title: King Baudouin Stadium

text: The Rolling Stones, Celine Dion, Madonna, Mylène Farmer, Genesis, Robbie Williams, Bon Jovi, Bruce Springsteen, Beyoncé, One Direction, Ed Sheeran and Johnny Hallyday have also played concerts at the stadium. In 2019, Metallica and Rammstein played a sold-out concert at the stadium on 16 June and 10 July, respectively. On 26 October 2021, Coldplay scored the fastest ticket sales in the venue's history, moving 150,000 admissions during a single morning and adding a fourth date to support high demand. The shows were held on 5, 6, 8 and 9 August 2022.


title: King Baudouin Stadium

text: To celebrate the 75th anniversary of the stadium, the Belgian State released a commemorative coin: the 10 euro 75 years of Heysel Stadium commemorative coin. The obverse depicts an image of a footballer with the stadium in the background. The flags of Belgium and the Netherlands can be seen on top of the stadium as well as the year that the stadium was built.


title: Brown algae

text: Brown algae (singular: alga), comprising the class Phaeophyceae, are a large group of multicellular algae, including many seaweeds located in colder waters within the Northern Hemisphere. Brown algae are the major seaweeds of the temperate and polar regions. They are dominant on rocky shores throughout cooler areas of the world. Most brown algae live in marine environments, where they play an important role both as food and as a potential habitat. For instance, "Macrocystis", a kelp of the order Laminariales, may reach in length and forms prominent underwater kelp forests. Kelp forests like these contain a high level of biodiversity. Another example is "Sargassum", which creates unique floating mats of seaweed in the tropical waters of the Sargasso Sea that serve as the habitats for many species. Many brown algae, such as members of the order Fucales, commonly grow along rocky seashores. Some members of the class, such as kelps, are used by humans as food.


title: Brown algae

text: Between 1,500 and 2,000 species of brown algae are known worldwide. Some species, such as "Ascophyllum nodosum", have become subjects of extensive research in their own right due to their commercial importance. They also have environmental significance through carbon fixation.


title: Brown algae

text: Brown algae belong to the group Heterokontophyta, a large group of eukaryotic organisms distinguished most prominently by having chloroplasts surrounded by four membranes, suggesting an origin from a symbiotic relationship between a basal eukaryote and another eukaryotic organism. Most brown algae contain the pigment fucoxanthin, which is responsible for the distinctive greenish-brown color that gives them their name. Brown algae are unique among heterokonts in developing into multicellular forms with differentiated tissues, but they reproduce by means of flagellated spores and gametes that closely resemble cells of other heterokonts. Genetic studies show their closest relatives to be the yellow-green algae.


title: Brown algae

text: Brown algae exist in a wide range of sizes and forms. The smallest members of the group grow as tiny, feathery tufts of threadlike cells no more than a few centimeters (a few inches) long. Some species have a stage in their life cycle that consists of only a few cells, making the entire alga microscopic. Other groups of brown algae grow to much larger sizes. The rockweeds and leathery kelps are often the most conspicuous algae in their habitats. Kelps can range in size from the sea palm "Postelsia" to the giant kelp "Macrocystis pyrifera", which grows to over long and is the largest of all the algae. In form, the brown algae range from small crusts or cushions to leafy free-floating mats formed by species of "Sargassum". They may consist of delicate felt-like strands of cells, as in "Ectocarpus", or of flattened branches resembling a fan, as in "Padina".


title: Brown algae

text: Regardless of size or form, two visible features set the Phaeophyceae apart from all other algae. First, members of the group possess a characteristic color that ranges from an olive green to various shades of brown. The particular shade depends upon the amount of fucoxanthin present in the alga. Second, all brown algae are multicellular. There are no known species that exist as single cells or as colonies of cells, and the brown algae are the only major group of seaweeds that does not include such forms. However, this may be the result of classification rather than a consequence of evolution, as all the groups hypothesized to be the closest relatives of the browns include single-celled or colonial forms. They can change color depending on salinity, ranging from reddish to brown.


title: Brown algae

text: Whatever their form, the body of all brown algae is termed a "thallus", indicating that it lacks the complex xylem and phloem of vascular plants. This does not mean that brown algae completely lack specialized structures. But, because some botanists define "true" stems, leaves, and roots by the presence of these tissues, their absence in the brown algae means that the stem-like and leaf-like structures found in some groups of brown algae must be described using different terminology. Although not all brown algae are structurally complex, those that are typically possess one or more characteristic parts.


title: Brown algae

text: A "holdfast" is a rootlike structure present at the base of the alga. Like a root system in plants, a holdfast serves to anchor the alga in place on the "substrate" where it grows, and thus prevents the alga from being carried away by the current. Unlike a root system, the holdfast generally does not serve as the primary organ for water uptake, nor does it take in nutrients from the substrate. The overall physical appearance of the holdfast differs among various brown algae and among various substrates. It may be heavily branched, or it may be cup-like in appearance. A single alga typically has just one holdfast, although some species have more than one stipe growing from their holdfast.


title: Brown algae

text: A "stipe" is a stalk or stemlike structure present in an alga. It may grow as a short structure near the base of the alga (as in "Laminaria"), or it may develop into a large, complex structure running throughout the algal body (as in "Sargassum" or "Macrocystis"). In the most structurally differentiated brown algae (such as "Fucus"), the tissues within the stipe are divided into three distinct layers or regions. These regions include a central pith, a surrounding cortex, and an outer epidermis, each of which has an analog in the stem of a vascular plant. In some brown algae, the pith region includes a core of elongated cells that resemble the phloem of vascular plants both in structure and function. In others (such as "Nereocystis"), the center of the stipe is hollow and filled with gas that serves to keep that part of the alga buoyant. The stipe may be relatively flexible and elastic in species like "Macrocystis pyrifera" that grow in strong currents, or may be more rigid in species like "Postelsia palmaeformis" that are exposed to the atmosphere at low tide.


title: Brown algae

text: Many algae have a flattened portion that may resemble a leaf, and this is termed a "blade", "lamina", or "frond". The name "blade" is most often applied to a single undivided structure, while "frond" may be applied to all or most of an algal body that is flattened, but this distinction is not universally applied. The name "lamina" refers to that portion of a structurally differentiated alga that is flattened. It may be a single or a divided structure, and may be spread over a substantial portion of the alga. In rockweeds, for example, the lamina is a broad wing of tissue that runs continuously along both sides of a branched "midrib". The midrib and lamina together constitute almost all of a rockweed, so that the lamina is spread throughout the alga rather than existing as a localized portion of it.


title: Brown algae

text: In some brown algae, there is a single lamina or blade, while in others there may be many separate blades. Even in those species that initially produce a single blade, the structure may tear with rough currents or as part of maturation to form additional blades. These blades may be attached directly to the stipe, to a holdfast with no stipe present, or there may be an air bladder between the stipe and blade. The surface of the lamina or blade may be smooth or wrinkled; its tissues may be thin and flexible or thick and leathery. In species like "Egregia menziesii", this characteristic may change depending upon the turbulence of the waters in which it grows. In other species, the surface of the blade is coated with slime to discourage the attachment of epiphytes or to deter herbivores. Blades are also often the parts of the alga that bear the reproductive structures.


title: Brown algae

text: Gas-filled floats called "pneumatocysts" provide buoyancy in many kelps and members of the Fucales. These bladder-like structures occur in or near the "lamina", so that it is held nearer the water surface and thus receives more light for photosynthesis. Pneumatocysts are most often spherical or ellipsoidal, but can vary in shape among different species. Species such as "Nereocystis luetkeana" and "Pelagophycus porra" bear a single large pneumatocyst between the top of the stipe and the base of the blades. In contrast, the giant kelp "Macrocystis pyrifera" bears many blades along its stipe, with a pneumatocyst at the base of each blade where it attaches to the main stipe. Species of "Sargassum" also bear many blades and pneumatocysts, but both kinds of structures are attached separately to the stipe by short stalks. In species of "Fucus", the pneumatocysts develop within the lamina itself, either as discrete spherical bladders or as elongated gas-filled regions that take the outline of the lamina in which they develop.


title: Brown algae

text: The brown algae include the largest and fastest growing of seaweeds. Fronds of "Macrocystis" may grow as much as per day, and the stipes can grow in a single day.


title: Brown algae

text: Growth in most brown algae occurs at the tips of structures as a result of divisions in a single "apical cell" or in a row of such cells. They are single cellular organisms. As this apical cell divides, the new cells that it produces develop into all the tissues of the alga. Branchings and other lateral structures appear when the apical cell divides to produce two new apical cells. However, a few groups (such as "Ectocarpus") grow by a diffuse, unlocalized production of new cells that can occur anywhere on the thallus.


title: Brown algae

text: The simplest browns are filamentous—that is, their cells are elongate and have septa cutting across their width. They branch by getting wider at their tip, and then dividing the widening.


title: Brown algae

text: These filaments may be haplostichous or polystichous, multiaxial or monoaxial forming or not a pseudoparenchyma. Besides fronds, there are the large in size parenchymatic kelps with three-dimensional development and growth and different tissues (meristoderm, cortex and medulla) which could be consider the trees of the sea. There are also the Fucales and Dictyotales smaller than kelps but still parenchymatic with the same kind of distinct tissues.


title: Brown algae

text: The cell wall consists of two layers; the inner layer bears the strength, and consists of cellulose; the outer wall layer is mainly algin, and is gummy when wet but becomes hard and brittle when it dries out. Specifically, the brown algal cell wall consists of several components with alginates and sulphated fucan being its main ingredients, up to 40% each of them. Cellulose, a major component from most plant cell walls, is present in a very small percentage, up to 8%. Cellulose and alginate biosynthesis pathways seem to have been acquired from other organisms through endosymbiotic and horizontal gene transfer respectively, while the sulphated polysaccharides are of ancestral origin. Specifically, the cellulose synthases seem to come from the red alga endosymbiont of the photosynthetic stramenopiles ancestor, and the ancestor of brown algae acquired the key enzymes for alginates biosynthesis from an actinobacterium. The presence and fine control of alginate structure in combination with the cellulose which existed before it, gave potentially the brown algae the ability to develop complex structurally multicellular organisms like the kelps.


title: Brown algae

text: Genetic and ultrastructural evidence place the Phaeophyceae among the heterokonts (Stramenopiles), a large assemblage of organisms that includes both photosynthetic members with plastids (such as the diatoms) as well as non-photosynthetic groups (such as the slime nets and water molds). Although some heterokont relatives of the brown algae lack plastids in their cells, scientists believe this is a result of evolutionary loss of that organelle in those groups rather than independent acquisition by the several photosynthetic members. Thus, all heterokonts are believed to descend from a single heterotrophic ancestor that became photosynthetic when it acquired plastids through endosymbiosis of another unicellular eukaryote.


title: Brown algae

text: The closest relatives of the brown algae include unicellular and filamentous species, but no unicellular species of brown algae are known. However, most scientists assume that the Phaeophyceae evolved from unicellular ancestors. DNA sequence comparison also suggests that the brown algae evolved from the filamentous Phaeothamniophyceae, Xanthophyceae, or the Chrysophyceae between 150 and 200 million years ago. In many ways, the evolution of the brown algae parallels that of the green algae and red algae, as all three groups possess complex multicellular species with an alternation of generations. Analysis of 5S rRNA sequences reveals much smaller evolutionary distances among genera of the brown algae than among genera of red or green algae, which suggests that the brown algae have diversified much more recently than the other two groups.


title: Brown algae

text: The occurrence of Phaeophyceae as fossils is rare due to their generally soft-bodied nature, and scientists continue to debate the identification of some finds. Part of the problem with identification lies in the convergent evolution of morphologies between many brown and red algae. Most fossils of soft-tissue algae preserve only a flattened outline, without the microscopic features that permit the major groups of multicellular algae to be reliably distinguished. Among the brown algae, only species of the genus "Padina" deposit significant quantities of minerals in or around their cell walls. Other algal groups, such as the red algae and green algae, have a number of calcareous members. Because of this, they are more likely to leave evidence in the fossil record than the soft bodies of most brown algae and more often can be precisely classified.


title: Brown algae

text: Fossils comparable in morphology to brown algae are known from strata as old as the Upper Ordovician, but the taxonomic affinity of these impression fossils is far from certain. Claims that earlier Ediacaran fossils are brown algae have since been dismissed. While many carbonaceous fossils have been described from the Precambrian, they are typically preserved as flattened outlines or fragments measuring only millimeters long. Because these fossils lack features diagnostic for identification at even the highest level, they are assigned to fossil form taxa according to their shape and other gross morphological features. A number of Devonian fossils termed "fucoids", from their resemblance in outline to species in the genus "Fucus", have proven to be inorganic rather than true fossils. The Devonian megafossil "Prototaxites", which consists of masses of filaments grouped into trunk-like axes, has been considered a possible brown alga. However, modern research favors reinterpretation of this fossil as a terrestrial fungus or fungal-like organism. Likewise, the fossil "Protosalvinia" was once considered a possible brown alga, but is now thought to be an early land plant.


title: Brown algae

text: A number of Paleozoic fossils have been tentatively classified with the brown algae, although most have also been compared to known red algae species. "Phascolophyllaphycus" possesses numerous elongate, inflated blades attached to a stipe. It is the most abundant of algal fossils found in a collection made from Carboniferous strata in Illinois. Each hollow blade bears up to eight pneumatocysts at its base, and the stipes appear to have been hollow and inflated as well. This combination of characteristics is similar to certain modern genera in the order Laminariales (kelps). Several fossils of "Drydenia" and a single specimen of "Hungerfordia" from the Upper Devonian of New York have also been compared to both brown and red algae. Fossils of "Drydenia" consist of an elliptical blade attached to a branching filamentous holdfast, not unlike some species of "Laminaria", "Porphyra", or "Gigartina". The single known specimen of "Hungerfordia" branches dichotomously into lobes and resembles genera like "Chondrus" and "Fucus" or "Dictyota".


title: Brown algae

text: The earliest known fossils that can be assigned reliably to the Phaeophyceae come from Miocene diatomite deposits of the Monterey Formation in California. Several soft-bodied brown macroalgae, such as "Julescraneia", have been found.


title: Brown algae

text: Most brown algae, with the exception of the Fucales, perform sexual reproduction through sporic meiosis. Between generations, the algae go through separate sporophyte (diploid) and gametophyte (haploid) phases. The sporophyte stage is often the more visible of the two, though some species of brown algae have similar diploid and haploid phases. Free floating forms of brown algae often do not undergo sexual reproduction until they attach themselves to substrate. The haploid generation consists of male and female gametophytes. The fertilization of egg cells varies between species of brown algae, and may be isogamous, oogamous, or anisogamous. Fertilization may take place in the water with eggs and motile sperm, or within the oogonium itself.


title: Brown algae

text: Certain species of brown algae can also perform asexual reproduction through the production of motile diploid zoospores. These zoospores form in plurilocular sporangium, and can mature into the sporophyte phase immediately.


title: Brown algae

text: In a representative species "Laminaria", there is a conspicuous diploid generation and smaller haploid generations. Meiosis takes place within several unilocular sporangium along the algae's blade, each one forming either haploid male or female zoospores. The spores are then released from the sporangia and grow to form male and female gametophytes. The female gametophyte produces an egg in the oogonium, and the male gametophyte releases motile sperm that fertilize the egg. The fertilized zygote then grows into the mature diploid sporophyte.


title: Brown algae

text: In the order Fucales, sexual reproduction is oogamous, and the mature diploid is the only form for each generation. Gametes are formed in specialized conceptacles that occur scattered on both surfaces of the receptacle, the outer portion of the blades of the parent plant. Egg cells and motile sperm are released from separate sacs within the conceptacles of the parent algae, combining in the water to complete fertilization. The fertilized zygote settles onto a surface and then differentiates into a leafy thallus and a finger-like holdfast. Light regulates differentiation of the zygote into blade and holdfast.


title: Brown algae

text: Brown algae have adapted to a wide variety of marine ecological niches including the tidal splash zone, rock pools, the whole intertidal zone and relatively deep near shore waters. They are an important constituent of some brackish water ecosystems, and have colonized freshwater on a maximum of six known occasions. A large number of Phaeophyceae are intertidal or upper littoral, and they are predominantly cool and cold water organisms that benefit from nutrients in up welling cold water currents and inflows from land; "Sargassum" being a prominent exception to this generalisation.


title: Brown algae

text: Brown algae have a value in the range of , in contrast with red algae and greens. This reflects their different metabolic pathways.


title: Brown algae

text: They have cellulose walls with alginic acid and also contain the polysaccharide fucoidan in the amorphous sections of their cell walls. A few species (of "Padina") calcify with aragonite needles.


title: Brown algae

text: In addition to alginates, fucoidan and cellulose, the carbohydrate composition of brown algae consist of mannitol, laminarin and glucan.


title: Brown algae

text: The photosynthetic system of brown algae is made of a P700 complex containing chlorophyll a. Their plastids also contain chlorophyll c and carotenoids (the most widespread of those being fucoxanthin).


title: Brown algae

text: Brown algae produce a specific type of tannin called phlorotannins in higher amounts than red algae do.


title: Brown algae

text: Brown algae include a number of edible seaweeds. All brown algae contain alginic acid (alginate) in their cell walls, which is extracted commercially and used as an industrial thickening agent in food and for other uses. One of these products is used in lithium-ion batteries. Alginic acid is used as a stable component of a battery anode. This polysaccharide is a major component of brown algae, and is not found in land plants.


title: Brown algae

text: Alginic acid can also be used in aquaculture. For example, alginic acid enhances the immune system of rainbow trout. Younger fish are more likely to survive when given a diet with alginic acid.


title: Brown algae

text: Brown algae including kelp beds also fix a significant portion of the earth's carbon dioxide yearly through photosynthesis. Additionally, they can store a great amount of carbon dioxide which can help us in the fight against climate change.


title: Brown algae

text: Sargachromanol G, an extract of Sargassum siliquastrum, has been shown to have anti-inflammatory effects.


title: Mercedes-Benz W114/W115

text: The Mercedes-Benz W114 and W115 were the internal designation Mercedes-Benz used for a generation of front-engine, rear-drive, five-passenger sedans and coupés introduced in 1968, with three-box styling by Paul Bracq — succeeding the W110 models introduced in 1961; and manufactured until model year 1976, when the W123 was released.


title: Mercedes-Benz W114/W115

text: W114/W115s were distinguished in the marketplace by nameplates relating to their engine size. W114 models featured six-cylinder engines and were marketed as the "230", "250", and "280". W115 models featured four-cylinder engines and were marketed as the "200", "220", "230", and "240", with diesel models carrying a "D" designation, as distinct from gasoline/petrol models.


title: Mercedes-Benz W114/W115

text: When Mercedes introduced the W114/115 in 1968, they marketed sedans in two size classes (W114/W115 and S-Class) and marketed the W114/115 range as "New Generation Models", ultimately the only model of the new generation. Mercedes used a <nowiki>'</nowiki>/8<nowiki>'</nowiki> on the W114/115 ID plates, indicating their 1968 launch year, giving rise to their <nowiki>'</nowiki>/8<nowiki>'</nowiki> or 'slash eight' nicknames — and the German nickname "Strich Acht", loosely translated into English as "stroke eight".


title: Mercedes-Benz W114/W115

text: The W114/W115 models were the first post-war Mercedes-Benz production car to use a newly engineered suspension, not derived from preceding models. The new format of semi-trailing rear arms and ball-joint front end first displayed in the W114/W115 would be used in all new Mercedes passenger car models until the development of the multi-link rear suspensions of the 1980s. The W108/109 S-Class of the 280S/8, 280SE/8 and 300SEL/8 (and W113 230SL, 250SL and 280SL "Pagoda") would be the last of the low-pivot swing axle and king pin/double wishbone front ends. The next S-Class, the W116, had the same engineering as the W114/115.


title: Mercedes-Benz W114/W115

text: The Mercedes-Benz W114/W115 was the mid-sized saloon model for Mercedes, positioned below the S-Class. Mercedes also launched its first 5-cylinder diesel engine OM617 in this chassis. It followed heavily in the direction set by the W108/109 S-class, which was launched in 1965 and heralded the new design idiom. The car was designed by French auto designer Paul Bracq who was chief designer at Mercedes-Benz for models from 1957 to 1967, a period that included models such as the Grosser Mercedes-Benz 600. Bracq was also responsible for BMW designs (1970–74) and Peugeot designs (1974–96).


title: Mercedes-Benz W114/W115

text: Mercedes introduced a coupé variant of the W114 in 1969, featuring a longer boot lid and available with either a 2.5 or 2.8 litre six-cylinder engine. While a classic and understated design these generally cost less than the W113-based 280 SL model that ran until 1971, and its successor, the 3.5 or 4.5 litre V8 Mercedes SL R107/C107 (1971–1989) roadster and coupé. While a 'hard-top' unlike the fully convertible SL, the pillarless design allowed all the windows to be lowered completely for open air motoring. Only 67,048 coupés were manufactured from 1969 to 1976 (vs. 1,852,008 saloons). Of these 24,669 were 280C and 280CE (top of the range), and 42,379 were the lesser 250C and 250CE (A Mercedes-Benz 220D pickup on the W115 chassis was produced briefly in Argentina in the 1970s.)


title: Mercedes-Benz W114/W115

text: The W114 received a facelift in 1973 – with a lower bonnet-line, lower and broader grill, a single front bumper to replace the double bumpers, lower placement of the headlamps, A-pillar treatment for keeping the side windows clear, removal of the quarter-windows in the front doors, ribbed tail lights to minimize occlusion of the tail lights with road dirt, and larger side mirrors. The interior received inertia reel belts and a new padded steering wheel with a four-hole design.


title: Mercedes-Benz W114/W115

text: The Mercedes-Benz W115 is known to be a very durable car. In 2004 Greek taxi driver Gregorios Sachinidis donated his 1976 Mercedes-Benz 240D to the Mercedes-Benz Museum Collection with on the odometer, which is recognised as the Mercedes-Benz with the highest recorded mileage known to date.


title: Mercedes-Benz W114/W115

text: Like its larger variant, this car also boasted advanced technological innovations. 1969 saw the introduction of the Bosch D-jetronic fully electronic fuel injection system into the 250CE. This was the first ever production Mercedes-Benz to use this system.


title: Mercedes-Benz W114/W115

text: Other innovations in the W114/W115 models include a center console (a first in a Mercedes saloon), ribbed taillights in 1974. All coupé models used the 6-cylinder engine (and thus were W114s) and were designated with a "C" in the model name.


title: Mercedes-Benz W114/W115

text: In 1968, Diesel-engined options were added to the W114/W115 line, introduced in North America as the 220D, 240D and 300D. These models from the start had unique headlights, utilizing a sealed-beam lamp instead of the H4 type used in the European models. Bumpers changed frequently and there were at least three different bumpers used over the production run for the North American market. The 1974 model year brought significantly larger bumpers due to new DOT requirements.


title: Mercedes-Benz W114/W115

text: North American 220Ds and 240Ds were offered with a 4-speed manual or 4-speed automatic, whereas all 5-cylinder 300D models were equipped with the 4-speed automatic without a manual option.


title: European Capital of Culture

text: A European Capital of Culture is a city designated by the European Union (EU) for a period of one calendar year during which it organises a series of cultural events with a strong pan-European dimension. Being a European Capital of Culture can be an opportunity for a city to generate considerable cultural, social and economic benefits and it can help foster urban regeneration, change the city's image and raise its visibility and profile on an international scale. Multiple cities can be a European Capital of Culture simultaneously.


title: European Capital of Culture

text: In 1985, Melina Mercouri, Greece’s Minister of Culture, and her French counterpart Jack Lang came up with the idea of designating an annual City of Culture to bring Europeans closer together by highlighting the richness and diversity of European cultures and raising awareness of their common history and values.


title: European Capital of Culture

text: It is strongly believed that the ECoC significantly maximises social and economic benefits, especially when the events are embedded as a part of a long–term culture-based development strategy of the city and the surrounding region.


title: European Capital of Culture

text: The Commission of the European Union manages the title and each year the Council of Ministers of the European Union formally designates European Capitals of Culture: more than 40 cities have been designated so far. The current European Capitals of Culture for 2022 are Esch-sur-Alzette in Luxembourg, Kaunas in Lithuania and Novi Sad in Serbia.


title: European Capital of Culture

text: An international panel of cultural experts is in charge of assessing the proposals of cities for the title according to criteria specified by the European Union.


title: European Capital of Culture

text: For two of the capitals each year, eligibility is open to cities in EU member states only. From 2021 and every three years thereafter, a third capital will be chosen from cities in countries that are candidates or potential candidates for membership, or in countries that are part of the European Economic Area (EEA)– an example of the latter being Stavanger, Norway, which was a European Capital of Culture in 2008.


title: European Capital of Culture

text: A 2004 study conducted for the Commission, known as the "Palmer report", demonstrated that the choice of European Capital of Culture served as a catalyst for cultural development and the transformation of the city. Consequently, the beneficial socio-economic development and impact for the chosen city are now also considered in determining the chosen cities.


title: European Capital of Culture

text: Bids from five United Kingdom cities to be the 2023 Capital of Culture were disqualified in November 2017, because the UK was planning to leave the EU before 2023.


title: European Capital of Culture

text: The European Capital of Culture programme was initially called the European City of Culture and was conceived in 1983, by Melina Mercouri, then serving as minister of culture in Greece. Mercouri believed that at the time, culture was not given the same attention as politics and economics and a project for promoting European cultures within the member states should be pursued. The European City of Culture programme was launched in the summer of 1985 with Athens being the first title-holder. In 1999, the European City of Culture program was renamed to European Capital of Culture.


title: European Capital of Culture

text: The European Capital of Culture was due to be in the UK in 2023. However, due to its decision to leave the European Union, UK cities would no longer be eligible to hold the title after 2019. The European Commission's Scotland office confirmed that this would be the case on 23 November 2017, only one week before the UK was due to announce which city would be put forward. The candidate cities were Dundee, Leeds, Milton Keynes, Nottingham and a joint bid from Northern Irish cities Belfast, Derry and Strabane. This caused anger amongst the UK candidate cities' bidding teams due to the short notice of the decision, and because of the amount of money they had already spent preparing their bids.


title: Michael Franti

text: Michael Franti (born April 21, 1966) is an American rapper, musician, poet, activist, documentarian, and singer-songwriter, known for his participation in many musical projects, most with a political and social emphasis, including the Beatnigs and the Disposable Heroes of Hiphoprisy. He is the creator and lead vocalist of his current independent project, Michael Franti & Spearhead, a band that blends hip hop with a variety of other styles including funk, reggae, jazz, folk, and rock. He is also an outspoken supporter for a wide spectrum of peace and social justice issues, and he is especially an advocate for peace in the Middle East.


title: Michael Franti

text: Michael Franti was born in Oakland, California. His mother, Mary Lofy, had Irish, German, and Belgian ancestry, and his father, Thomas Hopkins, was of African-American and Native American descent. However, his mother placed him for adoption because she was afraid that her racist family would not accept him. He was adopted by Carole Wisti and Charles Franti, a Finnish American couple in Oakland, who at the time had three biological children and one adopted African American son. Charles Franti was a professor in the department of epidemiology and preventive medicine of the UC Davis School of Veterinary Medicine and died in 2003. Michael's four adoptive siblings are named Rebecca, Sara, Dan, and Matthew. Michael spent his grade 9 school year at Highland Junior High School in Edmonton, Alberta. He then attended Davis Senior High School and University of San Francisco on a full basketball scholarship.


title: Michael Franti

text: During his time at school there he met a priest who taught him how to tell a story on paper, and soon he was writing poetry. He purchased a bass at a pawn shop and started creating music inspired by hip hop, punk, and reggae that was being played on the campus radio station, KUSF. Franti also has four half siblings, Thea, Thomas, Charles and Arthur Hopkins.


title: Michael Franti

text: Franti began his music career in 1986 as part of the industrial punk/spoken word band The Beatnigs. While attending the University of San Francisco and living above KUSF he developed a fascination with music and decided to start a band. The Beatnigs included dancer and percussionist Rono Tse; the band released a self-titled LP and an EP "Television" on Alternative Tentacles records. The records received some critical acclaim but little fame beyond the San Francisco Bay Area.


title: Michael Franti

text: The 1988 LP release "The Beatnigs" was recorded at Dancin' Dog Studio in Emeryville and distributed by Alternative Tentacles. In addition to Michael Franti and Ron Tse, the band included Henry Flood on percussion, Andre Flores on keyboards, and Kevin Carnes on vocals. All of the band members made multiple instrumental contributions, including industrial percussion.


title: Michael Franti

text: His next project, The Disposable Heroes of Hiphoprisy, found Franti continuing his collaboration with Tse, and working with jazz guitarist Charlie Hunter, and electronic musicians Mark Pistel (Consolidated) and Jack Dangers (Meat Beat Manifesto). The Disposable Heroes wrote politically charged lyrics that railed against the injustices of the world, set to a fusion of industrial music and hip hop. Their first album, "Hypocrisy is the Greatest Luxury" (on Island Records), won plaudits for its social commentary, and they were chosen by U2 to open for their Zoo TV Tour.


title: Michael Franti

text: The album's lyrics dealt with a range of issues, including the US involvement in the Gulf war, the oil industry, homophobic violence, immigration, Franti's own cultural background and adoption, and more personal politics. The single 'Television, The Drug of The Nation' (previously recorded by Franti's former project, The Beatnigs ) gained airplay on college and 'alternative' radio stations for its critique of mainstream television, which as the title implies, blames the media for a political numbing of ordinary people, explicit in the lyrics: "T.V., it satellite links, our United States of unconsciousness, apathetic therapeutic and extremely addictive".


title: Michael Franti

text: The Disposable Heroes also recorded music accompanying novelist William Burroughs' readings for an album entitled "Spare Ass Annie and Other Tales".


title: Michael Franti

text: The distinctive work of the Disposable Heroes of Hiphoprisy has been analyzed in various academic papers, including by author Leslie Haywood and editor Jeniffer Drake in the book "Third Wave Agenda, Being Feminist and Doing Feminism". The analysis involved the role of masculinity in the misogynist point of view which dominates popular music e.g. in rap music. The authors argue Franti's lyrics in treating women fairly in relationships is an exception.


title: Michael Franti

text: According to the "Encyclopedia of Popular Music", Disposable Heroes of Hiphoprisy is an innovative contemporary hip hop crew; a mixture of articulate manifesto rap which broke down beyond the black and white rhetoric, especially in the song 'Language of Violence', one of the first raps to speak about homophobia.


title: Michael Franti

text: In 1994, Franti dissolved The Disposable Heroes of Hiphoprisy and formed a new band called Spearhead with a few studio musicians, including mainstay Carl Young. Their first release, "Home", in September 1994, was a departure from the politically charged rap of the Disposable Heroes and drew more from funk and soul music. The album was produced by Franti and Joe Nicolo. The song "Positive", also from the album "Home", appeared on the "" compilation album by the Red Hot Organization. In 1998, Spearhead recorded "I Got Plenty 'o Nuthin" with Ernest Ranglin for the Red Hot Organization's compilation album "Red Hot + Rhapsody".


title: Michael Franti

text: Their follow up album "Chocolate Supa Highway" was released in March 1997, with several changes in band members between releases. This album featured a return to hip hop elements and a pronounced reggae influence and included guest appearances by notables like Stephen Marley and Joan Osborne.


title: Michael Franti

text: After releasing the two albums, the band split with Capitol Records (reportedly prompted by the label's repeated urging to perform with other artists like Will Smith). The band instead decided to create its own record label, Boo Boo Wax. Since Capitol Records owned the rights to the name "Spearhead", subsequent albums were all released as "Michael Franti & Spearhead."


title: Michael Franti

text: His song "Sometimes" was included on the soundtrack to the 1999 film "Mystery Men", as well as the soundtrack to the 2006 film "Last Holiday". Also, under the "Spearhead" name, their cover version of The Police's 1979 No. 32 hit, "Roxanne", was featured on the soundtrack to the 1997 film "Good Burger", the full-length feature film starring Kenan Thompson & Kel Mitchell based on their characters from the popular 'Good Burger' sketch featured on the Nickelodeon series "All That".


title: Michael Franti

text: Michael Franti & Spearhead released "Stay Human" in 2000 under their own label Boo Boo Wax in alignment with indie music label Six Degrees Records. The album's central theme was the unjust nature of the death penalty and other major themes included mass media monopolization, the prison-industrial complex and corporate globalization. In an interview, Franti talked about the message of "Stay Human": "Half the record is songs about what's happening in the world right now, and the other half is about how we cope with it as people who are concerned about what's going on", he said. "This specter of war, intimidation, this nation vs. the rest of the world, it wears us out. Half the record is a healthy dose of venting anger about that, and the other half is about how do we hold on to our spirituality, our community and our connectedness to each other."


title: Michael Franti

text: In 2001 Franti was featured on Lamb's album What Sound, providing backing vocals on the track "I Cry". Also in 2001, Michael Franti & Spearhead released the song "Oh My God", arguably one of Michael Franti & Spearhead's most precise resistance songs. It was analyzed in Catherine Chaput's book Entertaining Fear: Rhetoric and the Political Economy of Social Control. Chaput uses the lyrics of "Oh My God" to show how it is counter-productive to understand politics as distinct from economics and culture. The lyrics make connections across science, popular culture and politics.


title: Michael Franti

text: "Everyone Deserves Music" was released in 2003. Franti composed many of the songs from his guitar and, like fellow 21st-century cultural globalists Manu Chao and Ozomatli, continues to synthesize his eclectic influences. In a departure from the industrial sounds of the Beatnigs and Disposable Heroes, and the minimalism of early Spearhead, Franti's affirming lyrics are now set to swelling rock chords, while keeping a world-wise groove nodding towards reggae, dancehall, bossa nova, Afrobeat, and funk. Anthems like the title track "Everyone Deserves Music", "Yes I Will" and "Bomb The World" are constructed with a nod to the 1980s rock of The Clash and U2, as well as to classic soul from Stax and Motown. The song "We Don't Stop" (featuring Gift of Gab from Blackalicious and Spearhead's rapper/beatbox technician Radioactive) bridges the two sounds in a "Magnificent Seven" style mash-up. And on "Love Why Did You Go Away" and "What I Be", Franti reveals an alluring, sensual singing voice. "Pray For Grace" and "Bomb The World (Armageddon Version)" pair Franti with the reggae/funk giants Sly and Robbie (Grace Jones, Rolling Stones, Black Uhuru, No Doubt).


title: Michael Franti

text: Also in 2003, Franti released a mostly acoustic album, "Songs from the Front Porch" containing rearranged versions of older songs from "Chocolate Supa Highway", "Stay Human" and "Everyone Deserves Music" as well as a couple of new tracks.


title: Michael Franti

text: On July 25, 2006, Michael Franti & Spearhead released "Yell Fire!", inspired by Franti's trip to Israel, the West Bank, the Gaza Strip and Iraq. In an effort to share his experiences from his trip and to explore the human cost of war, Franti produced a movie entitled "I Know I'm Not Alone", using the songs from his album "Yell Fire!" as a soundtrack. "One Step Closer To You" from "Yell Fire!" features Pink on backing vocals. The whole album is available for listening in his website.


title: Michael Franti

text: Franti and Spearhead have gained a worldwide audience through touring and appearances in alternative media like "Mother Jones" magazine and "Democracy Now!".


title: Michael Franti

text: Franti continues to tour in addition to producing the annual Power to the Peaceful festival each year since 1998. The festival originated as a way of supporting Mumia Abu-Jamal, who has been convicted of murdering a policeman but is considered by some on the Left to be a political prisoner. Michael Franti continues to gain influence in both popular music and social movements largely through extensive touring and word of mouth fan support. Lyrics from his song "Bomb The World", written in the dark aftermath of September 11 such as "You can bomb the world to pieces, but you can't bomb it into peace" have found their way onto protest signs and t-shirts all over the world from Los Angeles to Berlin, San Francisco to CNN, at demonstrations for peace large and small.


title: Michael Franti

text: The song "Light Up Ya Lighter" by Michael Franti & Spearhead was included on the soundtrack to "Body of War", an award-winning documentary about Tomas Young, a paralyzed Iraq War veteran.


title: Michael Franti

text: Songs from "Yell Fire" and "All Rebel Rockers" are on the soundtrack to "The Edge of Never", a documentary about extreme skiers mentoring 15-year-old Kye Peterson in his quest to ski the route in Chamonix, France that killed his father, Trevor Peterson, nine years earlier.


title: Michael Franti

text: The album "All Rebel Rockers" was released on September 9, 2008, and was largely recorded in Jamaica at the Anchor studio in St Andrew. The band worked with ubiquitous rhythm team Sly and Robbie and featured multi-talented vocalist Cherine Anderson on the set which entered the Billboard 200 pop chart in September at number 38. The single 'Say Hey (I Love You)' also reached Number 18 on the US Hot 100, providing Franti with his first US Top 20 single. Michael Franti was featured on Aux.tv's show Volume where he spoke about U.S. politics and his efforts to make the world a better place.


title: Michael Franti

text: Franti played three different events to commemorate President Barack Obama's inauguration: The Green Ball, The Peace Ball and the Rock the Vote Party.


title: Michael Franti

text: Franti announced in November 2009 that he would be joining musician John Mayer on the Battle Studies Tour in spring 2010.


title: Michael Franti

text: As part of the band's commitment to environmentalism, Michael Franti and Spearhead avoid the use of water bottles on national tours and run their tour bus on biodiesel.


title: Michael Franti

text: Franti announced the release of "The Sound of Sunshine" on his official website in July 2010. It features 12 tracks including two versions of the title track, the new hit single, "Shake It", and staples of his recent live performances including "Hey Hey Hey", "Anytime You Need Me", "The Thing That Helps Me Get Through", and the anthemic arena-rock ballad "I'll Be Waiting". The album was originally set to be released on August 24, but was pushed back to September 21 to give the album "more runway."


title: Michael Franti

text: Michael Franti started the recording process for "The Sound of Sunshine" in Jamaica but then continued to mix tracks and record in Bali before choosing to bring a portable studio on the road. He continued to record on the road and then test his ideas in front of live audiences to see if they liked it before going back and revamping it the next day. He has since been quoted as saying 90% of the album ended up being recorded on his laptop.


title: Michael Franti

text: In 2012, he joined the 11th annual Independent Music Awards judging panel to assist independent musicians' careers.


title: Michael Franti

text: In 2013, Franti released an album entitled "All People." The single from this album, "I'm Alive (Life Sounds Like)", was released on July 30, 2013 and was featured on "The Sims 4" and "Rayman Legends" game trailers.


title: Michael Franti

text: In March 2018, Michael Franti announced a new album, "Stay Human, Vol. II", would be released in June 2018 and also stands as the soundtrack to his new documentary. In July Michael Franti, via Instagram, announced the album was delayed until Fall 2018. "Stay Human, Vol. II" was released on January 25, 2019 and on October 12 the first single was released, "Just to Say I Love you".


title: Michael Franti

text: Franti's single "Good Day for a Good Day" from his 2022 album "Follow Your Heart" was a top 25 AAA hit.


title: Michael Franti

text: Franti is also an advocate for peace in the Middle East. His 2005 film "I Know I'm Not Alone" features footage of Iraq, the Palestinian territories, and Israel. Franti decided to embark on this three-week journey with friends to view the human cost of war in the Middle East first-hand. Franti states, "This film came out of my frustration with watching the nightly news and hearing generals, politicians, and pundits explaining the political and economic cost of the war in the Middle East, without ever mentioning the human cost. I wanted to hear about the war by the people affected by it most: doctors, nurses, poets, artists, soldiers, and my personal favorite, musicians."


title: Michael Franti

text: The film aims to speak to multiple generations and to give a better understanding of the people who still live in war-torn countries. He did not embark on the trip for the film with any special government groups or organizations. "When I first had the idea for this journey, I had no idea how to get to Iraq and almost no idea how to make a film. After discovering that all you need to get into Iraq is a plane ticket, I prayed that movie making would be that simple..." he said. After his trip to the Middle East, Franti argued that it was poverty more than religion that created tensions in the Gaza region. "The poverty was so severe," said Franti. "This really helped me to understand the frustration the Palestinian youth have. Ultimately, my belief is that it is poverty more than religion that creates tensions and frustrations. If you are struggling to feed your family, living on less than US$2 (Dh7.34) a day, as most Gaza residents are, and can see that past the checkpoint in Israel people live like in Los Angeles, then that really is going to cause mounting tensions."


title: Michael Franti

text: In 2001 Franti was awarded the Domestic Human Rights Award by Global Exchange, an international NGO based in San Francisco, for his work to end war.


title: Michael Franti

text: In 2006, he was invited by Australian Labour MP Jenny Macklin to show the film at Australia's Parliament House, Canberra.


title: Michael Franti

text: Music and politics have always been a part of Franti's art, as seen early in his career with the song "Music and Politics", released during the "Disposable Heroes of Hiphoprisy" phase. The song consists of Franti reciting spoken word with a soft electric guitar riffing in the background.


title: Michael Franti

text: Although Franti's point of view about the role of music in politics and the style of music he uses to express himself have changed, he still writes about politics and continues to work as an activist towards social change. The album "All Rebel Rockers" from 2008 (US #39) already with Spearhead was also a vehicle to express Franti's political views through music. According to Franti, the album was inspired by contemporary issues like climate change, the price of gas going up and down, the stock market and the auto industry, and the Obama presidency.


title: Michael Franti

text: Franti is not an activist only through music. Other than his trip to the Middle East and his many other travels through the world which have helped shape his global political perspective, Franti works with the charitable cause Ubuntu Education Fund, has promoted vegan diets, has promoted being barefoot, and followed the Occupy Wall Street movement during one of Michael Franti and Spearhead's tours.


title: Michael Franti

text: Franti's wish-granting non-profit organization, Do It For The Love, is a project he founded in 2013 with his wife Sara Agah Franti, with a mission to bring individuals with life-threatening illnesses and trauma, children with severe challenges, and wounded veterans to live concerts in the goal to inspire joy through the healing power of music.


title: Michael Franti

text: His foundation has bridged connections between fans of all ages with their musical heroes, with the participation of notable artists such as Billie Eilish, JoJo Siwa, Pentatonix, and Franti himself.


title: Michael Franti

text: Michael Franti owns a yoga resort hotel in the southern part of Ubud, Bali, called Soulshine. It is considered "Michael Franti's oasis of yoga, soul, and rock n' roll." His resort was originally named "Stay Human Yoga Retreat Center" when it first opened in 2011, a joint venture between Franti and Carla Swanson.


title: Michael Franti

text: In a 2020 interview, Franti explained what drew him to Bali, Indonesia specifically sharing, "the first time I came to Bali I fell in love with the Balinese culture. People here are "so" incredible. That was in 2007. Bali is an island of creative geniuses, and what I mean by that is everybody, whether you’re a banker, shop owner or something like that, everyone does some form of art...they all really work together and they’re all "super-creative" and just "very" kind people. I fell in love with the culture. It’s a beautiful tropical Island here, so that’s great."


title: Michael Franti

text: He explained the organic nature of this venture, "I thought it would be a good place to buy a little piece of land and, hopefully, build a little vacation home. So, we built five rooms with a yoga studio on top and it was like, 'If you build it, they will come.' Sure enough, we started getting teachers bringing in groups of students here. Over the years we kept putting the money back into building more rooms and we are up to 32 rooms now."


title: Michael Franti

text: Soulshine has hosted many retreats led by people such as Trevor Hall and FullyRaw Kristina, serving organically grown food from their own farms. In 2020, the yoga resort additionally expanded into a day club.


title: Michael Franti

text: In June 2020, Franti began hosting his "Stay At Home Concert World Tour" within his own yoga resort, taking part of the "virtual concert revolution" as a response to the COVID-19 Health Pandemic.


title: Michael Franti

text: Franti has three children: Cappy, Ade and Taj. He is married to emergency room nurse and jewelry designer Sara Agah. He was previously married to Tara Franti-Rye from 1998 until 2004; she is the mother of Ade.


title: Michael Franti

text: In 2000, Franti decided not to wear any shoes, initially for three days. Since then, he has chosen to go barefoot except for occasionally wearing flip-flops as required to board an airplane or to be served in a restaurant. Franti prefers bare feet.


title: Michael Franti

text: In 2014, Michael Franti's second eldest, Ade, was diagnosed with a kidney disease called Focal segmental glomerulosclerosis (FSGS). This disease has left Ade with just 50% function in their kidneys. Upon Michael speaking of this diagnosis, he says, "My son being diagnosed was the worst news I ever got in my whole life...we didn't know if he could graduate from high school or what kind of life he was going to have. We don't know where it's going to go next, but he inspires me everyday."


title: Michael Franti

text: In September 2018, Michael Franti's son, Taj Franti, was born. Taj is Michael's third child, and his first one with Sara Agah.


title: Michael Franti

text: Franti's music was featured twice on HBO's urban drama "The Wire". "Oh My God" and "Rock The Nation", both from the album "Stay Human", were used in two different episodes during the series' first season. Franti's song "Everybody Ona Move" was featured in the pilot episode of "Privileged" on the CW in 2008 and also in a 2009 PlayStation 3 commercial. "Yell Fire" was used to promote the FX channel series "Rescue Me" and was also used in the closing credits of the pilot episode of "Virtuality" on Fox. Showtime's "Weeds" featured Franti's song "Ganja Babe" in its first season, his interpretation of the Weeds theme song "Little Boxes" in Season 3, and "Say Hey" during a flash mob scene in the premiere episode of Season 5. Boston Red Sox centerfielder Shane Victorino uses the song "Light up Ya Lighter" as his batter walk-up music. "Say Hey (I Love You)" was used on the third episode of NBC's series "Mercy", as well as in the opening scene of the 2010 film "Valentine's Day". The same song was also used in 2010 in a commercial for Corona Light beer. The song is also featured on the soundtrack of EA Sports game, "2010 FIFA World Cup South Africa".


title: Michael Franti

text: "I'm Alive (Life Sounds Like)" was featured on the "Arrival" official trailer for "The Sims 4" during Gamescom 2013 at the Cologne Trade Fair in Cologne, Germany on August 20, 2013. It was also featured in the launch trailer for "Rayman Legends" and the final trailer for "Coco".


title: Michael Franti

text: Franti collaborated with Slacker Radio, picking the tunes and providing commentaries, to create a radio station playing his favorite artists.


title: Michael Franti

text: Franti premiered his own documentary "Stay Human" on April 27, 2018 at the Asbury Park Music and Film Festival. Written on his website about the film, Franti states, "my new film Stay Human takes us on a journey through music and stories of some of the most inspiring individuals on the planet. Amazing people that I've met on my travels around the globe, who have chosen to overcome cynicism with optimism, hope, tenacity, music, and love – and remind us all what it means to STAY HUMAN."


title: Product placement

text: Product placement, also known as embedded marketing, is a marketing technique where references to specific brands or products are incorporated into another work, such as a film or television program, with specific promotional intent. Much of this is done by loaning products, especially when expensive items, such as vehicles, are involved. In 2021, the agreements between brand owners and films and television programs were worth more than US$20 billion.


title: Product placement

text: While references to brands (real or fictional) may be voluntarily incorporated into works to maintain a feeling of realism or be a subject of commentary, product placement is the deliberate incorporation of references to a brand or product in exchange for compensation. Product placements may range from unobtrusive appearances within an environment, to prominent integration and acknowledgement of the product within the work. Common categories of products used for placements include automobiles and consumer electronics. Works produced by vertically integrated companies (such as Sony) may use placements to promote their other divisions as a form of corporate synergy.


title: Product placement

text: During the 21st century, the use of product placement on television has grown, particularly to combat the wider use of digital video recorders that can skip traditional commercial breaks, as well as to engage with younger demographics. Digital editing technology is also being used to tailor product placement to specific demographics or markets, and in some cases, add placements to works that did not originally have embedded advertising, or update existing placements.


title: Product placement

text: Product placement began in the 19th century. By the time Jules Verne published the adventure novel "Around the World in Eighty Days" (1873), his fame had led transport and shipping companies to lobby to be mentioned in the story. Whether Verne was actually paid to do so remains unknown. Similarly, a painting by Edouard Manet (1881-1882) shows a bar at the Folies Bergère with distinctive bottles placed at either end of the counter. The beer bottle is immediately recognisable as Bass beer. Manet's motivations for including branded products in his painting are unknown; it may be that it simply added to the work's authenticity, but on the other hand the artist may have received some payment in return for its inclusion.


title: Product placement

text: Research reported by Jean-Marc Lehu (2007) suggests that films produced by Auguste and Louis Lumière in 1896 were made at the request of a representative of Lever Brothers in France. The films feature Sunlight soap, which may be the first recorded instance of paid product placement in film. This led to cinema becoming one of the earliest channels used for product placement.


title: Product placement

text: With the arrival of photo-rich periodicals in the late 19th century, publishers found ways of lifting their paper's reputation by placing an issue of the magazine in photographs of prominent people. For example, the German magazine "Die Woche" in 1902 printed an article about a countess in her castle where she, in one of the photographs, holds a copy of the magazine in her hands.


title: Product placement

text: Product placement was a common feature of many of the earliest actualities and cinematic attractions from the first ten years of cinema history.


title: Product placement

text: During the next four decades, motion picture trade journal "Harrison's Reports" frequently cited cases of on-screen brand-name placement. Harrison condemned the practice as harmful to movie theatres, and his editorials reflected his hostility towards product placement in films. "Harrison's Reports" published its first denunciation of that practice over Red Crown gasoline's appearance in "The Garage" (1920). Another editorial criticised the collaboration between the Corona Typewriter company and First National Pictures when a Corona typewriter appeared in several films in the mid-1920s including "The Lost World" (1925).


title: Product placement

text: Recognisable brand names appeared in movies from cinema's earliest history. Before films had narrative form in the current sense, industrial concerns financed the making of what film scholar Tom Gunning described as "cinematic attractions", short films of one or two minutes. In the first decade or so of film (1895–1907) audiences attended films as "fairground attractions" interesting for their then-amazing visual effects. This format was better suited to product placement than narrative cinema. Leon Gurevitch argued that early cinematic attractions have more in common with television advertisements in the 1950s than they do with traditional films. Gurevitch suggested that as a result, the relationship between cinema and advertising is intertwined, suggesting that cinema was in part the result of advertising and the economic benefits that it provided early film makers. Segrave detailed the industries that advertised in these early films.


title: Product placement

text: A feature film that has expectations of reaching millions of viewers attracts marketers. In many cases the film producers request no payment for product exposure when consumer brands appear in movies. Film productions need props for scenes, so each movie's "property master", who is responsible for gathering props for the film, contacts advertising agencies or product companies directly. In addition to items for on-screen use, the product or service supplier might provide a production with complimentary products or services. Tapping product placement channels can be particularly valuable for movies when a vintage product is required—such as a sign or bottle—that is not readily available.


title: Product placement

text: Although there is no definitive proof that product placement for Red Crown gasoline in "The Garage", Fritz Lang's "Dr. Mabuse the Gambler" (1922) contained a prominent title card in the opening credits reading "The gowns of the female stars were designed by Vally Reinecke and made in the fashion studios of Flatow-Schädler und Mossner." Among silent films to feature product placement was "Wings" (1927), the first to win the Academy Award for Best Picture. It contained a plug for Hershey's chocolate. Fritz Lang's film "Woman in the Moon" (1929) shows someone drinking prominently from a glass for Odol, a populer German brand of mouthwash, and his film "M" (1931) shows a banner display for Wrigley's PK Chewing Gum, for approximately 20–30 seconds.


title: Product placement

text: Another early example occurs in "Horse Feathers" (1932), where Thelma Todd's character falls out of a canoe and into a river. She calls for a "life saver" and Groucho Marx tosses her a Life Savers candy. "It's a Wonderful Life" (1946) depicts a young boy with aspirations to be an explorer, displaying a prominent copy of "National Geographic" magazine. In "Love Happy" (1949), Harpo cavorts on a rooftop among various billboards and at one point escapes from the villains on the old Mobil logo, the "Flying Red Horse". "Harrison's Reports" severely criticised this scene in its film review and in a front-page editorial. In "Gun Crazy" (1949), the climactic crime is the payroll robbery of the Armour meat-packing plant, where a Bulova clock is prominently displayed.


title: Product placement

text: The James Bond film "You Only Live Twice" (1967) featured the Toyota 2000GT, and the films "Smokey and the Bandit" (1977) and "The Cannonball Run" (1981) film series featured conspicuous placements. The science fiction film "E.T. the Extra-Terrestrial" (1982) is often cited for its multiple, obvious placements, including the candy Reese's Pieces, into the plot. In the New World Pictures dub of "The Return of Godzilla", "Godzilla 1984", Dr Pepper was prominently placed into the new scenes shot for the dub. In a scene shot at an American military base, a vending machine is directly between two characters, and in similar scenes characters are often depicted drinking the soft drink.


title: Product placement

text: Cheerios and Coca-Cola were placed in the Andrew Lloyd Webber musical "Evita", in "Superman: The Movie", and in its sequel "Superman II". Clark Kent eats Cheerios for breakfast in "Smallville". In "Superman II"s climax, Superman crashes into a giant Coca-Cola advertisement and saves people on a bus bearing an ad for "Evita", before he smashes into a Marlboro delivery truck.


title: Product placement

text: In the 1993 film "Demolition Man", the fast food chain Taco Bell is integrated directly into the film's lore, depicting it as the only remaining restaurant franchise in existence by 2032. Since Taco Bell was not well known outside of the U.S., for the international release of the film it was replaced with Pizza Hut, another restaurant chain owned by Yum! Brands. Lines were re-dubbed and logos changed during post-production.


title: Product placement

text: In the film "Cast Away", Tom Hanks, the lead character, is a FedEx employee. A volleyball from Wilson Sporting Goods is also prominently featured in the film. References to the delivery company FedEx are made throughout the film, and the company is central to the plot. "The Internship" (2013), which features two unemployed slacker friends seeking employment at Google, was described by Tom Brook of the BBC as "one huge advertisement for Google" that took "product placement to a startling new extreme". "Rolling Stone" magazine included it on a list of the 10 Egregious Product Placements in film.


title: Product placement

text: Over-the-air (OTA) radio and television in the United States are not funded through end user license or subscription.


title: Product placement

text: In US radio since the 1930s and television since the 1950s, programs have been normally underwritten by sponsors. "Soap operas" were named for the consumer packaged goods products advertised by Procter & Gamble and Unilever. When television began to grow popular, DuMont's 1950s "Cavalcade of Stars" show did not rely on a sole sponsor. Sponsorship continues with programs sponsored by major vendors such as Hallmark Cards.


title: Product placement

text: The conspicuous display of Studebaker motor vehicles in the television series "Mister Ed" (1961–1966), which was sponsored by the Studebaker Corporation from 1961 to 1963, as well as the display of Ford vehicles on the series "Hazel" (1961–1966), which was sponsored by the Ford Motor Company from 1961 to 1965, are other examples of television product placement.


title: Product placement

text: Placements fall into two main categories: paid and unpaid. Most product placements are unpaid. In unpaid product placements, the advertiser will usually loan or give the product to the production. The productions costs are reduced, as they would otherwise have to buy or rent the items.


title: Product placement

text: Subcategories are "basic", when a logo is merely visible, and "advanced", whereby the product or brand is spoken by characters in the show or movie. Barter and service deals (the branded product is provided for crew use, for instance) are common. Content providers may trade product placements for help funding advertisements tied-in with a film's release, a show's new season or other event. Still another variant, known as an "advertisement placement", displays an advertisement for the product (rather than the product itself) which appears in the production, such as an advertisement on a billboard or a bus that appears in the show.


title: Product placement

text: Brand integration, a variant of product placement, is when "the product or company name becomes part of the show in such a way that it contributes to the narrative and creates an environment of brand awareness beyond that produced by advanced placement." While this type of advertising is common on unscripted shows such as "The Apprentice", it can also be used in scripted television. An early example was by Abercrombie & Fitch, when one of its stores provided the notional venue for part of the romantic comedy film "Man's Favorite Sport?" (1964). On "All My Children" one character took a job at Revlon. The character's job became part of the character's development.


title: Product placement

text: "Jurassic Park" not only prominently features Ford cars and other commercial products, but also includes a scene displaying its own promotional merchandise. One shot shows the "Jurassic Park Souvenir Store", with products that it offered for sale to fans.


title: Product placement

text: A real brand logo may be hidden or replaced with fictional brand names in a production, either to imitate, satirize or differentiate the product from a real corporate brand. Such a device may be required where real corporations are unwilling to license their brand names for use in the fictional work, particularly where the work holds the product in a negative light.


title: Product placement

text: According to Danny Boyle, director of the film "Slumdog Millionaire" (2008), the makers used "product displacement" to accommodate sponsors such as Mercedes-Benz that refused to allow their products to be used in non-flattering settings. While Mercedes did not mind having a gangster driving their cars, they objected to their products being shown in a slum. The makers removed logos digitally in post-production, costing "tens of thousands of pounds". When such issues are brought up in advance of filming, production companies often resort to "greeking", the practice of simply covering logos with tape, but one of them driven by Latika is shown to have the logos on the car keys.


title: Product placement

text: Similarly, in "The Blues Brothers" (1980), portions of the defunct Dixie Square Mall in Harvey, Illinois, were reconstructed in façade and used as the scene of an indoor car chase. Signage belonging to mall tenants was replaced with that of other vendors; for instance, a Walgreens would become a Toys "R" Us.


title: Product placement

text: "Cars" (2006) parodies NASCAR, an advertising-heavy sport which controversially had long allowed alcohol and tobacco sponsorships. NASCAR's sponsors were replaced with fictional or parody brands; Dinoco Oil takes pride of place, followed by a string of invented automotive aftermarket products marketed in a similar means to pharmaceutical products. "Dale Earnhardt Inc." displaced "Junior #8"'s sponsor Budweiser to avoid advertising beer in a Disney & Pixar feature. The racing series portrayed in the film is also known as the "Piston Cup", as a pun on the NASCAR Cup Series' past sponsor of Winston cigarettes (during which time it was known as the "Winston Cup Series"; it has since been succeeded by phone carrier Sprint and energy drink Monster Energy).


title: Product placement

text: Placements can be sound-only, visual-only or a combination of both. The Russian television show дом-2 (phonetically "Dom-2") (similar to "Big Brother") often features participants stating something along the lines of, "Oh, did you check out the new product X by company Y yet?" after which the camera zooms in on the named product, explicitly combining an audio mention with a visual image. In "The Real World/Road Rules Challenge" participants often make a similar comment, usually pertaining to the mobile device and carrier for a text message.


title: Product placement

text: An experiment from 2002 tested the relationship between auditory vs visual product placement and if the product had higher or lower connection to the plot to how well it was remembered by viewers. The results of the experiment concluded that regardless of if the product had higher or lower connection to the plot, in either circumstance an auditory product placement was more likely to be remembered by viewers than a visual product placement.


title: Product placement

text: Branded content refers to works that are funded or produced by an advertiser as a vehicle for their brand. Some forms of branded content do include self-placed product placement (such as a series of made-for-TV movies produced by Walmart and Procter & Gamble, which featured placements for P&G products and Walmart store brands), but some (such as, most prominently, the media operations of energy drink brand Red Bull) are focused more upon producing content that is consistent with the brand's values and demographics, rather than being a promotion for their products first and foremost.


title: Product placement

text: Larger, vertically integrated conglomerates may include placements of their own products and services in works as a form of corporate synergy. Owing to its common ownership, Sony Pictures films have featured placements of Sony's consumer electronics products, particularly Xperia smartphones, among other products. The James Bond films "Skyfall" and "Spectre" depict Bond using Sony Xperia T and Z5 smartphones respectively, and the Xperia T was bundled with James Bond-themed content (including ringtones, wallpapers, and behind the scenes photos from the filming of "Skyfall") as a tie-in in some markets. Similarly, some 20th Century Fox films depict the then co-owned Fox News Channel as a source of in-universe news programming.


title: Product placement

text: Product placements can also be added or replaced during post-production. For example, placements can be added to scenes that did not already have them when originally filmed, and placements can also be modified in future airings or prints of a film or television series.


title: Product placement

text: The pilot episode of the NBC sitcom "30 Rock" featured the General Electric (at the time an 80% owner of NBC) Trivection oven, but was said to be a joke by the show's creator. The show later parodied placement.


title: Product placement

text: The 1988 film "Return of the Killer Tomatoes" mocked the concept when at one point the film stops for lack of money. The character played by George Clooney suggests product placement as a way to continue. This was followed by several scenes with blatant product placement, including a Pepsi billboard installed in front of the villain's mansion.


title: Product placement

text: The 1994 film "The Making of '...And God Spoke'" is a mockumentary about the filming of a biblical epic. When running low on funds to complete the film within a film, the desperate producers resort to product placement, resulting in the absurd anachronism of Moses descending from Mount Sinai carrying the Ten Commandments and a six-pack of Coca-Cola.


title: Product placement

text: The film "Fight Club", directed by David Fincher, bit the hand that fed it by depicting acts of violence against most of the products that paid to be placed in the film. Examples include the scene where the Apple Store is broken into, the scene where Brad Pitt and Edward Norton smash the headlights of a new Volkswagen Beetle, and try to blow up a "popular coffee franchise", a thinly veiled dig at Starbucks.


title: Product placement

text: The film "Superstar", starring Will Ferrell and Molly Shannon, shows every resident in town driving Volkswagen New Beetles, possibly for comic effect. Similarly, the film "Mr. Deeds" shows Adam Sandler's character purchasing a Chevrolet Corvette for every resident of his town.


title: Product placement

text: The 2006 Will Ferrell comedy film "" parodied the large amount of sponsorship in NASCAR, having the title character at one point drive with a "dangerous and inconvenient" decal of the Fig Newtons logo covering his windshield, and include a plug for Powerade into a saying of grace before dinner.


title: Product placement

text: "Wayne's World" featured a scene where Wayne refuses to allow his show's sponsor to appear on the air. When told it is part of his contract, Wayne argues that the deal "didn't include selling out" while conspicuously drinking a can of Pepsi, eating Doritos, and displaying a Pizza Hut pizza. Garth then laments that "people only do things because they get paid" while his entire wardrobe consists of Reebok athletic wear. Finally, Wayne complains of a headache and Garth advises him to take Nuprin while cutting to a few seconds of a Nuprin TV ad.


title: Product placement

text: "Kung Pow! Enter the Fist" spoofed its product placements, highlighting the anachronistic inclusion of a Taco Bell. In a similar vein, in "", the main characters stumble across a Wal-Mart while stranded in the middle of Death Valley and acquire supplies just for providing an endorsement. "" poked fun at its sponsor Sony by having one character give another a Blu-ray Disc with the tagline "It's a Sony", only for them to complain that they do not have a Blu-ray player, to which the character responds with a version in Betamax.


title: Product placement

text: Some films do not wish to depict real brands onscreen, so fake brands are created for products shown onscreen.


title: Product placement

text: "X-Files" (1993–2002) (as well as many other films and television productions) featured the fictional Morley brand of cigarettes, the choice of the Cigarette Smoking Man. The company producing Morleys was also involved in a cover-up conspiracy, "Brand X".


title: Product placement

text: "Ghostbusters" had a faux product in the climax of the film when the team faces the Stay Puft Marshmallow Man. Previously in the film, Stay-Puft brand marshmallows are shown in Dana's apartment and a Stay-Puft billboard is visible (via a matte painting) when the Ghostbusters' storage grid is deactivated and the imprisoned ghosts are released. Similar in form, Mel Brooks used the same device in the comedy spoof "Spaceballs", which parodied "Star Wars": in one scene, he opened up a can of Perri-Air canned air, a play on the name Perrier, the brand of bottled water.


title: Product placement

text: "The Truman Show" used fake placements to advance the narrative of the reality television set. Truman's wife places products in front of hidden cameras, even naming them in dialogue with her husband. This increases Truman's suspicions as he comes to realize his surroundings are intentionally fabricated.


title: Product placement

text: Some filmmakers created fictional products that appear in multiple movies. Examples include Kevin Smith (Nails Cigarettes, Mooby Corporation, Chewlees Gum, Discreeto Burritos) and Quentin Tarantino (Red Apple Cigarettes, Jack Rabbit Slim's Restaurants, Big Kahuna Burger). This went even further with the fictional brand Binford Tools which appeared in TV shows "Home Improvement" and "Last Man Standing" and in the "Toy Story" movie franchise, all starring Tim Allen.


title: Product placement

text: This practice is also fairly common in certain comics, such as Svetlana Chmakova's "Dramacon", which makes several product-placement-esque usages of "Pawky", (a modification of the name of the Japanese snack "Pocky", popular among anime and manga fans) or Naoko Takeuchi's "Sailor Moon", which includes numerous references to the series "", from which "Sailor Moon" was spun off.


title: Product placement

text: This practice is also common in certain "reality-based" video games such as the "Grand Theft Auto" series, which feature fictitious stores such as Ammu-Nation, Vinyl Countdown, Gash (spoofing Gap) Zip, Pizza Boy, etc.


title: Product placement

text: So-called "reverse product placement" creates real products to match those seen in a fictional setting, typically as a tie-in.


title: Product placement

text: "Willy Wonka & the Chocolate Factory" (1971) led to a real Willy Wonka candy company, established soon after the film's release.


title: Product placement

text: In 1949, Crazy Eddie was created as a fictional car dealer in the film "A Letter to Three Wives". That name, bestowed in 1971 upon a real-life electronics chain in New York City, appeared in 1984 in an ad in "Splash". Crazy Eddie's memorable ads are parodied in "Howard the Duck", featuring a duck version of the famous pitchman, and "UHF", as "Crazy Ernie", a used car salesman, threatens to club a baby seal if nobody comes in to buy a car.


title: Product placement

text: In 2007, as a promotional tie-in for "The Simpsons Movie", 7-Eleven temporarily turned twelve of its locations into Kwik-E-Marts—a fictional chain of convenience stores within the universe of "The Simpsons". The stores sold real-world versions of food and drink brands seen in the franchise, including Buzz Cola, Duff Beer and Krusty-O's.


title: Product placement

text: While radio and television stations are regulated by national governments, producers of printed or recorded works are not, leading marketers to attempt to get products mentioned in lyrics of popular songs.


title: Product placement

text: In 2008, The Kluger Agency was claimed to have proposed placement of "Double Happiness Jeans", a virtual sweatshop created as part of the "Invisible Threads" project for the 2008 Sundance Festival, in a Pussycat Dolls song for a fee. The firm was not intended to represent a commercial product. It had been invented as a collaboration between Jeff Crouse of the Anti-Advertising Agency and Stephanie Rothenberg. While the product technically existed at the time, "Double Happiness" was intended to be a critical piece.


title: Product placement

text: In January 2009, "Migra Corridos", a five-song EP including accordion ballad "El Mas Grande Enemigo", had received airplay on twenty-five Mexican radio stations. The tune purports to be the lament of a would-be immigrant left to die in the Arizona desert by coyotes (people smugglers). No disclosure was made to the radio stations that the U.S. Border Patrol had commissioned the project with content devised by Elevación, a Hispanic advertising agency based in Washington, D.C. and New York City.


title: Product placement

text: In 2010, a video for Lady Gaga's "Telephone" was panned by critics for displaying nine brands in nine minutes (including her own line of Heartbeats headphones), many as paid product placements. Other 2010 music videos displayed the PlentyofFish website include Natasha Bedingfield's "Touch", Flo Rida and Akon's "Available", Jason Derulo's "Ridin' Solo", and 3OH!3's "Double Vision".


title: Product placement

text: In 2011, Britney Spears's music video for "Hold It Against Me" advertised PlentyofFish and Sony; one "Washington Post" review denounced the video as an informercial.


title: Product placement

text: Jennifer Lopez's Fiat-sponsored music video "Papi" was edited for broadcast as a 30-second advertisement for the Fiat 500 Cabrio in 2011. The original video also advertised BlackBerry, Tous, Planet Love Match and Crown Royal.


title: Product placement

text: Alcohol advertising in music videos drew criticism from Curtin University in Perth, Australia in 2011. An Alcohol Beverages Advertising Code (ABAC) exists in Australia to handle complaints, but a placement of Midori liqueur in Cobra Starship's "You Make Me Feel..." was judged not to be alcohol advertising.


title: Product placement

text: Rap and hip hop are notorious for the high level of product placement in lyrics and music videos; as rappers flaunt luxury brands to show off their wealthy lifestyle, companies pay to have their products named in tracks. This integration began in 1986 with Run-DMC's "My Adidas." Hennessy and Alizé are notable as alcoholic drinks which became popular after being promoted in rap.


title: Product placement

text: South African football comic book "Supa Strikas" accepts product placement to allow for the comic's free distribution. Product placement occurs throughout the publication; on players' shirts, billboards and signage, and through the branding of locations or scenarios. "Supa Strikas" receives the majority of its support from Chevron, via its Caltex and Texaco brands.


title: Product placement

text: In markets where Chevron lacks a presence, other brands step in, e.g., including Visa in Kenya, Uganda and Tanzania. Other brands include their logos included as both billboard and background advertising, and through the branding of locations and scenarios. These companies include Metropolitan Life, Nike, Spur Steak Ranches and the South African National Roads Agency, among others.


title: Product placement

text: While now-defunct NFL Europe allowed liberal use of team uniforms by sponsors, the main National Football League (NFL) does not. For instance, the league prohibits logos of sponsors painted onto the fields, although Gillette Stadium in Foxborough, Massachusetts, has their stadium's logomark painted onto the FieldTurf field. In 2008, the league allowed sponsors on the practice jerseys of the uniforms, but not game uniforms.


title: Product placement

text: In 1991, the league allowed uniform suppliers to display their logos on their NFL-related products. Since 2012, Nike has been the league's official uniform supplier.


title: Product placement

text: Early on, two of the league's flagship teams—the Green Bay Packers and the Pittsburgh Steelers—adopted their identity from corporate sponsors. The Packers adopted the name "Packers" because they were sponsored by the Indian Packing Company. They later had "ACME PACKERS" written on their uniforms in the early 1920s after the Acme Packing Company bought Indian Packing. The Steelers adopted their current logo in 1962 as a product-placement deal with the American Iron and Steel Institute, which owned the rights to the Steelmark logo. The Steelers later were allowed to add "-ers" to the Steelmark logo the following year so that they could own a trademark on the logo. (The Steelers' pre-NFL predecessors also regularly sold naming rights to companies in the Pittsburgh area.)


title: Product placement

text: The league has placed itself. NFL Japan was a sponsor of the football-themed anime series "Eyeshield 21".


title: Product placement

text: In auto racing, the concept of the factory-backed contestant, who is provided with vehicles and technical support in return for the car's manufacturer obtaining visibility for its products in competition, dates in NASCAR to the 1950s and Marshall Teague's factory-backed Fabulous Hudson Hornet. "Win on Sunday, sell on Monday" was once a common adage among automakers.


title: Product placement

text: In Formula One, a number of major racing teams were once sponsored by tobacco companies, including Marlboro (which has had tenures with Ferrari and the McLaren team. Due to tightening regulations on tobacco advertising worldwide, many of these sponsorships have either been dropped, or downplayed and replaced with subliminal versions on vehicle livery when races are held in regions with heavy restrictions or outright bans on the marketing of cigarettes (such as the European Union).


title: Product placement

text: Automobiles, apparel, beverages, home goods, furniture, consumer electronics, computers, restaurants, financial institutions, travel, airlines and websites are just a few of the product categories.


title: Product placement

text: FedEx provided vehicles, access, and logistical support for the making of "Cast Away". The movie depicted real FedEx locations, and the company's CEO appeared in one scene.


title: Product placement

text: The most common products to be promoted in this way are automobiles. Frequently, all the important vehicles in a film or television series are supplied by one manufacturer.


title: Product placement

text: The James Bond film franchise has been well known for featuring product placements for various vehicles, particularly luxury and sports cars. Aston Martin has been the most synonymous with the franchise, dating back to the appearance of the Aston Martin DB5 as Bond's vehicle in "Goldfinger" (1964).


title: Product placement

text: "Cars" (2006) portrays a mix of real and fictional vehicles as characters. None are directly paid product placements, but many are factory-backed by manufacturers who provided technical assistance and vehicles during production. The Lexus LC 500 was featured in the 2018 film "Black Panther". The Audi R8 was featured in the "Iron Man" film series, while the Acura NSX Roadster was featured in "The Avengers".


title: Product placement

text: The James Bond series has also featured associations with various accessory and fashion brands, such as Rolex and Omega watches, Calvin Klein clothing, and Samsonite luggage.


title: Product placement

text: Vera Wang, Carolina Herrera, Christian Lacroix, Lanvin, Dior, Oscar De La Renta, Manolo Blahnik and Vivienne Westwood were all featured in the TV series "Sex and the City". Under Armour, an athletic wear company, currently worth $6.67 billion, has been featured in films such as the "Fast and the Furious" "The Martian", "22 Jump Street", and "Fantastic Four" to name a few.


title: Product placement

text: Apple's products frequently appear in films, music videos and on television. Apple has stated that they do not pay for this, but declined to discuss how its products are placed; some Apple placements have stemmed from their products' ubiquity and position as a status symbol, rather than actual paid promotion. For example, Pixar films have often included references to Apple products as an homage to company co-founder Steve Jobs, who was an early investor in the studio.


title: Product placement

text: The 2010 "Modern Family" episode "Game Changer" prominently featured the iPad and aired prior to its launch, while the 2015 episode "Connection Lost" was presented entirely from the perspective of Claire Dunphy's MacBook laptop, who interacted with other characters via FaceTime video calls and iMessage, while also using other Mac OS X applications. Show creator Steven Levitan said the show had an ongoing relationship with Apple, but did not elaborate further. In the case of the former, while the episode's credits did state that the iPad was "provided" by Apple, the company did not pay the show's broadcaster ABC for the integration, nor buy any commercial time during the episode. Similarly, Apple did not provide any financial compensation for "Connection Lost", but did provide MacBook Pro and iPhone hardware for the filming, and a Mac Pro workstation for post-production.


title: Product placement

text: In video games, the most common placements are for processors or graphics cards. For example, in EA's "Battlefield 2142", ads for Intel Core 2 processors appear on map billboards. EA's "The Sims" contains in-game advertising for Intel and for McDonald's. Rare's "Perfect Dark Zero" features many ads for Samsung in their menus.


title: Product placement

text: The use of Reese's Pieces as a prominent plot element in the film "E.T. the Extra-Terrestrial" was the result of a sponsorship deal; it was originally intended for the titular character's favorite food to be M&M's candies, but Mars Incorporated turned down an offer, believing the film's alien would scare children. The Hershey Company took the sponsorship instead, which included the rights for the company to cross-promote Reese's Pieces with the film. The deal was considered a major coup for the company; sales of Reese's Pieces tripled, and some retailers had trouble meeting demand for the product.


title: Product placement

text: Alongside criticism for trying to ride off the popularity of "E.T.", the film "Mac and Me" was widely criticised for containing numerous placements for Coca-Cola soft drinks and the fast food chain McDonald's; both brands are integral to the film's plot, while McDonald's mascot Ronald McDonald makes an appearance during a dance scene set at a McDonald's, and is credited as appearing in the film "as himself". Critics also noted that the name of the alien creature featured in the film, "Mac", could also be interpreted as a reference to the chain's notable burger, the Big Mac. Its producer R.J. Louis denied that the film was funded by McDonald's; he had previously worked on campaigns for the company and wanted to make a film that would help benefit the Ronald McDonald House Charities, and had to pursue rights to portray the McDonald's brand in the film (noting that he was "still the only person in the universe that ever had the exclusive motion picture rights to the McDonald's trademark, their actors, their characters, and the whole company"), but did receive funding from one of the chain's major suppliers, Golden State Foods. He also justified the extended dance scene, as trips to McDonald's were often seen as a "treat" for children of the era, and explained that "Mac" was meant to be an acronym for "Mysterious Alien Creature".


title: Product placement

text: The James Bond series has also prominently featured placements for liquor, tied to the character's recurring affinity for martinis (particularly, vespers), although "Skyfall" deviated from this tradition by entering into a promotional deal with Dutch brewery Heineken (which also allowed the company to feature Bond actor Daniel Craig in an accompanying ad campaign).


title: Product placement

text: Tobacco companies have made direct payment to stars for using their cigarettes in films. Sylvester Stallone received US$500,000 to use Brown and Williamson tobacco products in five feature films.


title: Product placement

text: In response to a "Christian Science Monitor" article accusing the industry of deliberately using product placement as an advertising strategy, the Tobacco Institute claimed that product placement is driven by filmmakers to "achieve desired artistic effects but also to offset production costs". It also claimed "the 1970 federal ban on cigarette advertising on television and radio does not prohibit payments to filmmakers for the use of cigarettes in a film." The rebuttal concludes with the sentiment that smoking in film provides a certain "aesthetic" which is legitimate and at the filmmaker's discretion.


title: Product placement

text: Many airlines have advertised prominently in film, in some cases to promote a new flight route or just to increase public awareness of the company. Pan Am advertised in many films, including "" and James Bond films. American Airlines was advertised in "Home Alone" and "Home Alone 2", and a model of a Virgin Atlantic Boeing 747 was shown in "Wayne's World". Mike Myers' later film, "", featured a major promotion with Virgin, including repainting some of Virgin's fleet to read "Virgin Shaglantic".


title: Product placement

text: American Airlines and Hilton Hotels were featured in the film "Up in the Air". George Clooney, an avid flyer is constantly seen in the airport because of his career. This film was a huge endorsement for American Airlines, yet no payment was exchanged between the filmmaker and the airline.


title: Product placement

text: Turkish Airlines was featured in the film "". Warner Bros and Turkish Airlines signed a contract together to help promote and endorse the film.


title: Product placement

text: The list of television shows with the most instances of product placement (November 2007 – 2008; according to Nielsen Media Research) included:


title: Product placement

text: Nielsen called a scene in an episode of CBS' "Mike & Molly" of Mike eating M&M's in Carl's apartment 2013's best branded and opinion-shifting product integration in a scripted show.


title: Product placement

text: Television shows going back to the 1970s with The Love Boat featured product placements when using the Princess Cruise Lines and shows as recent as Modern Family have featured characters trying to procure an Apple iPad.


title: Product placement

text: YouTubers are allowed to do product placement. For instance, the "LinusTechTips" channel by Linus Sebastian. Notifying YouTube is required, and YouTube reserves the right to ban it.


title: Product placement

text: In 2001, British author Fay Weldon published "The Bulgari Connection", a novel commissioned by Italian jewellery company Bulgari. According to "The Independent", this was the first instance of a literary product-placement deal between an established writer of fiction and a commercial partner.


title: Product placement

text: Much of U.S. broadcast law pertaining to on-air product promotion dates to the payola scandals of 1950s broadcast radio. An investigation launched in November 1959 into allegations that some radio disc jockeys had accepted bribes in return for radio airplay ended with a US$2,500 fine for disc jockey Alan Freed (of WABC and WINS) for violating commercial bribery laws. On September 13, 1960, the U.S. government banned payola in broadcasting. Under "All matter broadcast by any radio station for which money, service, or other valuable consideration is directly or indirectly paid, or promised to or charged or accepted by, the station so broadcasting, from any person, shall, at the time the same is so broadcast, be announced as paid for or furnished, as the case may be, by such person..." with similar and related provisions reflected in Federal Communications Commission regulations as .


title: Product placement

text: These provisions have governed subsequent payola investigations, including a 2005 investigation into Sony BMG and other major record companies.


title: Product placement

text: Often, a broadcaster claimed to have complied by placing an acknowledgement in an inconspicuous place, such as embedded within the credits. In 2005 U.S. Federal Communications Commission commissioner Jonathan Adelstein stated "if broadcasters and cable TV companies insist on further commercializing new and other shows alike, that is their business. But if they do so without disclosing it to the viewing public, that is payola, and that is the FCC's business."