodrigues and production by DJ Khalil. On the anthemic track, Eminem celebrates his return over "breakneck, arena-rock" electric guitars and "trashy" drums. "Berzerk" is produced by Rubin and pays homage to old-school hip hop. With samples from the Beastie Boys' "The New Style" and "Fight for Your Right", and Billy Squier's "The Stroke", the track is "a punchy, guitar-and-beats driven song which channels Joan Jett & the Blackhearts' "I Love Rock 'n' Roll" and "Licensed to Ill"-era Beastie Boys." The album also draws influence from LL Cool J's "Radio" era, while the production is more minimalist than Eminem's previous records. Produced by DVLP, "Rap God" sees Eminem rapping over an EDM-inspired instrumental with varied flows. He pays tribute to many influential hip hop acts, but also proclaims himself an all-time best, with the closing line stating: "Why be a king when you can be a god?" "The Monster" is a "dark", "demon-battling" song, with the production that was handled and provided by Frequency. The track features backing vocals from Bebe Rexha and a chorus by Rihanna.


title: The Marshall Mathers LP 2

text: The artwork was revealed on September 20, 2013 on Eminem's Twitter account. The cover features a picture of Eminem's childhood home, although now the house is in a dilapidated state. It is very similar in design to the cover of the artwork from "The Marshall Mathers LP"; which also features a picture of the house, but with Eminem sitting on the porch, the windows uncovered and the door replaced by a screen door. On October 25, 2013, the artwork for the deluxe edition was revealed. The deluxe artwork is a variation of the standard artwork, in which the house is being looked at through a car window. On the internet, there are many other covers. For example, Eminem sitting at the doorstep of the house and on the door it is written, '19946'. In November 2013, the house went up in flames for unknown reasons, damaging the upper portion of the home. As of 2014, the house had been demolished and plans to rebuild are in progress. The deluxe edition comes with two discs, one being the standard album, and the other containing bonus tracks. The discs' artwork is designed after the Detroit city seal and flag, respectively. The album's artwork direction was handled by Mike Saputo, with photography by Kevin Mazur. In December 2013, the album cover was named the tenth best of 2013 by "Complex".


title: The Marshall Mathers LP 2

text: On October 29, 2012, the "Eminem Baseball Tribute Champ Hat" was made available on the official Eminem online store, with a side panel "dedicated to the landmark Eminem solo albums," and the final date being 2013, hinting at the release year for Eminem's eighth studio album. On August 25, 2013, two Beats by Dre commercials aired during the MTV Video Music Awards revealed that Eminem's eighth studio album would be titled "The Marshall Mathers LP 2" and would be released on November 5, 2013, with previews of the lead single "Berzerk" and its music video, where Eminem was shown with his hair dyed blond again. The Marshall Mathers LP This is the fastest selling album in USA history. He has used 1560 words in the song Rap God released in 2013, meaning 4.28 words in 1 second.


title: The Marshall Mathers LP 2

text: On September 5, 2013, it was announced that "Berzerk" would be used as the featured song for the 2013 season of "ESPN Saturday Night Football on ABC" from September 14 to December 7, and that a sneak peek for the song's music video would premiere during halftime of No. 14 Notre Dame at No. 17 Michigan on September 7; Eminem was interviewed by Brent Musburger and Kirk Herbstreit during the halftime, and the clip, described as "awkward" and "bizzare", became a viral online video.


title: The Marshall Mathers LP 2

text: Activision announced on September 9, 2013, that players who preordered "Call of Duty: Ghosts" would receive a bonus track in addition to "Survival". The track listing was revealed on October 10, 2013. On October 17, 2013, pre-order bundles featuring a deluxe CD and various merchandise options were made available on Eminem's website.


title: The Marshall Mathers LP 2

text: During August 2013, Eminem performed four concerts in Europe. The group of shows featured supporting acts Slaughterhouse, Kendrick Lamar, EarlWolf (Tyler, The Creator & Earl Sweatshirt), Yelawolf, and Chance the Rapper. In February 2014, Eminem toured Australia and New Zealand on the Rapture Tour. The four shows also featured Kendrick Lamar, J. Cole, 360, David Dallas, and Action Bronson. Eminem reportedly handpicked the artists to join him on tour.


title: The Marshall Mathers LP 2

text: On August 25, 2013, he revealed that the first single "Berzerk" would be released on August 27, 2013 in the US. The song was premiered on Shade 45 the day before its retail release. The single debuted at number two on the Canadian Hot 100, number three on the US "Billboard" Hot 100, and among the top 40 in many other countries. On September 9, 2013, the music video for "Berzerk" premiered on Vevo. The video featured cameo appearances from Kendrick Lamar, Kid Rock, Slaughterhouse, Mr. Porter, Yelawolf, Rick Rubin and Paul Rosenberg.


title: The Marshall Mathers LP 2

text: On August 14, 2013, a song titled "Survival" featuring Liz Rodrigues, with production by DJ Khalil was premiered in the multiplayer trailer for the video game "". A following press release revealed the first single from his eighth studio album would be released soon. On October 8, 2013, "Survival" was released on iTunes for digital download as the album's second single along with its music video. "Survival" has since peaked at number 16 on the "Billboard" Hot 100.


title: The Marshall Mathers LP 2

text: On October 14, 2013, the audio to "Rap God" premiered on Eminem's YouTube channel. It was then released to iTunes the following day, as the album's third single. It debuted at number seven on the "Billboard" Hot 100. On November 27, 2013, the music video was released for "Rap God".


title: The Marshall Mathers LP 2

text: On October 24, 2013, it was revealed that the Rihanna collaboration "The Monster", would be released as the album's fourth single. The Frequency-produced song premiered on October 28, 2013. The song was then released as the album's fourth official single the following day. The song became Eminem's fifth single to reach number one on the "Billboard" Hot 100. On December 16, 2013, the music video was released for "The Monster" featuring Rihanna. "Headlights", which features American singer Nate Ruess, was released as the album's fifth single in Australia on February 5, 2014. "Headlights" has since peaked at number 45 on the "Billboard" Hot 100.


title: The Marshall Mathers LP 2

text: "The Marshall Mathers LP 2" received generally positive reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 72, based on 33 reviews, indicating "generally favorable reviews."


title: The Marshall Mathers LP 2

text: Paul MacInnes of "The Guardian" gave the album a perfect five star rating saying, "His flows are exceptional, the wordplay is dazzling. The jokes, in places offensive, are relentless. There is no apology; no concession; just a virtuoso application of talent." Jon Dolan of the "Rolling Stone" said, "Nostalgia is everywhere. … He's playing his best character, the demon spawn of Trailer Hell, America, hitting middle age with his middle finger up his nose while he cleans off the Kool-Aid his kids spilled on the couch". Christopher Weingarten of "Spin" stated, "If rapping were purely an athletic competition, Eminem would be Michael Phelps and Lou Retton combined: pure ability and flexibility, like a bullet with only white-hot hate in his wake". He would go on to add that "we get rhymes… more rhymes than some rappers manage in a whole career". Mikael Wood of the "Los Angeles Times" said, "Eminem sounds more alive – angrier yet fully present – than he has in years… Eminem burns with purpose on "MMLP2". And if you don't like what he (still) has to say, there's a chance he doesn't either".


title: The Marshall Mathers LP 2

text: Edna Gundersen of "USA Today" said, Eminem "recaptures the original release's wild, clever, emotional brilliance in a flurry of caustic, brazenly honest, rapid-fire rhymes and aggressive beats". Sarah Rodman of "The Boston Globe" gave the album a positive review saying, "If anything, the sequel is more intense than the original, as the Detroit rapper explodes like an M-80... many memorable ones to be heard here, as Eminem doubles down on his manic flow, bursting with analogies, jokes, illusions, and ingenious wordplay with dizzying speed and skill". Dan Rys of "XXL" gave the album a rating of XL saying, "the thing that carries Em through is the diversity of his flows, and his ability to rap over anything ... you're getting one with more perspective, a version which has seen 13 more years and has a different outlook on some of the same topics that he first visited in 2000". Evan Rytlewski of "The A.V. Club" gave the album a B rating, saying "after years of stagnancy and tedious anger, he shows real growth on "The Marshall Mathers LP". Eminem has always rapped with forceful determination out of compulsive drives to prove himself to doubters, cut down his enemies, and retain his commercial foothold. For the first time in far too long, he sounds like he's rapping because he enjoys it, too." Jon Carmanica of "The New York Times" gave the album a positive review saying, "His lyrics are best viewed under a microscope... to see how he gets from one rhyme to the next in unexpected ways... he'll dominate almost any sound... but he still has some old habits, still heavy-handed with homophobic slurs... Eminem is still rapping from deep inside his cave, as if he's had no new experiences to draw from." David Jeffries of AllMusic spoke of the album saying, it is a "vicious, infectious, hilarious triumph... a super villain so familiar with hate and depression, he's powered by all shades of anger ... most of the best moments on MMLP2 are just as angry and just as irresponsible... Eminem at his very best." Luke Fox of "Exclaim!" gave the album an eight out ten rating praising the albums "astounding wordplay and creative beat choices".


title: The Marshall Mathers LP 2

text: In a mixed review, Greg Kot of the "Chicago Tribune" gave the album two out of four stars saying, "it reaffirms his prodigious agility with rhymes. Eminem still crunches together syllables, silliness, and storytelling flights of ridiculousness with acrobatic skill" and "The sense that we've all been here before, twice, is exacerbated by tired samples and interpolations. Eminem tries to cover up his retreat by doing cartwheels and back-flips with his rhymes". Craig Jenkins of "Pitchfork" gave the album a mixed review saying, "Eminem is a titan with wordplay, but "MMLP2" once again finds him at a loss for how to apply his talents." Nick Catucci of "Entertainment Weekly" gave the album a C+ criticizing Eminem's use of slurs on the album, saying "Eminem wouldn't be Eminem... if he didn't allot some of his whizbang homophobic slurs and misogynistic fantasies... rightly considered a rap great for his technical prowess, wicked humor, and tenacity... which make his flashes of hatred for women and gay men all the more alarming."


title: The Marshall Mathers LP 2

text: Closing out the year, "The Marshall Mathers LP 2" was ranked in multiple "Albums of the Year" lists. "XXL" named it the second best album of the year. They commented saying, "Three years after his widely praised album "Recovery", Em tapped into his former self for "Marshall Mathers LP 2". Slim Shady, along with the characters and stories from the first installment, are peppered throughout his latest effort. The Rap God also displays his lyrical prowess on songs like “Love Game” with Kendrick Lamar, the tribute to his mother in “Headlights," and the old school rap-rock ode "Berzerk." Em also supplies the world with another Rihanna collaboration that ups the expectations for fans every time their name is paired together. Overall, Eminem proves once again that his second wind is just as good as his glory days." "Complex" ranked the album number six, on their list of the 50 best albums of 2013, praising it as Eminem's best album since "The Eminem Show". Music critic Robert Christgau named it the seventh best album of 2013 in his year-end list for "The Barnes & Noble Review". Digital Spy placed it at number 14 on their list of the best albums of 2013. It was placed at number 24 on "Rolling Stone"'s list of the 50 best albums of 2013. "Spin" also ranked it at number 28 on their list of the 50 best albums of 2013, saying "His eighth solo album, "The Marshall Mathers LP 2", is an unwieldy beast; an imperfect yet mostly thrilling verbal-gymnastics routine that sticks the landing in the zone of Bad Taste with arms proudly raised." It was also listed at number 48 on the PopMatters list of the best albums of 2013. It was positioned at number 64 on "musicOMH"s list of the top 100 of the year.


title: The Marshall Mathers LP 2

text: In the United States, the album debuted at No. 1 on the "Billboard" 200, selling more than 792,000 copies in its first week, becoming the second-biggest debut of 2013 and the second-largest sales week of the year, only behind the debut of Justin Timberlake's "The 20/20 Experience", which bowed at number one with 968,000 in March. "The Marshall Mathers LP 2" logs the sixth-biggest sales week of the past five years. The album also marks Eminem's seventh No. 1 album. In its second week the album dropped to number two, selling 210,000 more copies. In its third week the album returned to number one on the "Billboard" 200, selling 120,000 more copies. In its fourth week the album dropped to number two on the "Billboard" 200, selling 199,000 more copies. The album sold 1,727,000 copies in the United States in 2013, making it the second best-selling album of the year. As of April 2015, the album has sold 2,244,000 copies in the United States according to Nielsen Soundscan.


title: The Marshall Mathers LP 2

text: In the United Kingdom, the album debuted at number one on the UK Albums Chart, selling over 143,000 copies, becoming Eminem's seventh consecutive No. 1 album in the UK. By achieving such a feat, Eminem became the first American act to score seven consecutive UK Number 1 albums and is now on par with The Beatles in second place for the most chart-topping UK albums in a row. The album was the best-selling album of 2013 in Canada, with over 242,000 units sold. In Australia, the album debuted at atop the ARIA Albums Chart, with only three days of chart sales, becoming his seventh No. 1 album in the country. It remained at number-one on the ARIA Albums Chart in its second week. "The Marshall Mathers LP 2" finished 2013 with 3.8 million copies sold worldwide.


title: The Marshall Mathers LP 2

text: In 2013, "The Marshall Mathers LP 2" was ranked as the 16th most popular album of the year on the "Billboard" 200.


title: The Marshall Mathers LP 2

text: The following year, "The Marshall Mathers LP 2" was ranked as the fifth most popular album of 2014 on the "Billboard" 200.


title: Yuichi Nakamura (voice actor)

text: After graduating from high school, Nakamura moved to Tokyo to become a voice actor. He wanted to be a movie dubbing artist. He entered Yoyogi Animation Academy and started living in the dormitory. While enrolled, he played the role of a waiter in the drama CD "Taishō Roman Zakkichō" starring Takehito Koyasu. After moving on from Yoyogi Animation Academy, he worked at Production Tokyo Drama House, Toritori Office, and Sigma Seven, and is currently a member of INTENTION.


title: Yuichi Nakamura (voice actor)

text: In 2001, he made his voice acting debut in the OVA "D+VINE [LUV]", and in the same year, he made his first regular TV anime role as Griffion and Ligeron in "Dennō Bōkenki Webdiver". In 2006, he won the role of Rufus in the game "", and the following year in 2007, he won the role of Takaya Abe in "Big Windup!". In the same year, he starred as Tomoya Okazaki in the TV anime "Clannad".


title: Yuichi Nakamura (voice actor)

text: In 2008, he won the 18th Best Male Voice Actor Award in "Nonko and Nobita's Anime Scramble". In 2016, he was awarded the Voice Actor of the Year in the Person Category of the 3rd Yahoo! Search Awards.


title: Yuichi Nakamura (voice actor)

text: In April 2020, Nakamura launched "Washagana TV" on YouTube with manga artist, Bukubu Ōkawa, as a composition writer. As a double personality with Mafia Kajita, he uploads videos of various genres such as unboxing, gaming, and valuable possession showcasing. He also welcomes guests for free talk, live streaming of new releases and enthusiast games, and membership-only streaming.


title: Ricky Rubio

text: Ricard Rubio Vives (born 21 October 1990) is a Spanish professional basketball player for the Cleveland Cavaliers of the National Basketball Association (NBA). Rubio became the youngest player ever to play in the Spanish ACB League on 15 October 2005, at age 14. He made his EuroLeague debut on 24 October 2006, a few days after turning 16, making him one of the youngest players to make their debut in the EuroLeague in its current format.


title: Ricky Rubio

text: On 25 June 2009, Rubio was drafted with the fifth pick in the first round of the 2009 NBA draft by the Minnesota Timberwolves, making him the first player born in the 1990s to be drafted by the NBA. The Timberwolves had an agreement in principle with his former Spanish team, DKV Joventut, to buy out his contract, but Rubio backed out of the deal. On 31 August 2009, Joventut traded the rights to Rubio to FC Barcelona, and Rubio signed a six-year contract with FC Barcelona the following day. In 2011, Rubio joined the Timberwolves, and spent six seasons in Minnesota before being traded to the Utah Jazz in June 2017. He signed with the Phoenix Suns in July 2019, before returning to Minnesota in 2020. Rubio was traded to the Cleveland Cavaliers in August 2021, but was dealt to the Indiana Pacers a month after suffering a season ending ACL injury in December.


title: Ricky Rubio

text: Rubio debuted in the Spanish ACB League in the 2005–06 season with DKV Joventut. Rubio was the youngest player ever to debut in the ACB, at 14 years and 11 months. He won the FIBA EuroChallenge championship with Joventut that year. He led the Spanish ACB League in steals during the 2006–07 season. He also won the Spanish ACB League's Rising Star Award that season. Rubio was also named the FIBA Europe Young Player of the Year in 2007, 2008, and 2009. He made his EuroLeague debut on 24 October 2006, versus Panathinaikos of Athens as Joventut's backup point guard for Elmer Bennett. He became the fifth-youngest EuroLeague player at the time. Rubio averaged 2.8 assists per game in his first season of EuroLeague play. He won the EuroCup championship with Joventut in 2008. He was also voted the Spanish ACB League's best point guard in 2008 and 2010. He won the 2009–10 EuroLeague with FC Barcelona.


title: Ricky Rubio

text: Despite his notability, he was carefully shielded. DKV Joventut and Rubio's parents agreed not to make him available for interviews until his 18th birthday on 21 October 2008. The restrictions were ended a few months early once he was selected for the Spain national team that would play at the 2008 Olympics.


title: Ricky Rubio

text: Rubio won the 2008 Mr. Europa Award, which was given out yearly by the Italian Superbasket Magazine. In 2009, his club Badalona raised the amount of money his contract paid per year from 80,000 euros net income to 300,000 euros net income. He was named the Defensive Player of the Year for the Spanish ACB League 2008–09 season, and he also led the league in steals that season. Rubio declared himself eligible for the 2009 NBA draft on 20 April 2009. Rubio's agent during that time was Dan Fegan.


title: Ricky Rubio

text: After the 2009 NBA draft, Rubio played for the FC Barcelona for the next two seasons as agreed upon with the Minnesota Timberwolves. During that time, he helped the team win the EuroLeague Championship in 2010 and the Liga ACB Championship in 2011.


title: Ricky Rubio

text: On 24 June 2009, the Minnesota Timberwolves acquired the fifth pick in the 2009 NBA draft, Etan Thomas, Darius Songaila and Oleksiy Pecherov from the Washington Wizards, in exchange for Randy Foye and Mike Miller. With the 5th pick, Minnesota selected Rubio, making him the first player born in the 1990s to be drafted. The Timberwolves had a total of four first round picks in the 2009 NBA draft. They used the 6th and 18th picks in the first round and chose two other point guards, Jonny Flynn from Syracuse and Ty Lawson from North Carolina, surprising many in the NBA. Lawson's draft rights were soon traded to the Denver Nuggets. The Timberwolves then used the 28th pick to select Wayne Ellington, a shooting guard from North Carolina.


title: Ricky Rubio

text: The following day, Rubio's father told a Spanish media outlet his son might return to Spain for at least one more season. Rubio did not attend an introductory press conference by the Timberwolves. Rubio had a buyout clause in his Joventut contract reported by various media outlets as ranging from $6.6 million to $8.2 million, and Timberwolves general manager David Kahn admitted Rubio would probably have to play one more season in Spain to reduce or avoid the buyout.


title: Ricky Rubio

text: On 22 July, the Associated Press reported Rubio was seeking to leave Joventut, regardless of whether he was able to come to the NBA. The report indicated that the ACB powers FC Barcelona and Real Madrid were both interested in signing Rubio if he could not immediately go to the NBA. The main stumbling block to Rubio's NBA move was a clause in the league's collective bargaining agreement that prohibited a team from paying more than $500,000 toward a player's contract buyout. Barça and Real, as ACB clubs, were not subject to this rule and could pay far more toward a buyout. In another development, the "St. Paul Pioneer Press" reported on 4 August Rubio's representatives had been actively seeking endorsement deals in Minnesota to help finance his buyout (the NBA buyout rules are binding on teams, but not on third parties).


title: Ricky Rubio

text: However, on 31 August 2009, ESPN reported Rubio would not come to the NBA until 2011 at the earliest. Joventut expressed a willingness to reduce the buyout, and the Timberwolves apparently had a deal to bring him to the NBA, but in the end Rubio did not feel ready to cross the Atlantic. Rubio issued the following statement:


title: Ricky Rubio

text: Kahn believed Rubio and his family were being pressured by the Spanish media, his national teammates, and people in his hometown to stay in Spain, adding, "It's just been a tough summer. From an 18-year-old's perspective and his family's perspective, it was very nerve-racking".


title: Ricky Rubio

text: ESPN reported his original buyout with Joventut was €5.7 million ($8.1 million) in both 2009 and 2010. Barça bought out Rubio's contract for €3.5 million ($5.0 million), and announced on September 1 he had signed a six-year deal with the club. The contract gave him the option to go to the NBA after the 2010–11 season, with ESPN reporting the buyout at that time would be a more manageable $1.4 million (of which the Timberwolves could pay $500,000).


title: Ricky Rubio

text: On 1 June 2011, sources reported Rubio had "reached an agreement with Minnesota to join the Timberwolves" for the 2011–12 NBA season. Rubio arrived off a plane in Minnesota to a barrage of fans waiting to welcome him to America. On 17 June 2011, Rubio held a press conference announcing he had signed with Minnesota.


title: Ricky Rubio

text: Becoming the 10th Spanish NBA player, Rubio made his regular season debut on 26 December 2011, to a sellout crowd at the Target Center, the team's first sellout crowd since the 2007–08 season. Rubio recorded 6 points, 5 rebounds and 6 assists in 26 minutes in a 4-point loss to the Oklahoma City Thunder. He was named Western Conference Rookie of the Month after the first month of the season. In February, Rubio and teammate Derrick Williams were selected to participate in the 2012 Rising Stars challenge. Rubio was drafted to Team Shaq, while Williams was drafted to Team Chuck. Rubio scored 22 points on 19 February 2012 in a win over the Philadelphia 76ers. In a loss to the Los Angeles Lakers on 9 March 2012, Rubio tore his ACL and his lateral collateral ligament defending Kobe Bryant. He missed the rest of the season. Rubio finished second in Rookie of the Year voting, trailing only Cleveland Cavaliers rookie Kyrie Irving. Rubio had averaged 10.6 points, 8.2 assists and 2.2 steals in 41 games.


title: Ricky Rubio

text: Rubio returned from his injury on 15 December 2012, in an overtime victory over the Dallas Mavericks, playing for 19 minutes and totaling 9 assists and 8 points. He then recorded his first career triple-double with 21 points, 13 rebounds and 12 assists in a win over the San Antonio Spurs on 13 March 2013. Rubio almost recorded his second career triple-double in a loss to the Memphis Grizzlies on March 30 with 23 points, 10 rebounds and 9 assists. Then on 13 April, he recorded a then career-high 24 points, 10 assists, 5 rebounds and 5 steals in a win over the Phoenix Suns. Rubio finished the 2012–13 season with averages of 10.7 points, 7.3 assists and 2.4 steals per game. He also finished second in steals per game, behind Chris Paul.


title: Ricky Rubio

text: On 11 November 2013, Rubio recorded his second career triple-double with 12 points, 14 assists and 10 rebounds in a 113–90 win over the Los Angeles Lakers.


title: Ricky Rubio

text: On 19 February 2014, Rubio recorded a career-high 17 assists, along with 6 points, 7 rebounds and 2 steals, in a 104–91 win over the Indiana Pacers. Rubio also tied the Timberwolves' franchise record with his 17 assists. On 19 March 2014, Rubio recorded his third career triple-double with 22 points, 15 assists and 10 rebounds in a 123–122 overtime win over the Dallas Mavericks. On 28 March 2014, Rubio tied Tyrone Corbin for the Wolves season-record in steals at 175 with his one steal in a 143–107 win over the Los Angeles Lakers. Two days later, he passed that record when he recorded 2 steals against the Brooklyn Nets.


title: Ricky Rubio

text: On 31 October 2014, Rubio signed a four-year, $56 million contract extension with the Timberwolves. On i November 2014, he was ruled out indefinitely after he severely sprained his left ankle in the 7 November game loss to the Orlando Magic. Rubio returned to action on 2 February 2015 against the Dallas Mavericks, recording 10 points and 4 assists in a 100–94 loss. On 2 March 2015, he recorded his fourth career triple-double with 18 points, 11 assists and 12 rebounds in a loss to the Los Angeles Clippers. He later underwent surgery on his ankle in April 2015.


title: Ricky Rubio

text: On 28 October 2015, Rubio scored a then career-high 28 points in a season opening win over the Los Angeles Lakers. He later missed four games with a sore left knee, returning to action on 17 November. On 16 December, he recorded a near quadruple-double with 12 assists, 10 rebounds, 9 points and 8 steals in a loss to the New York Knicks. On 30 December, he tied a career high with 17 assists in a 94–80 win over the Utah Jazz. Having recorded 14 assists two nights prior in a loss to the San Antonio Spurs, Rubio became the first Wolves player with at least 14 assists in consecutive games since Terrell Brandon did so in April 1999. On 11 March 2016, Rubio's three-pointer with 0.2 seconds remaining lifted the Timberwolves to a 99–96 win over the Oklahoma City Thunder. He finished with 13 points and 12 assists for his eighth double-double of the season, as the Timberwolves snapped a 10-game losing streak against the Thunder. On 14 March against the Phoenix Suns, for the fourth time in his career, Rubio had a 17-assist effort.


title: Ricky Rubio

text: On 11 January 2017, in a win over the Houston Rockets, Rubio had a 17-assist effort for the fifth time in his career. Rubio also passed Sam Mitchell to move into fourth place on the team's career games played list with 292. On 30 January 2017, he made a then career-high six three-pointers to lead the Timberwolves to a 111–105 overtime victory over the Orlando Magic. He finished with 22 points, eight rebounds and eight assists. On 4 March 2017, he recorded his fifth career triple-double with 11 points, 13 rebounds and 10 assists in a 97–90 overtime loss to the San Antonio Spurs. On 13 March 2017, Rubio scored 22 points and broke his own franchise record with 19 assists in a 119–104 win over the Washington Wizards. Two days later, he had a season-high 23 points in a 117–104 loss to the Boston Celtics. On 30 March 2017, Rubio had a then career-high 33 points, 10 assists and five rebounds in a 119–104 win over the Lakers.


title: Ricky Rubio

text: On 30 June 2017, Rubio was traded to the Utah Jazz in exchange for a 2018 first-round draft pick. On 1 November 2017, Rubio scored a season-high 30 points in a 112–103 overtime win over the Portland Trail Blazers. On 3 February 2018, he set a new season high with 34 points in a 120–111 win over the San Antonio Spurs. On 11 March 2018, he had 30 points, 10 rebounds and seven assists in a 116–99 win over the New Orleans Pelicans. In Game 3 of the Jazz's first-round playoff series against the Oklahoma City Thunder, Rubio had 26 points, 11 rebounds and 10 assists, as the Jazz took a 2–1 lead in the series with a 115–102 win. Rubio's triple-double was the first by a Jazz player in the postseason since John Stockton in the 2001 playoffs against Dallas. In Game 6, Rubio suffered a left hamstring injury that rendered him out for the remainder of the playoffs.


title: Ricky Rubio

text: On 8 July 2019, Rubio signed with the Phoenix Suns on a three-year, $51 million contract. On 23 October, Rubio put up 11 points and 11 assists in a 124–95 win over the Sacramento Kings. His 11 assists tied Elliot Perry as the only players to put up a double-double with 11 assists in a Suns debut game. On 16 December, Rubio put up his first triple-double with the Suns with 10 points, 11 rebounds, and 14 assists in a 111–110 loss to the Portland Trail Blazers. On 24 February 2020, Rubio put up 22 points, 11 assists, 7 steals, and 6 rebounds in a 131–111 win over his former team, the Utah Jazz. He became the first Suns player to put up at least 20+ points, 10+ assists, and 7+ steals in a game since Kevin Johnson back in 1996. Rubio recorded his second triple-double with the Suns on 8 March with 25 points, 13 rebounds, and 13 assists in a 140–131 win over the Milwaukee Bucks.


title: Ricky Rubio

text: On 23 June 2020, the Suns reported that two of their own players tested positive for COVID-19. In a 22 July interview, Rubio revealed himself as one of the two players to test positive for the COVID-19 virus. However, Rubio would rejoin the team in the 2020 NBA Bubble removed from the virus during the team's scrimmage games for the resumed season, eventually returning on 31 July as a starter in a 125–112 win over the Washington Wizards.


title: Ricky Rubio

text: On 16 November 2020, Rubio was traded to the Oklahoma City Thunder alongside Jalen Lecque, Kelly Oubre Jr., Ty Jerome, and a 2022 first-round draft pick in a trade for Chris Paul and Abdel Nader. Two days later, Rubio and the draft rights to Jaden McDaniels and Immanuel Quickley were traded to the Minnesota Timberwolves in exchange for James Johnson, the draft rights to Aleksej Pokuševski, and Minnesota's 2024 second-round selection.


title: Ricky Rubio

text: On 3 August 2021, Rubio was traded to the Cleveland Cavaliers in exchange for Taurean Prince, a 2022 second round pick, and cash considerations. On 7 November, Rubio scored 37 points and made eight three-pointers, both career highs, alongside 10 assists in a 126–109 win over the New York Knicks. On 13 December, Rubio recorded his 5,000th career assist. On 28 December, he tore his left ACL during a game between the New Orleans Pelicans, and the next day, it was confirmed to be a season-ending injury.


title: Ricky Rubio

text: On February 6, 2022, Rubio was traded to the Indiana Pacers along with a lottery-protected 2022 first-round pick, a 2022 second-round pick and a 2027 second-round pick in exchange for Caris LeVert and a 2022 second-round pick. Due to his knee injury, he never played a game for the team.


title: Ricky Rubio

text: On July 8, 2022, Rubio signed to return to the Cleveland Cavaliers on a three-year, $18 million contract.


title: Ricky Rubio

text: In August 2006, Rubio led the rising junior Spain national team to the FIBA Europe Under-16 Championship. During the tournament Rubio achieved two triple-doubles and a quadruple-double. In the 110–106 double overtime finale victory over Russia, Rubio scored 51 points, the first player to do so in FIBA junior tournaments since Luol Deng (in 2001), grabbed 24 rebounds, made 12 assists, and stole the ball 7 times. He also forced the first overtime with a three-point, buzzer-beating shot from mid-court. Rubio was then named the Most Valuable Player of the tournament after leading it in points, rebounds, assists and steals.


title: Ricky Rubio

text: The young Spaniard competed internationally with the senior Spain National Team at the 2008 Beijing Summer Olympics. The team included current and former NBA players such as Pau Gasol, José Calderón, Rudy Fernández, Marc Gasol, Raúl López, Jorge Garbajosa, and Juan Carlos Navarro.


title: Ricky Rubio

text: He played in the 2008 Olympics Basketball Tournament's gold medal game against the USA's "Redeem Team", and at 17 became the youngest player in an Olympic basketball final. The team took the silver medal after a loss at the gold, 118–107. The team continued international play at the EuroBasket 2009 in Poland, where Spain defeated Serbia for the gold medal, 85–63. Rubio's contribution averaged 22.7 minutes, 5.9 points, 2.2 rebounds, 3.9 assists, and 1.4 steals per game.


title: Ricky Rubio

text: Rubio led Spain to a gold medal in the 2019 FIBA Basketball World Cup in China. They beat Argentina in the final, 95–75. Rubio was chosen as one of the FIBA World Cup All-Star Five alongside Serbian's Bogdan Bogdanovic, France's Evan Fournier, Spain's Marc Gasol, and Argentina's Luis Scola. He was also named the World Cup MVP.


title: Ricky Rubio

text: Rubio was regarded by some as the best European guard prospect ever. Rubio has been compared by some to Pete Maravich.


title: Ricky Rubio

text: In May 2016, Rubio's mother Tona Vives died at the age of 56. He has a sister named Laia. On 14 January 2020, Rubio's wife Sara gave birth to their son.


title: Ricky Rubio

text: In the summer of 2020 Rubio revealed he had the coronavirus prior to playing basketball in the Orlando bubble.


title: Solitary confinement

text: Solitary confinement is a form of imprisonment in which the inmate lives in a single cell with little or no meaningful contact with other people. A prison may enforce stricter measures to control contraband on a solitary prisoner and use additional security equipment in comparison to the general population. Solitary confinement is a punitive tool within the prison system to discipline or separate disruptive prison inmates who are security risks to other inmates, the prison staff, or the prison itself. However, solitary confinement is also used to protect inmates whose safety is threatened by other inmates by separating them from the general population.


title: Solitary confinement

text: In a 2017 review, "a robust scientific literature has established the negative psychological effects of solitary confinement", leading to "an emerging consensus among correctional as well as professional, mental health, legal, and human rights organizations to drastically limit the use of solitary confinement." The United Nations General Assembly Standard Minimum Rules for the Treatment of Prisoners were revised in 2015 to extend restrictions on solitary confinement exceeding 15 days.


title: Solitary confinement

text: The practice of solitary confinement in the United States traces its origins back to the 19th century when Quakers in Pennsylvania used this method as a substitution for public punishments. Research surrounding the possible psychological and physiological effects of solitary confinement dates back to the 1830s. When the new prison discipline of separate confinement was introduced at the Eastern State Penitentiary as part of the "Pennsylvania" or separate system in Philadelphia in 1829, commentators attributed the high rates of mental breakdown to the system of isolating prisoners in their cells. Charles Dickens, who visited the Philadelphia Penitentiary during his travels to America, described the "slow and daily tampering with the mysteries of the brain to be immeasurably worse than any torture of the body". Prison records from the Denmark institute in 1870 to 1920 indicate that staff noticed inmates were exhibiting signs of mental illnesses while in isolation, revealing that the persistent problem has been around for decades.


title: Solitary confinement

text: In the twentieth century, Scandinavian countries such as Denmark have extensively used solitary confinement for prisoners in pretrial detention with the stated goal of preventing them from interfering in the investigation. Norwegian mass murderer Anders Breivik was held in solitary confinement, partly to protect him from other inmates. However, his complaint was partially upheld by the European Court of Human Rights in 2016.


title: Solitary confinement

text: The first comment by the Supreme Court of the United States about solitary confinement's effect on prisoner mental status was made in 1890 (In re Medley 134 U.S. 160). In it the court found that the use of solitary confinement produced reduced mental and physical capabilities.


title: Solitary confinement

text: The use of solitary confinement increased greatly during the COVID-19 pandemic in order to avoid spread of the virus in prisons.


title: Solitary confinement

text: The practice is used when a prisoner is considered dangerous to themselves or to others, is suspected of organizing or being engaged in illegal activities outside of the prison, or, as in the case of a prisoner such as a child molester or a witness, is at a high risk of being harmed by other inmates. The latter example is a form of protective custody. Solitary confinement is also commonly used as a form of punishment for violation of prison rules or other disciplinary infractions by an inmate. Solitary confinement is the norm in supermax prisons, where prisoners who are deemed dangerous or of high risk are held.


title: Solitary confinement

text: Solitary confinement as a disciplinary measure for prisoners in Europe was largely reduced or eliminated during the twentieth century. However, solitary confinement is still widely used across Europe for a variety of reasons.


title: Solitary confinement

text: The European Court of Human Rights distinguishes between complete sensory isolation, total social isolation and relative social isolation and notes that "complete sensory isolation, coupled with total social isolation can destroy the personality and constitutes a form of inhuman treatment which cannot be justified by the requirements of security or any other reason. On the other hand, the prohibition of contacts with other prisoners for security, disciplinary or protective reasons does not in itself amount to inhuman treatment or punishment."


title: Solitary confinement

text: The European Committee for the Prevention of Torture and Inhuman or Degrading Treatment or Punishment, or CPT, defines solitary confinement as "whenever a prisoner is ordered to be held separately from other prisoners, for example, as a result of court decision, as a disciplinary sanction imposed within the prison system, as a preventive administrative measure or for the protection of the prisoner concerned". The CPT "considers that solitary confinement should only be imposed in exceptional circumstances, as a last resort and for the shortest possible time".


title: Solitary confinement

text: Italian prisoners subject to special surveillance (""14-bis" regime") may be in de-facto solitary confinement. A person sentenced to multiple life sentences in Italy may be required by the Minister of Justice to serve a period of between 6 months to years in the ""41-bis" regime" of solitary confinement, subject to extension and review.


title: Solitary confinement

text: In 2015, segregation (solitary confinement) was used 7,889 times. 54 out of 85,509 prisoners held in England and Wales in 2015 were placed in solitary confinement cells in a so-called 'Close Supervision Centre' (Shalev & Edgar, 2015:149), England and Wales' version of the US 'Supermax'.


title: Solitary confinement

text: The use of solitary confinement on juveniles and children, as elsewhere, has been a subject of contention. Critics argue that, in the United Kingdom, the state has a duty to "set the highest standards of care" when it limits the liberties of children. Frances Crook is one of many to believe that incarceration and solitary confinement are the harshest forms of possible punishments and "should only be taken as a last resort". Because children are still mentally developing, incarceration also should not encourage them to commit more violent crimes.


title: Solitary confinement

text: The penal system has been cited as failing to protect juveniles in custody. In the United Kingdom, 29 children died in penal custody between 1990 and 2006: "Some 41% of the children in custody were officially designated as being vulnerable". That is attributed to the fact that isolation and physical restraint are used as the first response to punish them for simple rule infractions. Moreover, Frances Crook argues that these punitive policies not only violate their basic rights but also leave the children mentally unstable and left with illnesses that are often ignored. Overall, the solitary confinement of youth is considered to be counterproductive because the “restrictive environment... and intense regulation of children” aggravates them, instead of addressing the issue of rehabilitation.


title: Solitary confinement

text: Solitary confinement is colloquially referred to in British English as "the block", "The Segregation Unit" or "the cooler".


title: Solitary confinement

text: Solitary confinement first arose in the United States in the 1700s among religious groups like the Quakers, who thought isolation with a Bible would lead to repentance and rehabilitation.


title: Solitary confinement

text: In the United States penal system, more than 20 percent of state and federal prison inmates and 18 percent of local jail inmates are kept in solitary confinement or another form of restrictive housing at some point during their imprisonment. Between 41,000-48,000 people were held in solitary confinement in 2001 in the United States, according to a study by Yale Law School. Of this number, 6,000 were being held in solitary confinement for over a year. The period of confinement can last from a few days to several decades. According to Homer Venters, former Chief Medical Officer for the New York City jail system, "Solitary confinement is utilised for tens of thousands of people for years at a time.” Many of these people will be held in a Supermax prison- high-tech prisons purposely designed to hold people in strict and prolonged solitary confinement.


title: Solitary confinement

text: As of 2021, there have been attempts in New York State to ban the use of solitary confinement for periods of more than 15 days, in line with UN recommendations against the use of torture.


title: Solitary confinement

text: The headquarters for the Bolivarian Intelligence Service (SEBIN) in Plaza Venezuela, Caracas, have an underground detention facility that has been dubbed "La Tumba" (The Tomb). The facility is located at the place that the underground parking for the Metro Caracas was to be located. The cells are two by three meters that have a cement bed, white walls, security cameras, no windows, and barred doors, with cells aligned next to one another so that there is no interaction between prisoners. Such conditions have caused prisoners to become very ill, but they are denied medical treatment. Bright lights in the cells are kept on so that prisoners lose their sense of time, with the only sounds heard being from the nearby Caracas Metro trains. Those who visit the prisoners are subjected to strip searches by multiple SEBIN personnel.


title: Solitary confinement

text: Allegations of torture in La Tumba, specifically white torture, are also common, with some prisoners attempting to commit suicide. Those conditions according to the NGO Justice and Process are intended to make prisoners plead guilty to the crimes that they are accused of.


title: Solitary confinement

text: Physicians have concluded that for those inmates who enter the prison already diagnosed with a mental illness, the punishment of solitary confinement is extremely dangerous in that the inmates are more susceptible to exacerbating the symptoms. Research indicates that the psychological effects of solitary confinement may encompass "anxiety, depression, anger, cognitive disturbances, perceptual distortions, obsessive thoughts, paranoia, and psychosis." A main issue with isolating prisoners who are known to have mental illnesses is that it prevents the inmates from ever possibly recovering. Instead, many "mentally ill prisoners decompensate in isolation, requiring crisis care or psychiatric hospitalization." It is also noted that if a prisoner is restrained from interacting with the individuals they wish to have contact with they exhibit similar effects.


title: Solitary confinement

text: The lack of human contact, and the sensory deprivation that often go with solitary confinement can have a severe negative impact on a prisoner's mental state that may lead to certain mental illnesses such as depression, permanent or semi-permanent changes to brain physiology, an existential crisis, and death.


title: Solitary confinement

text: A 2013 systematic review published in "Acta Psychiatrica Scandinavica" concluded that solitary confinement was "associated with negative effects on mental health."


title: Solitary confinement

text: According to a March 2014 article in "American Journal of Public Health", "Inmates in jails and prisons attempt to harm themselves in many ways, resulting in outcomes ranging from trivial to fatal."


title: Solitary confinement

text: Self-harm was seven times higher among the inmates where seven percent of the jail population was confined in isolation. Fifty-three percent of all acts of self-harm took place in jail. "Self-harm" included, but was not limited to, cutting, banging heads, self-amputations of fingers or testicles. These inmates were in bare cells, and were prone to jumping off their beds head first into the floor or even biting through their veins in their wrists. A main issue within the prison system and solitary confinement is the high number of inmates who turn to self-harm.


title: Solitary confinement

text: One study has shown that "inmates ever assigned to solitary confinement were 3.2 times as likely to commit an act of self-harm per 1,000 days at some time during their incarceration as those never assigned to solitary. These inmates assigned to solitary were 2.1 times as likely to commit acts of self-harm during the days that they were actually in solitary confinement and 6.6 times as likely to commit acts of self-harm during the days that they were not in solitary confinement, relative to inmates never assigned to solitary confinement." The study has concluded that there is a direct correlation between inmates who self-harm and inmates that are punished into solitary confinement.


title: Solitary confinement

text: Many of the inmates look to self-harm as a way to "avoid the rigors of solitary confinement." Mental health professionals ran a series of tests that ultimately concluded that "self-harm and potentially fatal self-harm associated with solitary confinement was higher independent of mental illness status and age group."


title: Solitary confinement

text: Solitary confinement has been reported to cause hypertension, headaches and migraines, profuse sweating, dizziness, and heart palpitations. Many inmates also experience extreme weight loss due to digestion complications and abdominal pain. Many of these symptoms are due to the intense anxiety and sensory deprivation. Inmates can also experience neck and back pain and muscle stiffness due to long periods of little to no physical activity. These symptoms often worsen with repeated visits to solitary confinement.


title: Solitary confinement

text: Some sociologists argue that prisons create a unique social environment that do not allow inmates to create strong social ties outside or inside of prison life. Men are more likely to become frustrated, and therefore more mentally unstable when keeping up with family outside of prisons. Extreme forms of solitary confinement and isolation can affect the larger society as a whole. The resocialization of newly released inmates who spent an unreasonable amount of time in solitary confinement and thus suffer from serious mental illnesses is a huge dilemma for society to face. The effects of isolation unfortunately do not stop once the inmate has been released. After release from segregated housing, psychological effects have the ability to sabotage a prisoner's potential to successfully return to the community and adjust back to ‘normal’ life. The inmates are often startled easily, and avoid crowds and public places. They seek out confined small spaces because the public areas overwhelm their sensory stimulation.


title: Solitary confinement

text: In 2002, the Commission on Safety and Abuse in America, chaired by John Joseph Gibbons and Nicholas Katzenbach found that: "The increasing use of high-security segregation is counter-productive, often causing violence inside facilities and contributing to recidivism after release."


title: Solitary confinement

text: Solitary confinement is considered to be a form of psychological torture with measurable long-term physiological effects when the period of confinement is longer than a few weeks or is continued indefinitely. In October 2011, UN Special Rapporteur on torture, Juan E. Méndez, told the General Assembly's third committee, which deals with social, humanitarian, and cultural affairs, that the practice could amount to torture: "Considering the severe mental pain or suffering solitary confinement may cause, it can amount to torture or cruel, inhuman or degrading treatment or punishment when used as a punishment, during pre-trial detention, indefinitely or for a prolonged period, for persons with mental disabilities or juveniles." In November 2014. the United Nations Committee Against Torture stated that full isolation for 22–23 hours a day in super-maximum security prisons is unacceptable. The United Nations have also banned the use of solitary confinement for longer than 15 days.


title: Solitary confinement

text: The long-term psychological impacts of solitary confinement in South Africa, as well as deprivation and constraint torture techniques in prisons, were observed as analogous to those of post-traumatic stress disorder.


title: Solitary confinement

text: There is a scholarly consensus that solitary confinement is harmful, which has led to a growing movement to reduce or abolish the practice.


title: Solitary confinement

text: In immigration detention centers, reports have surfaced concerning its use against detainees in order to keep those knowledgeable about their rights away from other detainees. In the prison-industrial complex itself, reports of solitary confinement as punishment in work labor prisons have also summoned much criticism. One issue prison reform activists have fought against is the use of Security Housing Units (extreme forms of solitary confinement). They argue that they do not rehabilitate inmates but rather serve only to cause inmates psychological harm. Further reports of placing prisoners into solitary confinement based on sexual orientation, race and religion have been an ongoing but very contentious subject in the last century.


title: Solitary confinement

text: Research has shown that the routine features of prison can make huge demands on limited coping resources. After prison many ex-convicts with mental illness do not receive adequate treatment for their mental health issues, because health services turn them away. This is caused by restrictive policies or lack of resources for treating the formerly incarcerated individual. In a study focusing on women and adolescent men, those who had health insurance, received mental health services, or had a job were less likely to return to jail. However, very few of the 1,000 individuals in this study received support from mental health services.


title: Solitary confinement

text: Treating mentally ill patients by sentencing them into solitary confinement has captured the attention of human rights experts who conclude that "solitary confinement may amount to cruel, inhuman, or degrading treatment" that violates rights specifically targeting cruel, inhuman treatment. Health care professionals and organizations recognize the fact that solitary confinement is not ethical, yet the segregating treatment fails to come to a halt. "Experience demonstrates that prisons can operate safely and securely without putting inmates with mental illness in typical conditions of segregation." Despite this and medical professionals' obligations, segregation policies have not changed because mental health clinics believe that "isolation is necessary for security reasons." In fact, many believe that it is ethical for physicians to help those in confinement but that the physicians should also be trying to stop the abuse. If they cannot do so they are expected to undertake public advocacy.


title: Solitary confinement

text: The legality of solitary confinement has been frequently challenged over the past sixty years as conceptions surrounding the practice have changed. Much of the legal discussion concerning solitary confinement has centered on whether or not it constitutes torture or cruel and unusual punishment. While international law has generally begun to discourage solitary confinement's use in penal institutions, opponents of solitary confinement have been less successful at challenging it within the United States legal system.


title: Solitary confinement

text: UN Special Rapporteurs on Torture Manfred Nowak and Juan Méndez have "repeatedly unequivocally stated that prolonged solitary confinement is cruel, inhuman or degrading treatment, and may amount to torture", though their statements are not primary sources in international law.


title: Solitary confinement

text: A 2005 law journal article argued America's detention system is far below the basic minimum standards for treatment of prisoners under international law and has caused an international human rights concern: "U.S. solitary confinement practices contravene international treaty law, violate established international norms, and do not represent sound foreign policy."