title: Chautauqua

text: "The Chautauquan" was a magazine founded in 1880 by Theodore L. Flood. First printed in Jamestown, New York, the magazine soon found a home in Meadville, Pennsylvania, where Flood bought a printing shop. It printed articles about Christian history, Sunday school lessons, and lectures from Chautauqua. By the end of the decade the magazine was printing articles by well-known authors of the day (John Pentland Mahaffy, John Burroughs, Hjalmar Hjorth Boyesen), and serial educational material (including courses by William Torrey Harris and Arthur Gilman). Strongly allied to the main organization it had easy access to popular authors ("the big fish in the intellectual sea", according to Frank Luther Mott), but Flood was wary of making his magazine too dry for the popular taste, and sought to include variety. By 1889 the magazine changed course radically and dropped the serials that were Chautauqua's required reading, and expanded with articles on history, biography, travel, politics, and literature. One section had editorial articles from national newspapers, another was the "Woman's Council Table", which excerpted articles often by famous women writers, though all this material remained required reading for the Chautauqua program. The magazine was regarded highly by contemporary publications, and as Mott says, "its range of topics was indeed remarkable, and its list of contributors impressive". Flood stopped editing the magazine in 1899, and journalist Frank Chapin Bay, schooled by Chautauqua, took over; the magazine became less a general magazine and more the official organ of the organization.


title: Chautauqua

text: Lectures were the mainstay of the Chautauqua. Prior to 1917, lectures dominated the circuit Chautauqua programs. The reform speech and the inspirational talk were the two main types of lecture until 1913. Later topics included current events, travel and stories, often with a comedic twist.


title: Chautauqua

text: The most prolific speaker (often booked in the same venues with three-time presidential candidate William Jennings Bryan) was Russell Conwell who delivered his famous "Acres of Diamonds" speech 5,000 times to audiences on the Chautauqua and Lyceum circuits, which had this theme: Get rich, young man, for money is power and power ought to be in the hands of good people. I say you have no right to be poor.


title: Chautauqua

text: Maud Ballington Booth, the "Little Mother of the Prisons", was another popular performer on the circuit. Booth's descriptions of prison life would move her audiences to tears and rouse them to reform. Jane Addams spoke on social problems and her work at Hull House. Helen Potter is another notable woman in the Chautauquas. Potter performed a variety of roles, including men and women. As Gentile notes: "Potter's choice of subjects is noteworthy for its variety and for the fact that she was credible in her impersonations of men as well as of women. In retrospect, Potter's impersonations are of special interest as examples of the kind of recycling or refertilization of inspiration that occurs throughout the history of the one-person show." On a lighter note, author Opie Read's stories and homespun philosophy endeared him to audiences. Other well-known speakers and lecturers in Chautauqua events of various forms included Member of the U.S. House of Representatives Champ Clark from Missouri, Missouri Governor Herbert S. Hadley, and "Fighting Bob" La Follette (governor of Wisconsin at the time).


title: Chautauqua

text: Christian instruction, preaching, and worship were a strong part of the Chautauqua experience. Although the Chautauqua movement was founded by Methodists, nondenominationalism was a Chautauqua principle from the beginning, and prominent Catholics like Catherine Doherty took part. In 1892, Lutheran Church theologian Theodore Emanuel Schmauk was one of the organizers of the Pennsylvania Chautauqua.


title: Chautauqua

text: Early religious expression in Chautauqua was usually of a general nature, comparable to the later Moral Re-Armament movement. Later on, in the first half of the 20th century, Fundamentalism was the content of an increasing number of Chautauqua sermons and lectures. However, the great number of Chautauquas, as well as the absence of any central authority over them, meant that religious patterns varied greatly among the different Chautauquas. Some were so religiously oriented that they were essentially church camps, while more secular Chautauquas resembled summer school and competed with vaudeville in theaters and circus tent shows with their animal acts and trapeze acrobats.


title: Chautauqua

text: One example, Lakeside Chautauqua, is privately owned but affiliated with the United Methodist Church. In contrast, the Colorado Chautauqua is entirely nondenominational and mostly secular in its orientation.


title: Chautauqua

text: In the 1890s, both Chautauqua and vaudeville were gaining popularity and establishing themselves as important forms of entertainment. While Chautauqua had its roots in Sunday-school and valued morality and education highly, vaudeville grew out of minstrel shows, variety acts, and crude humor, and so the two movements found themselves at odds. Chautauqua was considered wholesome, family entertainment and appealed to middle classes and people who considered themselves to be respectable or aspired to respectability. Vaudeville, on the other hand, was considered by many to be vulgar babbitry and appealed to working class men. There was a stark distinction between the two, and neither generally shared performers or audiences.


title: Chautauqua

text: At the turn of the 20th century, vaudeville managers began a push for more "refinement", as well as a loosening of Victorian-era morals from the Chautauqua side. Over time, as vaudeville became more respectable, Chautauqua became more permissive in what they considered to be acceptable acts. The boundaries between the two began to blur.


title: Chautauqua

text: Music was important to Chautauqua, with band music in particular demand. John Philip Sousa protégé Bohumir Kryl's Bohemian Band was frequently seen on the circuit. One of the numbers featured by Kryl was the "Anvil Chorus" from "Il Trovatore" with four husky timpanists in leather aprons hammering on anvils shooting sparks (enhanced through special effects) across the darkened stage. Spirituals were also popular. White audiences appreciated seeing African-Americans performing something other than minstrelsy. Other musical features of the Chautauqua included groups like the Jubilee Singers, who sang a mix of spirituals and popular tunes, and other singers and instrumental groups like American Quartette, who played popular music, ballads, and songs from the "old country". Entertainers on the Chautauqua circuit such as Charles Ross Taggart, billed as "The Man From Vermont" and "The Old Country Fiddler", played violin, sang, performed ventriloquism and comedy, and told tall tales about life in rural New England.


title: Chautauqua

text: Opera became a part of the Chautauqua experience in 1926 when the American Opera Company, an outgrowth of the Eastman School of Music in Rochester, New York, began touring the country. Under the direction of Russian tenor Vladimir Rosing, the AOC presented five operas in one week at the Chautauqua Amphitheater. By 1929, a permanent Chautauqua Opera company had been established.


title: Chautauqua

text: Chautauquas can be viewed in the context of the populist ferment of the late 19th century. Manifestos such as the "Populist Party Platform" voiced a disdain for political corruption and championed the plight of the common people in the face of the rich and powerful. Other favorite political reform topics in Chautauqua lectures included temperance (even prohibition), women's suffrage, and child labor laws.


title: Chautauqua

text: However, the Chautauqua movement usually avoided taking political stands as such, instead inviting public officials of all the major political parties to lecture, assuring a balanced program for the members of the assembly. For example, during the 1936 season at the Chautauqua Institution, in anticipation of the national election held that year for president, visitors heard addresses by Franklin D. Roosevelt, his Republican challenger Alf Landon, and from two third-party candidates.


title: Chautauqua

text: A route taken by a troupe of Chautauqua entertainers, the May Valentine Opera Company, which presented Gilbert and Sullivan's "The Mikado" during its 1925 "Summer Season," began March 26 in Abbeville, Louisiana, and ended September 6 in Sidney, Montana.


title: Cassie Bernall

text: Cassie René Bernall (November 6, 1981April 20, 1999) was a student who was killed in the Columbine High School massacre, where 11 more students and a teacher were killed by Eric Harris and Dylan Klebold, who then committed suicide. It was reported that Bernall had been asked whether or not she believed in God, and she said "Yes", before being shot during the massacre. However, investigators concluded the person asked about their belief in God was Valeen Schnurr, who survived the shooting.


title: Cassie Bernall

text: In September 1999, Bernall's mother, Misty, released "". In it, Misty describes her daughter's turbulent teenage life, conversion and Christian faith.


title: Cassie Bernall

text: Cassie was born to Misty and Brad Bernall on November 6, 1981 in Wheat Ridge, Colorado. Along with her brother Chris, she was brought up in a Christian home. According to her parents, she rebelled as a young teenager and began using drugs and alcohol, and that at one point she became suicidal. Her mother found letters in her bedroom discussing her thoughts of killing her parents, and they decided to send her to a new school, Columbine High School, for a new start. A year and a half before her death, Bernall decided to go on a weekend church retreat and restored her faith. Her father said "When she came back from that retreat, she was an entirely different person. We had gotten our daughter back."


title: Cassie Bernall

text: Bernall was killed by Eric Harris during the Columbine massacre on April 20, 1999. According to witness Emily Wyant, who was hiding under the same table as Bernall, Harris slammed his hand twice down on the table above them and said "peek-a-boo" before fatally shooting Bernall in the head. The shotgun blast that killed Bernall recoiled, resulting in a nose injury to Harris. Her family had no knowledge of her death until April 22, when they were notified.


title: Cassie Bernall

text: The deaths of Bernall and fellow student and Christian Rachel Scott during the Columbine massacre led both to be subsequently depicted and remembered by groups of evangelical Christians as Christian martyrs. In the following years numerous books—termed "hagiographies" by sociologist Ralph Larkin—were published about Scott and Bernall with the assistance of or authorship by their parents. Christian churches used the martyr narrative of Scott's and Bernall's deaths to promote themselves and recruit members.


title: Cassie Bernall

text: Craig Scott, the brother of Rachel Scott, was a student also in the library during the massacre who told investigators that he had heard one of the shooters ask a victim whether or not they believed in God during the shooting, and that the victim answered, "Yes." Scott said that he recognized the voice as Bernall's, however, he did not see the exchange happen as he was hiding under the table at the time. Investigators later took Scott back into the library and asked him to point to where he had heard the exchange come from. He did not point to where Bernall had been in the library, but rather pointed to where Valeen Schnurr, another student that had been shot in the massacre, had been hiding.


title: Cassie Bernall

text: Valeen Schnurr had been shot and was on the floor of the library when one of the shooters, Dylan Klebold approached her. She said, "Oh, my God, oh, my God, don't let me die." Klebold asked her if she believed in God. She said yes, and he asked why. She responded, "Because I believe and my parents brought me up that way." Klebold reloaded but did not shoot her again, and Schnurr ultimately survived the massacre. Some media publicized the story of Bernall being asked about her belief in God before her death. The story persisted even decades later. In 2015, Rick Santorum used the scenario during a Republican presidential debate, saying "16 years ago this country was tremendously inspired by a young woman who faced a gunman in Columbine and was challenged about her faith, and refused to deny God." However, Santorum did not attach a name to the story, and may have been referencing Valeen Schnurr.


title: Cassie Bernall

text: In October 1999, Bernall's mother, Misty Bernall, authored the book "She Said Yes: The Unlikely Martyrdom of Cassie Bernall". The book reached No. 8 on "The New York Times" best-sellers list.


title: Cassie Bernall

text: In the book, Misty Bernall repeated the story that her daughter was asked if she believed in God before she died, despite being told by investigators that the question had not been asked. Cassie's friend Emily Wyant, who was next to her in the library when she was shot, also told the family that the question had not been asked. Despite this, the Bernalls issued a statement standing behind the accuracy of their book, saying they had spoken to four witnesses who had told them that she had defended her faith before being killed. However, the book ultimately leaves it up to the audience to make up their own mind about what happened.


title: Cassie Bernall

text: Bernall's presentation as a Christian martyr has led to her serving as the inspiration for several songs, including Flyleaf's "Cassie" and Michael W. Smith's "This Is Your Time". The video for "This Is Your Time" includes a short clip at its beginning of Bernall talking about her beliefs.


title: Everlasting Love

text: "Everlasting Love" is a song written by Buzz Cason and Mac Gayden, originally a 1967 hit for Robert Knight and since remade numerous times, most successfully by Love Affair, as well as Town Criers, Carl Carlton, Sandra Cretu, and Gloria Estefan. The original version of "Everlasting Love" was recorded by Knight in Nashville, with Cason and Gayden aiming to produce it in a Motown style reminiscent of the Four Tops and the Temptations. When released as a single, the song reached No. 13 on the US chart in 1967. Subsequently, the song has reached the US Top 40 three times, most successfully as performed by Carl Carlton, peaking at No. 6 in 1974, with more moderate success by the duo Rex Smith and Rachel Sweet (No. 32 in 1981) and Gloria Estefan (No. 27 in 1995).


title: Everlasting Love

text: In the UK, "Everlasting Love" was covered by the Love Affair: it achieved No. 1 status in January 1968, eclipsing the Robert Knight original. Also in 1968, a cover by the Australian group Town Criers reached No. 2 in the Australian charts. In the 1990s "Everlasting Love" reached the UK Top 20 three times via remakes by Worlds Apart (No. 20 in 1993), Gloria Estefan (No. 19 in 1995) and, most successfully, a charity single by the cast from "Casualty" that reached No. 5 in 1998. In 2004, Jamie Cullum's version peaked at No. 20. Thus, "Everlasting Love" is one of two songs to become a "Billboard" Hot 100 Top 40 hit in the 1960s, 1970s, 1980s, and 1990s (the other being "The Way You Do the Things You Do") and the only song to become a UK Top 40 hit in the 1960s, 1970s, 1980s, 1990s, and 2000s.


title: Everlasting Love

text: The original version of "Everlasting Love" was recorded at Fred Foster Sound Studio in Nashville. According to Cason, the track "had some different sounds on it that, for the time period, were kind of innovative. The string sound is actually a Farfisa organ that Mac came up with, and we used a lot of echo." Robert Knight recalls: "Buzz was into country [music] but Mac was R&B... so we made it more of an R&B song like the rhythm and melody Mac had. I practiced and practiced on with Mac, as he had written the song for my voice and made it mine. Mac used his bandmates: [drummer] Kenny Buttrey, [bassist] Norbert Putnam, Charlie McCoy and himself on guitar." The background vocals on the song were performed by Buzz Cason and Carol Montgomery. Robert Knight recalls that he heard "Everlasting Love" for the first time at the actual recording session: "I didn't sing it the [as] written[:] I made some changes to fit my voice, and I didn't do it note for note. They had the melody going too fast, and it was jamming, it wasn't doing right, it wasn't sounding right. So I started what you call a steady step. I start singing a beat and a half: 'hearts-go-a-stray' – like that. It wasn't like that in the beginning, and I think that's what got 'Everlasting Love' off the ground."


title: Everlasting Love

text: Debuting on the "Billboard" Hot 100 dated September 30, 1967, "Everlasting Love" had already reached No. 1 in Philadelphia and Detroit by the time of its Top 40 debut on October 21, 1967. Cason admitted that the single "drove ... the promotion guys nuts since it hit in one market then several weeks later pop up somewhere else." The track spent its second week at its Hot 100 peak of No. 13 on the chart dated November 25, 1967 then dropped off the Hot 100 over the next three weeks. The R&B chart peak of "Everlasting Love" was No. 14. In its original release, Knight's "Everlasting Love" lost out in the UK to a cover by Love Affair, although Knight's version did spend two weeks at No. 40 UK in January 1968. In the spring of 1974, Knight's "Everlasting Love" had a second UK release to follow up the Top Ten success of the reissue of Knight's "Love on a Mountain Top"; this time the first-named track reached No. 19.


title: Everlasting Love

text: An airplay staple on American oldies radio stations (though less so than the 1974 Carl Carlton version), Knight's "Everlasting Love" has become a "cult favorite" of the beach music scene. In a 2011 interview, Buzz Cason stated that the Robert Knight original of "Everlasting Love" remained Cason's favorite version of the song: "I just think Robert's was the one [version] that had the magic in it."


title: Everlasting Love

text: "Everlasting Love" was recorded by Love Affair in 1967. According to the band's lead vocalist Steve Ellis: "We had two managers, David Wedgebury and John Cokell, who both worked at Decca [and] had access to all the imports on the Monument label. We rehearsed in a factory in Walthamstow and one night they turned up with 'Everlasting Love' by Robert Knight. I loved it and so we set about putting it down on tape." Muff Winwood produced the original Love Affair version of "Everlasting Love" which was recorded at Island Studios and featured the group's actual members: Island Records passed on releasing the track but CBS in-house producer Mike Smith - after failing to interest his regular clients Marmalade in recording the song (which Marmalade deemed "too poppy") - cut a new Love Affair version of "Everlasting Love".


title: Everlasting Love

text: The second Love Affair recording of "Everlasting Love" in fact featured only one member of the group: lead vocalist Steve Ellis who fronted a session ensemble comprising arranger/conductor Keith Mansfield's 40-piece orchestra plus a rhythm section, the session musicians including Peter Ahern (triangle percussion), Clem Cattini (drums), Alan Parker (guitar), Russ Stableford (bass), and a chorale comprising Madeline Bell, Kiki Dee, Lesley Duncan, and Kay Garner: the track was recorded in two takes. Mike Smith would eventually attribute the non-utilization of the actual musicians in Love Affair to the need for expediency, arguing that "there just wasn't time for the group to learn the arrangement in time, so we used session musicians", a UK release for the Robert Knight original version being imminent.


title: Everlasting Love

text: Debuting on the UK Top 50 dated January 2, 1968, "Everlasting Love" by the Love Affair rose to No. 1 in the UK Singles Chart for a two-week stay that February. The track was also a Top 20 hit in a number of other European countries in 1968.


title: Everlasting Love

text: When the Love Affair appeared on the ITV programme "Good Evening I'm Jonathan King" host Jonathan King asked group bassist Mick Jackson if the band had actually played on their hit recording of "Everlasting Love" and Jackson admitted the track had featured Ellis backed by session musicians. Steve Ellis has stated that Jonathan King was aware of the background of the Love Affair hit and ambushed Mick Jackson to invoke controversy, although Jackson would state: "We announced it ourselves because there were rumours about it in the business and we heard a Sunday newspaper was going to blow the story". Jackson also stated: "At first we didn’t worry that much when the story about us not playing came out... Then the thing escalated and people all over the place started slagging us. We got to regard it as a terrible nuisance, every time we opened a paper there was someone having a go at the Love Affair." The bad press had little if any negative impact on the band's popularity: their follow-up to "Everlasting Love", "Rainbow Valley" – another Cason/Gayden composition introduced by Robert Knight – reached number 5 in the UK and the additional success of "A Day Without Love" (number 6) made Love Affair the UK's top group in singles sales for 1968, apart from the Beatles. (The Love Affair singles continued to feature Ellis fronting a session ensemble with no other group members participating.)


title: Everlasting Love

text: All of these singles were released by CBS in the label's native United States on its Date Records subsidiary. However, despite their popularity in Europe, none of the Love Affair's singles charted in the US.


title: Everlasting Love

text: Carl Carlton recorded "Everlasting Love" in October 1973 at the Berry Hill (Tenn) studio Creative Workshop, which was owned by Buzz Cason; however, Cason was not involved in the recording of Carlton's version - the singer had himself chosen to record "Everlasting Love", which he knew via the version on David Ruffin's 1969 album "My Whole World Ended". Produced by Papa Don Schroeder and Tommy Cogbill, Carlton's cover features Hayward Bishop on drums and percussion, Cogbill on bass, and Reggie Young on guitar. The recording was engineered by Travis Turk. The track features a distinctive countermelody running through most of the song consisting of background vocal harmonies. Brenda Russell is among the background vocalists.


title: Everlasting Love

text: Carlton's original recording of "Everlasting Love" was issued as the B-side of the 1973 single "I Wanna Be Your Main Squeeze"; the track (i.e. "Everlasting Love") was then issued in July 1974 as an A-side after having been given a disco style remix, and became a discothèque favorite before breaking on the Hot 100 in September 1974 to proceed to a No. 6 peak that November, almost reaching the R&B Top 10 at No. 11.


title: Everlasting Love

text: Carlton's version of "Everlasting Love" is the most successful US release of the song. It remains an airplay favorite on American oldies radio stations. According to Broadcast Music Incorporated (BMI), the 1974 Carl Carlton version has been played more than 4 million times. One of the earliest pop hits to crossover from disco airplay, Carlton's "Everlasting Love" is a staple of disco compilations, including the second installment of the "Pure Disco" CD compilation series.


title: Everlasting Love

text: "Everlasting Love" was recorded as a duet by Rex Smith and Rachel Sweet. This version features revised lyrics including an additional verse of uncredited authorship which was approved by the song's composers and which would be retained by Sandra for her 1987 remake. Recorded at the Record Plant (NYC) and featured on both Smith's "Everlasting Love" album and Sweet's "...And Then He Kissed Me", "Everlasting Love" as a single featured a two-track B-side featuring Smith's "Still Thinking of You" and Sweet's "Billy and the Gun", respectively taken from each singer's album cited above.


title: Everlasting Love

text: Both Rex Smith and Rachel Sweet were on the roster of Columbia Records with the album "...And Then He Kissed Me" marking Sweet's label debut subsequent to two album releases on the new wave oriented Stiff label: according to Sweet, upon submitting the tracks intended to comprise her first album for Columbia - all original songs produced by Pete Solley - she'd been told: "we'd like you to cut some more songs. And we'd like it if they weren't yours." (Sweet would typify the "outside material" which would eventually appear on "...And Then He Kissed Me" as "lighter and more overtly commercial than her own songs".) Smith meanwhile had recorded a solo remake of "Everlasting Love" intended for his album produced by Rick Chertoff - then best known for his work with Air Supply - and after Rachel Sweet's manager (and father) Dick Sweet learned of Smith's recording of the song, arrangements were made for "Everlasting Love" to be recorded as a duet: Chertoff remained as producer of this version which was the first "outside" track recorded for "...And Then He Kissed Me", and on the basis of his work on the Smith/Sweet version of "Everlasting Love", Chertoff was invited by Dick Sweet to record four additional tracks with Sweet which, with "Everlasting Love" and four of the tracks from the Peter Solley sessions, would eventually comprise the "...And Then He Kissed Me" album.


title: Everlasting Love

text: The single was released in June 1981 in the US, July in the UK, and August in Australia. With neither Smith nor Sweet being a strong Top 40 force - Smith's solitary "Billboard" Hot 100 single had been "You Take My Breath Away" (No. 10 in 1979) while Sweet had yet to rank on the Hot 100 - their collaboration on "Everlasting Love" would only generate qualified chart impact: the single peaked at No. 32 on the "Billboard" Hot 100 in August 1981, affording Sweet her only Top 40 showing and Smith his second and last. It also appeared on "Billboard"s Hot Adult Contemporary chart peaking at No. 31. The single was also a mid-chart item in the UK at No. 35; in Australia it reached No. 41 mainly due to its being a local Top 10 hit in Adelaide at No. 9. In 1982, the Smith/Sweet version of "Everlasting Love" became a Top 10 hit in Switzerland and Denmark. The song received a positive review from the "Austin American-Statesman" which described it as "one of the best [recent hits]... superbly produced with a crystalline intensity [evoking] Phil Spector [classics]. A fine arrangement & the vocal [input] of the incomparable Rachel Sweet make [this] a pure delight."


title: Everlasting Love

text: A promotional video was shot for "Everlasting Love" with Smith and Sweet playing a couple getting married. The singers performed "Everlasting Love" live on the "Solid Gold" episode aired February 19, 1983: Smith was currently co-hosting the show on which Sweet guested to promote her current single "Voodoo".


title: Everlasting Love

text: German singer Sandra released a cover of "Everlasting Love" in 1987 as the lead single from her first greatest hits compilation "Ten on One (The Singles)". She was introduced to the song through the Love Affair version; she'd say of the song: "I have always loved it... Even as a little child I heard that song and I said that I would like to sing it sometime." However, for her remake of the song Sandra would use the lyrics of the 1981 Rex Smith/Rachel Sweet duet version. Sandra's version was produced by her partner, Michael Cretu.


title: Everlasting Love

text: The single was a hit in continental Europe in late 1987 and early 1988, reaching the Top 10 in her native Germany, as well as Switzerland, Austria, Greece, Denmark and South Africa . In Germany and Austria, it was also a top 5 airplay hit, and a No. 13 airplay hit in Switzerland. In the pan-European rankings, it reached No. 6 on the sales chart and No. 34 on the airplay chart. In the UK, the song originally only reached No. 88. The track was subsequently acquired by Pete Waterman, who had "Everlasting Love (the PWL mix)" - remixed by Pete Hammond - released in the UK in the summer of 1988 to barely improve on the original's UK chart performance with a No. 79 peak. However, "Everlasting Love (the PWL mix)" re-entered the UK chart in December 1988 to rise as high as No. 45 in January 1989, while in its Australian release, it reached the Adelaide hit parade at No. 21 and had a national chart showing of No. 72. In the US, "Everlasting Love (the PWL mix)" rose as high as No. 22 on the "Billboard" maxi single sales chart. The PWL mix of "Everlasting Love" was showcased on an "Everlasting Love" album, which was released in December 1988 only in the UK and the US. Besides "Everlasting Love (the PWL mix)", the album comprised the original versions of several of Sandra's European hits. The song remains one of Sandra's most successful singles and has reportedly sold in around three million units.


title: Everlasting Love

text: The music video for the song was directed by DoRo (Rudi Dolezal and Hannes Rossacher). It pictures Sandra and Austrian model Rupert Weber as lovers in different periods of world history, beginning with Adam and Eve being tempted by a snake in the Garden of Eden. They then impersonate Cleopatra and her lover, continuing with, among others, a medieval couple, a woman saying good-bye to her husband embarking on a war as a Grande Armée soldier in the early 19th century, interwar gangster couple, 1940s lovers celebrating the end of war, 1960s hippies and flower children, 1970s punks, and 1980s contemporaries. Apart from the regular video set to the 7" edit of the song, an extended version exists which uses the 12" mix and additional making-of video footage. The extended version of the clip was only available on Sandra's VHS video compilation "Ten on One (The Singles)", released in 1987. The regular version was released on the 1992 video collection "18 Greatest Hits" as well as the 2003 DVD "The Complete History". In 2016, the extended version was uploaded to Sandra's official YouTube channel.


title: Everlasting Love

text: "Everlasting Love" was recorded by Cuban-American singer and songwriter Gloria Estefan for her 1994 album "Hold Me, Thrill Me, Kiss Me", which comprised remakes of well-known hits. "Everlasting Love" was the second US single following "Turn the Beat Around" (in some territories, including the UK, "Hold Me, Thrill Me, Kiss Me" was the album's second single precedent to "Everlasting Love"). The single was first released in the US on January 3, then in Japan on February 1, and worldwide on February 6, 1995. While "Everlasting Love" was not one of Estefan's highest ranking "Billboard" Hot 100 entrants, it still managed to peak at number 27 in March 1995. However, the single topped the US Hot Dance Club Play chart. In Europe, the single was more successful. In the UK, "Everlasting Love" peaked at number 19 in February 1995 buoyed by a performance by Estefan on February 19, 1995 broadcast of "Top of the Pops". The single also peaked at number 12 in Iceland and number 16 in Scotland.


title: Everlasting Love

text: Larry Flick from "Billboard" described the song as "another dance-charged bauble", noting that it "is given a festive hi-NRG treatment that has clearly inspired Estefan to deliver one of her most relaxed and playful performances to date." Steve Baltin from "Cash Box" commented, "It’s a fool-proof hit, featuring basic love song lyrics and a very catchy hook. Arrangers Lawrence Dermer and Jorge Casas mix up the tune quite a bit, changing the tempos throughout. A hit once again, both for the song and Estefan." Josef Woodard from "Entertainment Weekly" stated that the singer's "easygoing charms still do the trick" on "Everlasting Love". Australian music channel Max included the version in their list of "1000 Greatest Songs of All Time" in 2011. Alan Jones from "Music Week" said, "It is undoubtedly a great song and Gloria gives it her all, though the regular mix's uninspiring arrangement lets it down a little." John Kilgo from "The Network Forty" wrote that "it's hard to believe that it's been two decades since Carl Carlton bounced onto the Top 40 scene with this Top-10 tune. Now Estefan sprinkles her "Miami" spice on the classic, updating the dance number with a '90s sound." A reviewer from "People Magazine" described it as a "technofied take". Phil Shanklin of ReviewsRevues stated that in fact she "reactivates the track into a disco classic and it is so uplifting that I think her version is the best of all of them."


title: Everlasting Love

text: The music video for "Everlasting Love" was shot at the Sunset Studios in Hollywood, California. Estefan, pregnant with her second child at the time, could not appear in the video. The production team, which included co-directors Tony Minnelli and Paul Lynde (not related to the actor), along with Estefan, decided to give the video a twist. They selected some of the best drag talent from West Hollywood, California to star in the video. Five appeared as Gloria Estefan, each representing a different stage in Estefan's career. Some notable video cast members include female impersonator Julian Viva, Hollywood Super Club Kids, The Fabulous Wonder Twins, and drag performers Venus D-Lite and Sutan Amrull aka Raja. The latter two later appeared in season 3 of Logo's series "RuPaul's Drag Race", in which Sutan Amrull was crowned the winner. Cyndi Lauper has insinuated that the idea of featuring drag performers in the clip was inspired by her own video "Hey Now (Girls Just Want to Have Fun)" released a few months earlier.


title: Everlasting Love

text: Gloria Estefan went on to receive an award for the Dance Clip of the Year at the "Billboard" Music Video Awards in November 1995. The video was so well received worldwide that Estefan decided to add cast members Julian Viva and Willie E. to her Evolution World Tour.


title: DBm

text: dBm or dB (decibel-milliwatts) is a unit of level used to indicate that a power level is expressed in decibels (dB) with reference to one milliwatt (mW). It is used in radio, microwave and fiber-optical communication networks as a convenient measure of absolute power because of its capability to express both very large and very small values in a short form. dBW is a similar unit, referenced to one watt (1,000 mW).


title: DBm

text: The decibel (dB) is a dimensionless unit, used for quantifying the ratio between two values, such as signal-to-noise ratio. The dBm is also dimensionless, but since it compares to a fixed reference value, the dBm rating is an absolute one.


title: DBm

text: The dBm is not a part of the International System of Units (SI) and therefore is discouraged from use in documents or systems that adhere to SI units (the corresponding SI unit is the watt). However, the unit decibel (dB), without the 'm' suffix, is permitted for relative quantities, but not accepted for use directly alongside SI units. Ten decibel-milliwatts may be written 10 dB (1 mW) in SI.


title: DBm

text: In audio and telephony, dBm is typically referenced relative to a 600-ohm impedance, while in radio-frequency work dBm is typically referenced relative to a 50-ohm impedance.


title: DBm

text: A power level of 0 dBm corresponds to a power of 1 milliwatt. A 10 dB increase in level is equivalent to a ten-fold increase in power. Therefore, a 20 dB increase in level is equivalent to a 100-fold increase in power. A 3 dB increase in level is approximately equivalent to doubling the power, which means that a level of 3 dBm corresponds roughly to a power of 2 mW. Similarly, for each 3 dB decrease in level, the power is reduced by about one half, making −3 dBm correspond to a power of about 0.5 mW.


title: DBm

text: The signal intensity (power per unit area) can be converted to received signal power by multiplying by the square of the wavelength and dividing by 4π (see Free-space path loss).


title: DBm

text: In United States Department of Defense practice, unweighted measurement is normally understood, applicable to a certain bandwidth, which must be stated or implied.


title: DBm

text: In European practice, psophometric weighting may be, as indicated by context, equivalent to dBm0p, which is preferred.


title: DBm

text: In audio, 0 dBm often corresponds to approximately 0.775 volts, since 0.775 V dissipates 1 mW in a 600 Ω load. The corresponding voltage level is 0 dBu, without the 600 Ω restriction. Conversely, for RF situations with a 50 Ω load, 0 dBm corresponds to approximately 0.224 volts, since 0.224 V dissipates 1 mW in a 50 Ω load.


title: DBm

text: In general the relationship between the power level "P" in dBms and the RMS voltage "V" in volts across a load of resistance "R" (typically used to terminate a transmission line with impedance "Z") is:


title: DBm

text: Expression in dBm is typically used for optical and electrical power measurements, not for other types of power (such as thermal). A listing by power levels in watts is available that includes a variety of examples not necessarily related to electrical or optical power.


title: DBm

text: The dBm was first proposed as an industry standard in the paper "A New Standard Volume Indicator and Reference Level".


title: Obesity in the United States

text: Obesity in the United States is common and is a major health issue associated with numerous diseases, specifically increased risk of certain types of cancer, coronary artery disease, type 2 diabetes, stroke, cardiovascular disease, as well as significant increases in early mortality and economic costs.


title: Obesity in the United States

text: The CDC defines an adult (a person aged 20 years or greater) with a body mass index (BMI) of 30 or greater as obese and an adult with a BMI of 25.0 to 29.9 as overweight. Obesity in adults is divided into three categories. Adults with a BMI of 30 to 34.9 have class 1 obesity; adults with a BMI of 35 to 39.9 have class 2 obesity; adults with a BMI of 40 or greater have class 3 obesity, which is also known as extreme or severe obesity. Children (persons aged 2 to 19 years) with a BMI at or above the 95th percentile of children of the same age and sex are defined as obese, and children with a BMI at or above the 85th percentile but less than the 95th percentile are defined as overweight.


title: Obesity in the United States

text: Compared to non-obese Americans, between 2001 and 2016, obese Americans incurred an average of $2,505 more in medical expenses annually, and in 2016, the aggregate medical cost due to obesity in the United States of America was $260.6 billion. However, some evidence suggests the lifetime cost of medical treatment for obese individuals is lower than for healthy weight individuals. This is because healthy weight people live longer statistically and tend to develop chronic diseases that need to be continually treated into old age, whereas obese people tend to die from metabolic diseases at younger ages and avoid some of those protracted medical costs. While lifetime medical costs for obese individuals may be lower than for healthy weight individuals, obese individuals cause significant economic productivity loss (ranging from $13.4 billion to $26.8 billion in 2016), so the overall economic impact is unclear.


title: Obesity in the United States

text: The obesity rate has steadily increased since the initial survey in 1962 where it showed that 23% of American adults are obese. By 2014, figures from the CDC found that more than one-third (crude estimate 36.5%) of U.S. adults and 17% of children were obese. The National Center for Health Statistics at the CDC showed in their most up to date statistics that 42.4% of U.S. adults were obese as of 2017–2018 (43% for men and 41.9% for women).


title: Obesity in the United States

text: For the following statistics, "adult" is defined as age 20 and over. The overweight + obese percentages for the overall US population are higher reaching 39.4% in 1997, 44.5% in 2004, 56.6% in 2007, 63.8% (adults) and 17% (children) in 2008, in 2010 65.7% of American adults and 17% of American children are overweight or obese, and 63% of teenage girls become overweight by age 11. In 2013 the Organization for Economic Co-operation and Development (OECD) found that 57.6% of all American citizens were overweight or obese. The organization estimated that 3/4 of the American population would likely be overweight or obese by 2020. According to research done by the Harvard T.H. Chan School of Public Health, it is estimated that around 40% of Americans are considered obese, and 18% are considered severely obese as of 2019. Severe obesity is defined as a BMI over 35 in the study. Their projections say that about half of the US population (48.9%) will be considered obese and nearly 1 in 4 (24.2%) will be considered severely obese by 2030.


title: Obesity in the United States

text: Obesity is a chronic health problem. It is one of the biggest factors for type II diabetes and cardiovascular disease. It is also associated with cancer (e.g. colorectal cancer), osteoarthritis, liver disease, sleep apnea, depression, and other medical conditions that affect mortality and morbidity.


title: Obesity in the United States

text: According to NHANES data, African American and Mexican American adolescents between 12 and 19 years old are more likely to be overweight than non-Hispanic White adolescents. The prevalence is 21%, 23% and 14% respectively. Also, in a national survey of American Indian children 5–18 years old, 39 percent were found to be overweight or at risk for being overweight. As per national survey data, these trends indicate that by 2030, 86.3% of adults will be overweight or obese and 51.1% obese.


title: Obesity in the United States

text: A 2007 study found that receiving food stamps long term (24 months) was associated with a 50% increased obesity rate among female adults.


title: Obesity in the United States

text: Looking at the long-term consequences, overweight adolescents have a 70 percent chance of becoming overweight or obese adults, which increases to 80 percent if one or more parent is overweight or obese. In 2000, the total cost of obesity for children and adults in the United States was estimated to be US$117 billion (US$61 billion in direct medical costs). Given existing trends, this amount is projected to range from US$860.7–956.9 billion in healthcare costs by 2030.


title: Obesity in the United States

text: Food consumption has increased over time. Annual per capita consumption of cheese was in 1909; in 2000; the average person consumed of carbohydrates daily in 1970; in 2000; of fats and oils in 1909; in 2000. In 1977, 18% of an average person's food was consumed outside the home; in 1996, this had risen to 32%.


title: Obesity in the United States

text: Obesity is a major public health problem in the USA owing to its rapidly increasing prevalence, substantial mortality and morbidity, and growing healthcare costs. Several studies have inquired about the relationship between community food environment and obesity is significant and inverse among US adults. The large-scale study demonstrated a substantial and inverse relationship between the local food environment and adult obesity in the US using local spatially weighted regression. More importantly, there were considerable regional differences in the strength and direction of this connection. Our current understanding of the relationship between community food environments and obesity and its geographic disparity in the USA has been expanded by the findings of this study, which also show the need for geographically specific public health policies and interventions to address issues with food environments that are specific to particular regions.


title: Obesity in the United States

text: Numerous studies have attempted to identify contributing factors for obesity in the United States. Common factors include an overconsumption of food and an insufficient amount of physical exercise. Eating properly can lower a person's body weight, but the public often fails to correctly determine what to eat and what not to eat as well as how much or how little they should. For example, while dieting, people tend to consume more low-fat or fat-free products, even though those items can be just as damaging to the body as the items containing fat. For the contributing factor of too little exercise, only a small amount (20%) of jobs require physical activity. Another example being, the speed in which a person consumes food. A fairly large number of studies have found a relationship between eating too rapidly, leading to overconsumption, and therefore leading to obesity. Adults that eat rapidly are nearly 2 times more likely to become obese because of excess consumption when compared to a slow eater.


title: Obesity in the United States

text: Other factors not directly related to caloric intake and activity levels that are believed to contribute to obesity include air conditioning, the ability to delay gratification, and the thickness of the prefrontal cortex of the brain. Genetics are also believed to be a factor, with a 2018 study stating that the presence of the human gene APOA2 could result in a higher BMI in individuals. Also, the probability of obesity can even start before birth due to things that the mother does such as smoking and gaining a lot of weight.


title: Obesity in the United States

text: Another factor has to do with the biology inside of a person's stomach. Lean people and obese people have been shown to have differences in their gut bacteria which affect their metabolism.


title: Obesity in the United States

text: "In the United States, most people's diets are too high in calories — often from fast food and high-calorie beverages. People with obesity might eat more calories before feeling full, feel hungry sooner, or eat more due to stress or anxiety.”


title: Obesity in the United States

text: The United States' high obesity rate is a major contributor to its relatively lower life expectancy in comparison with other high-income countries. In the US, about 20% of cancer deaths in women and 14% of those in men are due to obesity. It has been suggested that obesity may lead to a halt in the rise in life expectancy observed in the United States during the 19th and 20th centuries. In the event that obesity continues to grow in newer generations, a decrease in well-being and life span in the future generations may continue to degenerate. According to Olshansky, obesity diminishes "the length of life of people who are severely obese by an estimated 5 to 20 years." History shows that the number of years lost will continue to grow because the likelihood of obesity in new generations is higher. Children and teens are now experiencing obesity at younger ages. They are eating less healthy and are becoming less active, possibly resulting in less time lived compared to their parents' . The life expectancy for newer generations can expect to be lower due to obesity and the health risks they can experience at a later age.


title: Obesity in the United States

text: There has been an increase in obesity-related medical problems, including type II diabetes, hypertension, cardiovascular disease, and disability. In particular, diabetes has become the seventh leading cause of death in the United States, with the U.S. Department of Health and Human Services estimating in 2008 that fifty-seven million adults aged twenty and older were pre-diabetic, 23.6 million diabetic, with 90–95% of the latter being type 2-diabetic.


title: Obesity in the United States

text: Obesity has also been shown to increase the prevalence of complications during pregnancy and childbirth. Babies born to obese women are almost three times as likely to die within one month of birth and almost twice as likely to be stillborn than babies born to women of normal weight.


title: Obesity in the United States

text: The National Center for Health Statistics estimates that, for 2015–2016 in the U.S., 39.8% of adults aged 20 and over were obese (including 7.6% with severe obesity) and that another 31.8% were overweight. In the NCHS update for 2018, statistics on severe obesity among U.S adults had already climbed to 9.2% while the total obesity prevalence had reached 42.4%. This also marked the first time in American history that the obesity rates had reached or exceeded 2/5 people in every adult age groups.


title: Obesity in the United States

text: Obesity rates have increased for all population groups in the United States over the last several decades. Between 1986 and 2000, the prevalence of severe obesity (BMI ≥ 40 kg/m) quadrupled from one in two hundred Americans to one in fifty. Extreme obesity (BMI ≥ 50 kg/m) in adults increased by a factor of five, from one in two thousand to one in four hundred.


title: Obesity in the United States

text: There have been similar increases seen in children and adolescents, with the prevalence of overweight in pediatric age groups nearly tripling over the same period. Approximately nine million children over six years of age are considered obese. Several recent studies have shown that the rise in obesity in the US is slowing, possibly explained by saturation of health-oriented media.


title: Obesity in the United States

text: Obesity is distributed unevenly across racial groups in the United States. Overall, the prevalence of obesity and severe obesity was highest among non-Hispanic black adults and lowest among non-Hispanic Asian adults. The prevalence of obesity among men was not significantly different between non-Hispanic white, non-Hispanic black, and Hispanic men. Some of these races tend to populate low socio-economic status neighborhoods and can lack resources such as health care support, safe play areas, and grocery stores with affordable fruits and vegetables. Furthermore, minority households can be more prone to obesity because of cultural food preferences and family norms.


title: Obesity in the United States

text: The obesity rate for White adults 18 years and older (over 30 BMI) in the US in 2015 was 29.7%. For adult White men, the rate of obesity was 31.1% in 2015. For adult White women, the rate of obesity was 27.5% in 2015. The most recent statistics from the NHANES of age adjusted obesity rates for White adults 20 years and older in the U.S. in 2016 was 37.9%. The obesity rates of White males and White females from the NHANES 2016 data were relatively equivalent, obesity rates were 37.9% and 38.0%, respectively.


title: Obesity in the United States

text: The obesity rate for Black adults 18 years and older (over 30 BMI) in the US in 2015 was 39.8%. For adult Black men, the rate of obesity was 34.4% in 2015. For adult Black women, the rate of obesity was 44.7% in 2015. The most recent statistics from the NHANES of age adjusted obesity rates for Black adults 20 years and older in the U.S. in 2016 was 46.8%.


title: Obesity in the United States

text: The obesity rate for American Indian or Alaska Native adults (over 30 BMI) in the US in 2015 was 42.9%. No breakdown by sex was given for American Indian or Alaska Native adults in the CDC figures.


title: Obesity in the United States

text: The obesity rate for Asian adults 18 years and older (over 30 BMI) in the US in 2015 was 10.7%. No breakdown by sex was given for Asian adults in the CDC figures.


title: Obesity in the United States

text: In more recent statistics from the NHANES in 2016 of a breakdown by sex was provided. Asian adults 20 years and older had a total obesity rate of 12.7%. The rate among Asian males was 10.1% and among Asian females it was 14.8%. Asian Americans have substantially lower rates of obesity than any other racial or ethnic group.


title: Obesity in the United States

text: The obesity rate for the Hispanic or Latino adults 18 years and older category (over 30 BMI) in the US in 2015 was 31.8%. For the overall Hispanic or Latino men category, the rate of obesity was 31.6% in 2015. For the overall Hispanic or Latina women category, the rate of obesity was 31.9% in 2015. According to the most recent statistics from the NHANES in 2016 Latino adults had the highest overall obesity rates. Latino Adults age 20 and older had reached an obesity rate of 47.0%. Adult Latino men's rate was 43.1%, the highest of all males. For adult Latina women the rate was 50.6%, making them second to African-American women.


title: Obesity in the United States

text: Within the Hispanic or Latino category, obesity statistics for Mexican or Mexican Americans were provided, with no breakdown by sex. The obesity rate for Mexican or Mexican Americans adults (over 30 BMI) in the US in 2015 was 35.2%.


title: Obesity in the United States

text: The obesity rate for Native Hawaiian or other Pacific Islander adults (over 30 BMI) in the US in 2015 was 33.4%. No breakdown by sex was given for Native Hawaiian or other Pacific Islander adults in the CDC figures.


title: Obesity in the United States

text: Over 70 million adults in U.S. are obese (35 million men and 35 million women). 99 million are overweight (45 million women and 54 million men).


title: Obesity in the United States

text: NHANES 2016 statistics showed that about 39.6% of American adults were obese. Men had an age-adjusted rate of 37.9% and Women had an age-adjusted rate of 41.1%.


title: Obesity in the United States

text: The CDC provided a data update in May 2017 stating that for adults 20 years and older, the crude obesity rate was 39.8% and the age adjusted rate was measured to be 39.7%. Including the obese, 71.6% of all American adults age 20 and above were overweight.


title: Obesity in the United States

text: Historically, obesity primarily affected adults, but childhood obesity has grown significantly in recent decades. From the mid-1980s to the mid-2010s, obesity roughly doubled among U.S. children ages 2 to 5 and roughly tripled among young people over the age of 6. Overall, obesity in the United States peaks during the middle aged years. During the period 2015–16, the prevalence of obesity among adults aged 20–39 was 35.7%, among those aged 40–59, 42.8%, and among those 60 and over, 41.0%.


title: Obesity in the United States

text: From 1980 to 2008, the prevalence of obesity in children aged 6 to 11 years tripled from 6.5% to 19.6%. The prevalence of obesity in teenagers more than tripled from 5% to 18.1% in the same time frame. In less than one generation, the average weight of a child has risen by 5 kg in the United States. In 2014 it was reported 17.2% of youth aged 2–19 were considered obese and another 16.2% were overweight. Meaning, over one-third of children and teens in the US were overweight or obese. Statistics from a 2016–2017 page on the CDC's official website that 13.9% of toddlers and children age 2–5, 18.4% of children 6–11, and 20.6% of adolescents 12–19 are obese. The prevalence of child obesity in today's society concerns health professionals because a number of these children develop health issues that weren't usually seen until adulthood.


title: Obesity in the United States

text: Some of the consequences in childhood and adolescent obesity are psychosocial. Overweight children and overweight adolescents are targeted for social discrimination, and thus, they begin to stress-eat. The psychological stress that a child or adolescent can endure from social stigma can cause low self-esteem which can hinder a child's after school social and athletic capability, especially in plump teenage girls, and could continue into adulthood. Teenage females are often overweight or obese by age 12, as, after puberty, teenage girls gain about 15 pounds, specifically in the arms, legs, and chest/midsection.


title: Obesity in the United States

text: Data from NHANES surveys (1976–1980 and 2003–2006) show that the prevalence of obesity has increased: for children aged 2–5 years, prevalence increased from 5.0% to 12.4%; for those aged 6–11 years, prevalence increased from 6.5% to 19.6%; and for those aged 12–19 years, prevalence increased from 5.0% to 17.6%.


title: Obesity in the United States

text: In 2000, approximately 39% of children (ages 6–11) and 17% of adolescents (ages 12–19) were overweight and an additional 15% of children and adolescents were at risk of becoming overweight, based on their BMI.


title: Obesity in the United States

text: Analyses of the trends in high BMI for age showed no statistically significant trend over the four time periods (1999–2000, 2001–2002, 2003–2004, and 2005–2006) for either boys or girls. Overall, in 2003–2006, 11.3% of children and adolescents aged 2 through 19 years were at or above the 97th percentile of the 2000 BMI-for-age growth charts, 16.3% were at or above the 95th percentile, and 31.9% were at or above the 85th percentile.


title: Obesity in the United States

text: Trend analyses indicate no significant trend between 1999 and 2000 and 2007–2008 except at the highest BMI cut point (BMI for age 97th percentile) among all 6- through 19-year-old boys. In 2007–2008, 9.5% of infants and toddlers were at or above the 95th percentile of the weight-for-recumbent-length growth charts. Among children and adolescents aged 2 through 19 years, 11.9% were at or above the 97th percentile of the BMI-for-age growth charts; 16.9% were at or above the 95th percentile; and 31.7% were at or above the 85th percentile of BMI for age.


title: Obesity in the United States

text: In summary, between 2003 and 2006, 11.3% of children and adolescents were obese and 16.3% were overweight. A slight increase was observed in 2007 and 2008 when the recorded data shows that 11.9% of the children between 6 and 19 years old were obese and 16.9% were overweight. The data recorded in the first survey was obtained by measuring 8,165 children over four years and the second was obtained by measuring 3,281 children.


title: Obesity in the United States

text: "More than 80 percent of affected children become overweight adults, often with lifelong health problems." Children are not only highly at risk of diabetes, high cholesterol and high blood pressure but obesity also takes a toll on the child's psychological development. Social problems can arise and have a snowball effect, causing low self-esteem which can later develop into eating disorders.


title: Obesity in the United States

text: There are more obese US adults than those who are just overweight. According to a study in "The Journal of the American Medical Association" ("JAMA"), in 2008, the obesity rate among adult Americans was estimated at 32.2% for men and 35.5% for women; these rates were roughly confirmed by the CDC again for 2009–2010. Using different criteria, a Gallup survey found the rate was 26.1% for U.S. adults in 2011, up from 25.5% in 2008. Though the rate for women has held steady over the previous decade, the obesity rate for men continued to increase between 1999 and 2008, according to the JAMA study notes. Moreover, "The prevalence of obesity for adults aged 20 to 74 years increased by 7.9 percentage points for men and by 8.9 percentage points for women between 1976–1980 and 1988–1994, and subsequently by 7.1 percentage points for men and by 8.1 percentage points for women between 1988–1994 and 1999–2000." According to the CDC, obesity has consistently remained the highest among middle-age adults since 2011. In the most recent update, 44.8% of Americans in their forties and fifties qualified as obese; meanwhile 40% of young adults and 42.4% of older adults were obese.


title: Obesity in the United States

text: Although obesity is reported in the elderly, the numbers are still significantly lower than the levels seen in the young adult population. It is speculated that socioeconomic factors may play a role in this age group when it comes to developing obesity. Obesity in the elderly increases healthcare costs. Nursing homes are not equipped with the proper equipment needed to maintain a safe environment for the obese residents. If a heavy bedridden patient is not turned, the chances of a bed sore increases. If the sore is untreated, the patient will need to be hospitalized and have a wound vac placed.


title: Obesity in the United States

text: The following figures were averaged from 2005 to 2007 adult data compiled by the CDC BRFSS program and 2003–2004 child data from the National Survey of Children's Health. There is also data from a more recent 2016 CDC study of the 50 states plus the District of Columbia, Puerto Rico, the U.S. Virgin Islands and Guam.


title: Obesity in the United States

text: Care should be taken in interpreting these numbers, because they are based on self-report surveys which asked individuals (or, in case of children and adolescents, their parents) to report their height and weight. Height is commonly overreported and weight underreported, sometimes resulting in significantly lower estimates. One study estimated the difference between actual and self-reported obesity as 7% among males and 13% among females as of 2002, with the tendency to increase.


title: Obesity in the United States

text: The long-running REGARDS study, published in the journal of "Obesity" in 2014, brought in individuals from the nine census regions and measured their height and weight. The data collected disagreed with the data in the CDC's phone survey used to create the following chart. REGARDS found that the West North Central region (North Dakota, South Dakota, Minnesota, Missouri, Nebraska, and Iowa), and East North Central region (Illinois, Ohio, Wisconsin, Michigan, and Indiana) were the worst in obesity numbers, not the East South Central region (Tennessee, Mississippi, Alabama, Kentucky) as had been previously thought. Dr. P.H., professor in the Department of Biostatistics in the UAB School of Public Health George Howard explains that "Asking someone how much they weigh is probably the second worst question behind how much money they make," "From past research, we know that women tend to under-report their weight, and men tend to over-report their height." Howard said as far as equivalency between the self-reported and measured data sets, the East South Central region showed the least misreporting. "This suggests that people from the South come closer to telling the truth than people from other regions, perhaps because there's not the social stigma of being obese in the South as there is in other regions."


title: Obesity in the United States

text: The area of the United States with the highest obesity rate is American Samoa (75% obese and 95% overweight).


title: Obesity in the United States

text: Obesity has been cited as a contributing factor to approximately 100,000–400,000 deaths in the United States per year (including increased morbidity in car accidents) and has increased health care use and expenditures, costing society an estimated $117 billion in direct (preventive, diagnostic, and treatment services related to weight) and indirect (absenteeism, loss of future earnings due to premature death) costs. This exceeds health-care costs associated with smoking or problem drinking and, by one estimate, accounts for 6% to 12% of national health care expenditures in the United States (although another estimate states the figure is between 5% and 10%).


title: Obesity in the United States

text: The Medicare and Medicaid programs bear about half of this cost. Annual hospital costs for treating obesity-related diseases in children rose threefold, from US$35 million to US$127 million, in the period from 1979 to 1999, and the inpatient and ambulatory healthcare costs increased drastically by US$395 per person per year.


title: Obesity in the United States

text: These trends in healthcare costs associated with pediatric obesity and its comorbidities are staggering, urging the Surgeon General to predict that preventable morbidity and mortality associated with obesity may surpass those associated with cigarette smoking. Furthermore, the probability of childhood obesity persisting into adulthood is estimated to increase from approximately twenty percent at four years of age to approximately eighty percent by adolescence, and it is likely that these obesity comorbidities will persist into adulthood.


title: Obesity in the United States

text: An estimated 16% percent of active duty U.S. military personnel were obese in 2004, with the cost of remedial bariatric surgery for the military reaching US$15 million in 2002. Obesity is currently the largest single cause for the discharge of uniformed personnel. A financial analysis published in 2007 further showed that the treatment of diseases and disorders associated with obesity costs the military $1.1 billion annually. Moreover, the analysis found that the increased absenteeism of obese or overweight personnel amounted to a further 658,000 work days lost per year. This lost productivity is higher than the productivity loss in the military due to high alcohol consumption which was found to be 548,000 work days. Problems associated with obesity further manifested itself in early discharge due to inability to meet weight standards. Approximately 1200 military enlistees were discharged due to this reason in 2006.


title: Obesity in the United States

text: The rise in obesity has led to fewer citizens able to join the military and therefore more difficulty in recruitment for the armed forces. In 2005, 9 million adults aged 17 to 24, or 27%, were too overweight to be considered for service in the military. For comparison, just 6% of military aged men in 1960 would have exceeded the current weight standards of the U.S. military. Excess weight is the most common reason for medical disqualification and accounts for the rejection of 23.3% of all recruits to the military. Of those who failed to meet weight qualifications but still entered the military, 80% left the military before completing their first term of enlistment. In light of these developments, organizations such as Mission: Readiness, made up of retired generals and admirals, have advocated for focusing on childhood health education to combat obesity's effect on the military.


title: Obesity in the United States

text: Along with obesity came the accommodations made of American products. Child-safety seats in 2006 became modified for the 250,000 obese U.S. children ages six and below.


title: Obesity in the United States

text: The obese incur extra costs for themselves and airlines when flying. Weight is a major component to the formula that goes into the planes take off and for it to successfully fly to the desired destination. Due to the weight limits taken in consideration for flight in 2000, airlines spent $275 million on 350 million additional gallons of fuel for compensation of additional weight to travel. Accommodations have also been made in work place environments for workers, including those such as chairs with no armrests and access to work outside of the office.


title: Obesity in the United States

text: Under pressure from parents and anti-obesity advocates, many school districts moved to ban sodas, junk foods, and candy from vending machines and cafeterias. State legislators in California, for example, passed laws banning the sale of machine-dispensed snacks and drinks in elementary schools in 2003, despite objections by the California-Nevada Soft Drink Association. The state followed more recently with legislation to prohibit their soda sales in high schools starting July 1, 2009, with the shortfall in school revenue to be compensated by an increase in funding for school lunch programs. A similar law passed by the Connecticut General Assembly in June 2005 was vetoed by governor Jodi Rell, who stated the legislation "undermines the control and responsibility of parents with school-aged children."


title: Obesity in the United States

text: In mid-2006, the American Beverage Association (including Cadbury, Coca-Cola, and PepsiCo) agreed to a voluntary ban on the sale of all high-calorie drinks and all beverages in containers larger than 8, 10 and 12 ounces in elementary, middle and high schools, respectively.


title: Obesity in the United States

text: There have been many strategies to try to control obesity issues. One cost-effective population-level change is taxes on sugary drinks. Interventions such as taxes can be a powerful way to improve the economic landscape of the food environment. According to Circulation, “Beverages with added sugar are a prime candidate for taxation; they constitute >10% of caloric intake nationwide and provide little or no nutritional value.” Weight gain is due to consumption of these sugary drinks along with other health issues such as diabetes, hypertension, and more.


title: Obesity in the United States

text: A penny-per-ounce tax on sugary drinks would raise the shelf price of these drinks by around 20%. Many studies have been done and it has shown that there has been a 14% to 20% reduction in the consumption of these taxed drinks. People’s weight will determine if they choose healthier options or not to replace these sugary beverages. This interest of taxes on drinks has been gaining popularity across the U.S. According to Circulation, “They were considered as a measure at the federal level to fund healthcare reform in 2009 and were proposed in 11 states and 2 major cities in the 2009 to 2010 legislative cycle.” There has been some resistance from the beverage industry. Policymakers are increasingly considering the beverage industry to promote public health.


title: Obesity in the United States

text: Non-profit organizations such as HealthCorps work to educate people on healthy eating and advocate for healthy food choices in an effort to combat obesity.


title: Obesity in the United States

text: Former American First Lady Michelle Obama led an initiative to combat childhood obesity entitled "Let's Move!". Obama said she aimed to wipe out obesity "in a generation". Let's Move! has partnered with other programs. Walking and bicycling to school helps children increase their physical activity.


title: Obesity in the United States

text: In 2008, the state of Pennsylvania enacted a law, the "School Nutrition Policy Initiative," aimed at the elementary level. These "interventions included removing all sodas, sweetened drinks, and unhealthy snack foods from selected schools, 'social marketing' to encourage the consumption of nutritious foods and outreach to parents." The results were a "50 percent drop in incidence of obesity and overweight", as opposed to those individuals who were not part of the study.


title: Obesity in the United States

text: In the past decade, there have been school-based programs that target the prevention and management of childhood obesity. There is evidence that long term school-based programs have been effective in reducing the prevalence of childhood obesity.


title: Obesity in the United States

text: For two years, Duke University psychology and global health professor Gary Bennett and eight colleagues followed 365 obese patients who had already developed hypertension. They found that regular medical feedback, self-monitoring, and a set of personalized goals can help obese patients in a primary care setting lose weight and keep it off.


title: Obesity in the United States

text: Major U.S. manufacturers of processed food, aware of the possible contribution of their products to the obesity epidemic, met together and discussed the problem as early as April 8, 1999; however, a proactive strategy was considered and rejected. As a general rule, optimizing the amount of salt, sugar and fat in a product will improve its palatability, and profitability. Reducing salt, sugar and fat, for the purpose of public health, had the potential to decrease palatability and profitability.


title: Obesity in the United States

text: Media influence may play an important role in prevention of obesity as it has the ability to boost many of the main prevention/intervention methods used nowadays including lifestyle modification. The media is also highly influential on children and teenagers as it promotes healthy body image and sets societal goals for lifestyle improvement. Examples of media influence are support for the "Let's Move!" campaign and the MyPlate program initiated by Michelle Obama, and the NFL's Play60 campaign. These campaigns promote physical activity in an effort to reduce obesity especially for children.


title: Obesity in the United States

text: In 2011, the Obama administration introduced a $400 million Healthy Food Financing Initiative, the goal of the program is to "create jobs and economic development, and establish market opportunities for farmers and ranchers," as described by the secretary of agriculture, Tom Vilsack.


title: Obesity in the United States

text: Population-based approaches have been recommended and pursued in the U.S. Obesity is complex because it affects multiple environments, involves multiple industries and sectors, and affects both energy intake and expenditure. Federal level policies include Healthy, Hunger-Free Kids Act, the Supplemental Nutrition Assistance Program Education program, and Safe Routes to School funding. (PMC) The Healthy, Hunger-Free Kids Act of 2010 helped provide nutrition standards for meals and drinks through a variety of programs affecting 50 million children daily at 99,000 schools. The risk of obesity declines each year for children in poverty. The results suggest that the Healthy, Hunger-Free Kids Act’s science-based nutritional standards should be maintained to support healthy growth, especially among children living in poverty, according to Health Affairs.


title: Obesity in the United States

text: The Supplemental Nutrition Assistance Program Education program (SNAP-Ed) is an approach that helps people be healthy and active. This program teaches people how to manage their SNAP dollars, how to shop and cook for healthy food, and how to stay active. They partner with state and local organizations to meet people where they are located. Some of their efforts include nutrition education classes, policy improvement, social media campaigns, and more. SNAP-Ed directly and sustainably improves food security either with or without food assistance. Nutrition education is critical to improving food security in the U.S. low-income population.


title: Obesity in the United States

text: Safe Routes to School is an initiative that makes it safe and convenient for children to walk and bicycle to and from school. The goal is to get more children to improve kids’ safety, increase their health and physical activity, and to get more children walking and bicycling to school. Studies show that Safe Routes to School programs are effective at increasing rates of bicycling and walking to school and decreasing injuries (Safe Routes Partnership).


title: Obesity in the United States

text: According to authors from the state of childhood obesity, their focus was on a few programs and policies regarding children. The Child and Adult Food Care Program (CACFP) provides federal funding to many states to reimburse providers for the cost of providing healthy meals to children and adults in their care. Around 4.3 million children and 130,000 adults partake in this program each year. Providers are required to meet the minimum nutrition standards to receive reimbursement. Some of their nutrition requirements are more whole grains, a wider variety of fruits and vegetables, free added sugars, and less saturated fat. The goal is to increase children’s intake of these healthy foods, reduce their consumption of grain-based desserts, and improve their overall health. Research has been done on this program and it has been found that participation in CACFP moderately increases the consumption of milk and vegetables among children, and it helps regulate their weight.


title: Obesity in the United States

text: Another early childhood education program that helps prepare children for school by providing education, health, and social services is Head Start. This program reaches over one million children who have family economic trouble each year. Early Head Start serves children aged three and under and pregnant women. Head Start and Early Head Start programs participate in either CATFP or the federal school meals programs. Research shows that children who participate in Head Start are more likely to eat better than children who don’t participate in this program.


title: Obesity in the United States

text: Ultimately, federal and local governments in the U.S. are willing to create political solutions that will reduce obesity ratings by "recommending nutrition education, encouraging exercise, and asking the food and beverage industry to promote healthy practices voluntarily." In 2008, New York City was the first city to pass a "labeling bill" that "require[d] restaurants" in several cities and states to "post the caloric content of all regular menu items, in a prominent place and using the same font and format as the price."


title: Obesity in the United States

text: Furthermore, adding better labels to food and drink products can help to improve diets. According to a 2021 study, proper labeling on the front side of products has been proven to reduce the amount of unhealthy food purchased. On the other hand there has been an increase in purchases of healthier products. These labels help consumers to be more health conscious about the food they are buying.


title: Obesity in the United States

text: Many states have started to adopt policies allowing only healthier drinks such as milk and water. In general, the Affordable Care Act (ACA) started to require chain restaurants to post calorie information on their menus, menu boards, and to provide additional nutrition information such as saturated fat and added sugars to customers upon request. The Food and Drug Administration’s rules that enforce this provision took effect in 2018. It has applied to supermarkets, convenience stores, delis, movie theaters, and stadiums. Retails with fewer than 20 locations don’t have to abide by these rules. It has been shown that benefits of this calorie labeling has increased awareness of and a reduction in calories purchased. Also, it has shown to reduce calorie intake and reduce portion sizes. A net savings total of $8 billion over 20 years will be saved by the menu labeling policy, according to an FDA regulatory impact analysis.


title: Gurmeet Choudhary

text: Gurmeet Choudhary (born 22 February 1984) is an Indian actor and martial artist. He is known for his portrayal of Rama in "Ramayan", Maan Singh Khurana in "Geet – Hui Sabse Parayi" and Yash Suraj Pratap Sindhina in "Punar Vivaah - Zindagi Milegi Dobara". In 2012, Gurmeet participated in "Jhalak Dikhhla Jaa 5" and emerged as the winner. He also participated in "Nach Baliye 6" and "" and emerged as the 1st runner-up in both. He made his film debut with Fox Studio's psychological thriller and horror "Khamoshiyan".


title: Gurmeet Choudhary

text: Gurmeet was born in Jairampur village in Bhagalpur, Bihar, India. The Gurmeet Choudhary Foundation launched a post-Covid specialised care centre at his hometown. His elder brother is a general physician in his hometown.


title: Gurmeet Choudhary

text: On 15 February 2011, Choudhary married actress Debina Bonnerjee. On 4 October 2021, they married again. On 3


title: Gurmeet Choudhary

text: Gurmeets first gained prominence through his portrayal of Rama in the 2009 television series Ramayan, opposite Debina Bonnerjee who played the role of Sita. Choudhary participated in the reality show "Pati Patni Aur Woh" with his then fiancée, Debina Bonnerjee who also played Sita in "Ramayan". After this show, he played the role of a business magnate Maan Singh Khurana in "Geet – Hui Sabse Parayi alongside Drashti Dhami". He played a lead role in the show "Punar Vivah as Yash Sindhia, alongside Kratika Sengar".


title: Gurmeet Choudhary

text: Gurmeet participated in and won the fifth season of the popular dance contest "Jhalak Dikhhla Jaa" with choreographer Shampa Sonthalia. He competed in the dance contest "Nach Baliye 6" alongside his wife Debina Bonnerjee, his co-star from "Ramayan", whom he had married in 2011, in which he finished as the first runner up. They were choreographed by Pratik Utekar. He participated in an action reality show "" where he was named the first runner-up.


title: Gurmeet Choudhary

text: Gurmeet Choudhary's first foray into the Bollywood film industry was in 2015 when he was cast as the character of Jaidev in the psychological thriller Khamoshiyan, produced by Fox Studios India and Vishesh Films.


title: Nine Days (film)

text: Nine Days is a 2020 American fantasy drama film written and directed by Edson Oda in his feature debut. It stars an ensemble cast consisting of Winston Duke, Zazie Beetz, Benedict Wong, Tony Hale, Bill Skarsgård, David Rysdahl and Arianna Ortiz. In the film, Will (Duke) is a reclusive man residing in a house in the pre-existence with his assistant Kyo (Wong). His job is to interview souls hoping to be born and to observe how the souls he has selected are living on Earth. When one of his previous selections suddenly dies, Will becomes dispirited and confused with the true meaning of life as a new batch of souls arrives to be interviewed.


title: Nine Days (film)

text: In 2017, the Sundance Institute selected Oda to participate in its annual screenwriting lab in Utah. The character of Will is based on his uncle, who died by suicide when Oda was 12 years old. Funding the project proved difficult. After the producers were turned down by a number of specialty distributors, they collaborated a team of executive producers, including Spike Jonze, to obtain the $10 million budget. "Nine Days" was shot in less than a month in the state of Utah. Locations included a warehouse in West Valley City and an exterior set constructed at the Bonneville Salt Flats. Filming wrapped in the summer of 2019. During post-production, editing was completed by Michael Taylor and Jeff Betancourt and the musical score was composed by Antônio Pinto.


title: Nine Days (film)

text: The film premiered on January 27, 2020, at the Sundance Film Festival, where Oda received the Waldo Salt Screenwriting Award in the U.S. Dramatic Competition. Following a delay by the COVID-19 pandemic, the film was released in select theaters on July 30, 2021, with a nationwide release on August 6, by Sony Pictures Classics. It received generally favorable reviews from critics as well as various awards and nominations for Oda's direction, Pinto's score, and the performances of Duke and Beetz.


title: Nine Days (film)

text: Will is an arbiter who judges souls before they inhabit bodies in the living. He lives in an isolated house in the middle of a desert landscape, interviewing candidate souls for the opportunity to be born. If they are not selected, Will gives them an experience of their choosing to enact before their existence is erased. His only company is Kyo, who acts as a sort of supervisor making sure Will selects the best candidate and assisting him with the process. Unlike Will, who spent a previous lifetime as a living being, Kyo was never alive. Will spends his days watching and taking notes on a multitude of television screens, each displaying the life of a different individual that Will has previously selected. His favorite is Amanda, a 28-year-old violin prodigy. While observing Amanda drive to a major concert, Will sees her suddenly speed on the highway. Amanda crashes into an overpass and dies.


title: Nine Days (film)

text: As Will grapples with Amanda's death, candidates begin arriving to interview for the vacancy Amanda left behind, a process that will take nine days. He asks the candidates simple questions about life and has them take notes on what they like or dislike about the lives of others who were chosen. Will is particularly intrigued by Emma, who displays heightened empathy and curiosity despite showing little interest in the selection process. Over the course of the nine days, most of the candidates are dismissed for various reasons, such as self-consciousness and lack of respect for suffering. Will does his best to recreate life events for the failed candidates, such as walking on the beach or bike-riding through a city, before the candidates disappear forever.


title: Nine Days (film)

text: Kyo invites another nearby interviewer to meet with Will, as she had previously selected Amanda's cousin for birth. She shows Will a tape shortly after Amanda's death, which reveals that Amanda left behind a suicide note before her crash. Kyo attempts to help Will get over her death, but Will continues to watch tapes from her life, unable to understand why she did it. Will has told Emma that he cannot tell her anything about his previous life, but in response to her showing concern for him, he now indicates that in his previous life he once gave a theater performance that made him feel alive, but never pursued his passion after that. He reacts angrily when another candidate, Alex, points out Will's hypocrisy for judging people's lives when he never did anything meaningful with his own life.


title: Nine Days (film)

text: The candidates are narrowed down to two: Emma and Kane. While Emma is carefree and sees the best in people, Kane is more pessimistic, recognizing the evil in the world and showing resolve to fight back against it. Despite Kyo recommending that Will pick Emma, he chooses Kane to be born. When Will offers Emma a last experience, she writes something down that Will says he cannot do. Emma then declines a last experience and opts to walk across the desert until she disappears. Will later finds a note from Emma where she thanks him and explains she wrote happy memories she had during the interview process. Will finds them written all over the house. Feeling regret, he runs across the desert after Emma, passionately recites selections from Walt Whitman’s "Song of Myself", and thanks her.


title: Nine Days (film)

text: "Nine Days" is an American co-production between Juniper Productions, Mandalay Pictures, Nowhere, MACRO Media, The Space Program, Mansa Productions, Oak Street Pictures, 30West, Baked Studios, and Datari Turner Productions. It is the feature debut of writer and director Edson Oda. Of Japanese descent, he was born and raised in São Paulo, Brazil. Oda had a successful career in advertising in São Paulo and was the recipient of several accolades, including a Golden Lion from the 2009 Cannes Lions International Festival of Creativity. In 2012, he moved to Los Angeles to pursue a career in filmmaking. He earned his master's in film and production from the USC School of Cinematic Arts but was unmotivated to write. For inspiration, he asked himself, "If I could just make one movie in my entire life, what would that movie be?"


title: Nine Days (film)

text: Oda said the film was an exploration of how a real loss can create both the burden and gift of being alive. The character of Will is based on his uncle, who died by suicide at age 50 when Oda was 12 years old. Oda said people would go on to remember his uncle for how he died instead of for the life he lived. He wanted to write a story about what his uncle was going through "instead of judging him through what he did". In 2017, the Sundance Institute selected Oda as one of fifteen emerging screenwriters to participate in its annual screenwriting lab at the Sundance Resort in Utah. Producers on "Nine Days" were Jason Michael Berman, Mette-Marie Kongsved, Matthew Linder, Laura Tunstall, and Datari Turner. Securing funding for the film proved difficult as the producers had been turned down by a number of specialty distributors, including A24 and Searchlight Pictures. So, to obtain the $10 million budget necessary to finance it, Berman put together a team of at least a dozen executive producers. Spike Jonze boarded the project as an executive producer in October 2020 after the film's premiere. Oda credited Jonze's "Her" (2013), a film tackling similar themes of humanity and vulnerability, as a major inspiration for "Nine Days", taking notice of Scarlett Johansson's performance as Samantha in the film: "She's almost like a soul ... finding love and all those emotions so dramatically."


title: Nine Days (film)

text: Winston Duke read the screenplay after working on "Us" and was immediately interested in its depiction of mental illness and depression. Duke sat down with Oda for a meeting, which turned into a four-hour conversation about various topics ranging from filmmaking to content they both enjoyed to a discussion about life as an immigrant. As Oda described it, "It was almost like, I don't know, love at first sight. It was just amazing to see that I could trust this guy so much. I had a feeling that he has this big heart for humanity inside him." Though the lead role was originally set to be played by an Asian actor, Duke got the part the day after the meeting. According to Duke, the film's title is a reference to the funerary tradition practiced in the Caribbean known as the nine nights, where a person is mourned for nine days because it takes their spirit nine days to say goodbye.


title: Nine Days (film)

text: On June 7, 2019, Duke, Zazie Beetz, Bill Skarsgård, Benedict Wong and David Rysdahl were announced to star. Beetz described her character as having a "childlike wonder", living in the present and confronting her issues instead of ignoring them like Will. Wong described his character as a romantic about life, eager for company but alone. To prepare for the role, Wong isolated himself from other people: "I locked myself up in a room ... [and] I didn't talk to anyone, solely just to have personal isolation. And when I came out, I wanted human contact, so that was like Kyo who would walk off into the dead of night, and no one knows where he goes."


title: Nine Days (film)

text: In August 2019, Tony Hale joined the cast. Hale described his character as a jokester who wants to have a good time. He categorized Arianna Ortiz's character as a romantic and Rysdahl's character as sensitive, stating that "there was a risk that we each took fully being ourselves. For some, for many, it didn't have the result we wanted, but we did take that risk." When asked about Will's response to his character, Hale said their "personalities triggered something that I think he felt he might've lacked. And so, since he didn't understand it, he didn't think we could take it when in actuality, it might've been a piece of him that was missing that could have helped."


title: Nine Days (film)

text: The cast had rehearsals for two weeks. Cinematographer Wyatt Garfield cited "Schindler's List" (1993), "Seven" (1995), "Taking Off" (1971), and "There Will Be Blood" (2007) as inspirations for the interview scenes and Gregory Crewdson as a point of reference for lighting. Garfield said there were two distinct locations in the film. The "limbo" setting, where Will lives, was captured using an Arri Alexa Mini with anamorphic lenses by Optica Elite because they "wanted to feel that the house itself was subtly bending and breathing and not totally concrete". The "real world" scenes, projected only through the televisions in Will's house, were filmed in the span of three weeks in Salt Lake City, Brazil, and Los Angeles with a number of lightweight cameras rigged to helmets and headgear, including a Sony Venice, a Codex Action Cam, and a Blackmagic Cinema Camera. To create a crying effect for point-of-view shots, Garfield recalled sealing water in cellophane candy bags and squeezing them in front of the lens. As a result of the tight schedule, Oda had to cut fifteen pages from the script, including scenes featuring a symbolic spotlight and others involving Kyo.


title: Nine Days (film)

text: Principal photography lasted for 24 days. Filming took place in 2019 between August and September in the state of Utah with support from the Motion Picture Incentive Program. An interior set of Will's house was built in a warehouse in West Valley City. Hale said that the house was built beside an office space, where he would often go to rehearse his lines, and noted the contrast between atmospheres. An exterior set was constructed at the Bonneville Salt Flats, which featured a facade of the house. Oda said the location was supposed to "give you the sense that you're not really on Earth". "Nine Days" was shot entirely in chronological order. Filming would start on Saturdays and end on Wednesdays with two-day breaks in-between. The last scene, consisting of a three-page monologue, was filmed over the course of one sunset without any rehearsal or choreography. Filming wrapped early on a Wednesday at 9a.m. The crew remembered leaving the studio that day and spotting a double rainbow. In an interview, Oda recalled an interaction with Duke after filming a monologue from the film's climax: "We had like a lot of days to go, but there was some kind of sense of 'Mission Accomplished' because after we filmed, everyone felt like we had something special in the can. I remember Winston just came up to me — it was sunset, it was just getting darker — and he said, 'Your uncle is going to be really proud of you, you know.' It meant so much to me; that's something I'll remember.”


title: Nine Days (film)

text: Editing was completed by Michael Taylor and Jeff Betancourt. "Nine Days" received the Dolby Institute Fellowship, a post-production grant that allowed the sound designers to complete the film in Dolby Vision and Dolby Atmos. Antônio Pinto composed the musical score. The theme song, played by Amanda's character on the violin, was composed during pre-production. The song played during the bicycle scene was performed in Portuguese. The score was released by Warner Classics on July 9, 2021.


title: Nine Days (film)

text: In December 2019, the Sundance Film Festival announced the lineup for the 2020 competition. "Nine Days" premiered at the festival on January 27, 2020, competing in the U.S. Dramatic Competition with a runtime of 124 minutes. At the premiere, Duke said "What's really beautiful about this story is that it doesn't ever try to spoon-feed you. It's not very didactic in any way. It just presents itself and asks you to have a reaction." In February 2020, Sony Pictures Classics acquired the film's distribution rights.


title: Nine Days (film)

text: A trailer for the film was released on October 12, 2020. In their review of the footage, "Screen Rant" Alex McGuire noted the "impressive cast" and the film's "complex questions about existence". Hoai-Tran Bui from "/Film" said the premise was similar to Pixar's "Soul", an animated film also about pre-existence. "Syfy Wire" Jacob Oller said the film would intrigue fans of Duke and that there was "definitely some weirdness going on that belies beauty and the deeper questions in life."


title: Nine Days (film)

text: The film opened the Austin Film Festival on October 22, 2021. It was originally scheduled to be theatrically released on January 22, 2021. However, as a result of the COVID-19 pandemic, the film was delayed. "Nine Days" instead opened in four theaters on July 30, 2021, with a nationwide release on August 6. Sony Pictures Home Entertainment released the film on Digital HD, Blu-ray, and DVD on November 2, 2021. Special features include a making-of featurette.


title: Nine Days (film)

text: "Nine Days" grossed $694,849 in the United States and Canada, and $274,355 in other territories, for a worldwide total of $969,204.


title: Nine Days (film)

text: In the U.S. and Canada, the film made its debut in four theaters (two in New York and two in Los Angeles) on July 30, 2021. It earned $15,700 in its opening weekend, for an average of $3,925 per theater. In its second weekend, the film made $232,509 after expanding to 443 theaters nationwide.


title: Nine Days (film)

text: On the review aggregator website Rotten Tomatoes, of critics' reviews are positive, with an average rating of . The website's critical consensus reads, "A knockout feature directorial debut from Edson Oda, "Nine Days" is an ethereal and evocative film about the meaning of life – elevated by a phenomenal performance from Winston Duke." Metacritic, which uses a weighted average, assigned the film a score of 72 out of 100 based on 25 critics, indicating "generally favorable reviews". The film would go on to appear in multiple critics' lists of the best film from 2021. Mark Dujsik of "RogerEbert.com" and Jared Mobarak of "The Film Stage" called it their favorite film of the year.


title: Nine Days (film)

text: Oda was praised for his direction and screenplay. Jacob Oller of "Paste" called him "one of our most exciting new directors, a filmmaker possessing an innovative cinematic mind with a heart to match." "The Guardian"s Leslie Felperin said it was "a smidge too ponderous and self-serious for its own good" but still a "reasonably promising debut". "Film Threat"s Lorry Kikta lauded the script because it communicated its themes in a way that would successfully remind viewers about the value of life without being "preachy or pedantic." The performances of Duke and Beetz were also well-received. Richard Roeper of the "Chicago Sun-Times" noted the "brilliant work" from both actors and said he enjoyed the film due to its straightforward narrative and accessibility, describing it as a combination of "Soul" and "Eternal Sunshine of the Spotless Mind" (2004). Peter Debruge from "Variety" gave positive notes to the story, production design, cinematography, and score, and categorized it as the "rare work of art that invites you to re-consider your entire worldview."


title: Polaroid Corporation

text: Polaroid is an American company best known for its instant film and cameras. The company was founded in 1937 by Edwin H. Land, to exploit the use of its Polaroid polarizing polymer. Land ran the company until 1981. Its peak employment was 21,000 in 1978, and its peak revenue was $3 billion in 1991.


title: Polaroid Corporation

text: When the original Polaroid Corporation was declared bankrupt in 2001, its brand and assets were sold off. The "new" Polaroid formed as a result, itself declared bankruptcy in 2008, resulting in a further sale to Polish billionaire Wiaczesław Smołokowski. In May 2017, the brand and intellectual property of Polaroid Corporation were acquired by the largest shareholder of the Impossible Project, which had originally started out in 2008 by producing new instant films for Polaroid cameras. The Impossible Project was renamed Polaroid Originals in September 2017, and in March 2020 was renamed to simply Polaroid.