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Talk:Hyperreality

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Kenneth Burke probably deserves a mentionWblakesx (talk) 00:03, 19 February 2012 (UTC)

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Hyperreality Definitions --must have reference
Hyperreality describes the non-distinction between reality and fantasy in a technologically advanced society where media shape and filter what we consider to be real. For Baudrillard, the hyperreal manifested itself in a variety of ways, from media (television or movies) to experiences (politics or the Gulf War) to objects (money or art) (Gane, 1993; Hegarty, 2004).

“[Hyperreality] is a question of substituting the signs of the real for the real, that is to say of an operation of deterring every real process via its operational double…” (Baudrillard, 1994, p. 2)

“Everything is destined to reappear as simulation. Landscapes as photography, women as the sexual scenario, thoughts as writing, terrorism as fashion and the media, events as television” (Baudrillard, 1988, p. 32)

Baggott (2005) notes: “We now live within a reality that has become a complete invention of our postmodern urban, industrial society and media culture. To some it has become a dreamworld, a hyperreality, no longer based on anything identifiably real” (p. 19). In this manifestation, society manufactures the real from the unreal: “We construct a reality based on models of how we would like that reality to be, not on reality itself” (Baggott, p. 21) --Roekeloos (talk) 14:40, 22 August 2010 (UTC)

Hyperreality in the 9/11 truth movement
"Hyperreality: the inability of consciousness to distinguish reality from fantasy, especially in technologically advanced postmodern cultures." => Can we consider the investigations of the 9/11_Truth_Movement to be part of a Hyperreality? --Rougieux 22:51, 14 November 2007 (UTC)
 * It is hyperreality in the technical sense as far as I'm concerned, but it isn't really in the spirit of the theory.--69.37.130.53 (talk) 02:53, 19 July 2008 (UTC)

Hyperreality as Hyperreality
The very belief of hyperreality makes one believe the world we live in is a copy world where we seek simulated stimuli. Thus hyperreality detaches the mind from common sense reality and the individual begins to live in the non-existent hyperreal-world. And even though hyperreality is not an accurate depiction of reality, for the viewer, the reality of "reality" becomes something non-existent. Yes, this is a joke.

Hyperreality in Art
I think another good example of hyperreality might be found in "fine art" a painting that of say a landscape where the viewer can see more acuratly what the lanscsape actually is than they could see looking at the real landscape. —The preceding unsigned comment was added by Leroy1213 (talk • contribs) 21:11, 19 March 2007 (UTC). I argue that a hyperreality can be created when there are some sort of interactivity in a artwork, specifically art that utilizes technologies such as computers, cameras and sensors. The hyperreality exist in the fact art(which is meant to speak about reality or a interpretation thereof) is created by the viewer manipulating an interface created by the artist, thus a reality obscuring the real but at the same time commenting on it. -make sense to anyone? —Preceding unsigned comment added by 66.8.76.130 (talk) 13:22, 22 August 2010 (UTC)

Wikipedia as Hyperreality?
I'd like to see more thoughts on Wikipedia as hyperreality.

- I would too, will include Wikiality on the Hyperreality page -Psychologesetz 18:28, 6 October 2006 (UTC)

Video Games
I don't see that video games are much more hyperreal than any other form of fiction. There is a difference between games and traditional media; games are interactive. However, for the most part video games do not serve to supplant or obscure reality. It could be argued that MMORPGs are hyperreal but I can't see Pong or Tetris fitting the definition. If video games are hyperreal, then many television programs, movies, works of art and works of literature are as well. Examples: Soap operas, reality television, "mockumentaries", trompe l'oeil paintings, the War of the Worlds radio broadcast. I believe video games should be removed from the list and / or some of these examples should be included. --ccherlin 14:50, 13 Oct 2004 (UTC)

 * I could see video games as a sort of analogy for hyperreality, but not an example. A better one, as you pointed out, would be reality TV or possibly soap operas, which people in a sense believe is real without believing it is real, and TV and movies in general, which are more real than real, or at least in a sense preferred to the (supposedly nonexistant) real.  I don't know about the War of the Worlds radio broadcast - that he was able to tap into people's anxieties and uncertainty about their place in the universe doesn't quite jive with hyperreality, I think.  Yeah, I agree - video games off the list, unless Baudrillard mentions them specifically, which, its been a while, but afaik he doesn't.  -Seth Mahoney 17:19, Oct 13, 2004 (UTC)

 * I am in agreement with Clement, we shouldn't overuse the term to a cliché, and therefore video games should be carefully scrutinized before accepted as hyperreal. However, I am of the opinion that MMORPG's are in fact hyperreal because their sole purpose is to provide an entire simulation of the human experience, and many users become addicted to them, because the RPG universe is more desirable than the 'real world'. A Matrix reference may be warranted here. Would I be wrong to say that the Matrix is at the same level of reality as the 'real world', but the 'perfect' Matrix Agent Smith spoke of is hyperreality by definition? --Navaburo 03:06, 6 January 2006 (UTC)

What about games like grand theft auto, they seem like the best examples of hyperreality in videogames. They are modeled after the images and style of real cities. -User:Malcom-x-mass 15:23, Dec 8 (EST)

 * I guess my main problem with video games in general as examples of hyperreality is that they are games, and people playing them go into them knowing that. That we go about playing video games as games sort of sets up a line between real and unreal that seems to be more blurred when dealing with, especially, reality TV and a lot of movies.  The other thing is that, as I understand it, hyperreality is more real than real, while, at least with current technology, video games are decidedly less real than real.  GTA and maybe sports games are probably the best examples of games approaching something like hyperreality, but at least I think they still fall short.  Anyhow, just my 2 cents - mine is far from the sole vote.  -Seth Mahoney 00:10, Dec 11, 2004 (UTC)

 * There are some who invest MORE in the "reality" of the game than they do in the reality of their own life. When one makes more of an emotional or intellectual investment in things that do not really exist than in things that do, one enters - or exists in - a hyperreality. -Anonymous

Video games are NOT an example of hyperreality. This is because they do not seek to enhance and confuse reality. Compare with pornography (Baudrillard's favorite example)... pornography is better than sex, it is kinkier than sex, more erotic than sex... all of which are paradoxes because pornography is not sex. - Abscissa 16:32, 25 February 2006 (UTC)

So video games are an entity now 'seeking' something, as well as las vegas etc... from the above post it seems a performative contradiction to state that. Games do not have any intentions in and of themselves, and that we are antropormorphising them as such will be an example of how they are hyperreal. If not distortions of their actual 'real' selves.

 * How about this : video-games as a medium are not necessarily hyperreal, just like video is not necessarily hyperreal. But a video of pornography is.  So what about a video-game of say... football?  A video-game of football is more fun and footballier than an actual game of football.  Does that make sense? Vechs (talk) 14:26, 1 August 2008 (UTC)

 * Video games = Hyperreality. (1) "Video games cannot be hyperreal, because they are games and every player knows that (or thinks that they know that)." No, in this respect, video games are the same as pornography and Disneyland and Las Vegas. In all these cases, the participant (thinks that) they can distinguish reality from fiction. Afaik the pornography watcher doesn't consciously claim that pornography watching is (and is more than) sex itself. Gamblers know (or think they know) that the casinos of Las Vegas are intentional escapism. Nonetheless, Las Vegas casinos succeed at being hyperreal. Just because you know its fake (only a game) doesn't mean you are successfully able to detach from it and contain it. (2) "Video games cannot be hyperreal, because they are less real than real." This is not the litmus test. Again, video games are parallel to pornography, Disneyland, and Las Vegas. Pornography takes place on a 2-dimensional piece of glass. Disneyland has crushed waffle cone stains on asphalt, ticket vendors taking your money, and big iron cranes to hold up flying carpets -- hardly the romantic vision of real fairy castles. Is the video game designed to create a surrogate experience that is more entertaining, attractive, and desirable than reality? Yes. The success of a video game depends upon its ability to entertain more effectively than other forms of escapism. Many of the most successful video games are the ones that are the most engaging and addictive ... indeed, the very video games that successfully enhance, supplant, and/or confuse reality. To measure whether something is more real than real, ask the question: Are the video games immersive enough that they blur, confuse, or distort our perceptions of the rest of reality? Many researchers would say Yes. For example, some players develop distorted expectations about how real life "should be" based on their video game experiences. The bibliography on pages 43-48 of http://www.psychology.iastate.edu/~dgentile/pdfs/Gentile_NIMF_Review%20_2005.pdf reviews some studies in the debate (e.g. does a tense game of Counterstrike induce more aggression afterward than a tense game of Tetris?) I would argue that Grand Theft Auto, Counterstrike, and World of Warcraft are hyperreal, along with the reality TV shows (such as Marry a Millionaire or COPS). Video games like Grand Theft Auto are more hyperreal than Duck Hunt or sports simulations, while video games like Sudoku are not hyperreal. -Brokenfixer (talk) 21:21, 5 April 2009 (UTC)

Whoa
That bold part in the middle is really preachy. It made me immediately think the writer was a wacko. The crazy emphasis didn't help the explanation at all. However, I will leave this revision to someone with at least one clue. Otherwise, thank you! This article was very interesting.

I agree with the above writer - what should be a straightforward definition comes across as a paranoid rant against technology... There are a lot of assumptions and politics couched in this article...  It badly needs a more balanced rewrite IMHO...

I agree totally, to many assumptions not enough hardfacts. Buts thats the problem with most of wikipedia, to many 'enthusiasts', not many impartial academics. RoloTamassey 12:18, 20 September 2006 (UTC)

You guys are missing the point. The point is that soon enough, we'll be IN the video game.

 * What part is being referred to here? -Abscissa 16:35, 25 February 2006 (UTC)

Las Vegas?
Seems to me that there are much better examples of hyperreality than Las Vegas, as set forth in the article. The Gulf War is interesting and very well substantiated by Jean Baudrillard in his book 'The Gulf War Did Not Take Place'. Is Las Vegas referred to in the literature base?

--Furste 22:42, 5 December 2005

 * Yeah, he writes about Vegas in America. -Seth Mahoney 22:45, 5 December 2005 (UTC)

 * I'll second that. Las Vegas is an essential example for Baudrillard's postmodern theory. Szpak 07:01, 7 December 2005 (UTC)
 * See the official Las Vegas motto, "What happens in Vegas, stays in Vegas." Kevin143 08:50, 25 April 2006 (UTC)

 * Definately -- Las Vegas and Disneyworld are two places Baudrillard loves to pick on. Think about it... can you get more simulated than either of those places? -Abscissa 16:37, 25 February 2006 (UTC)

 * Dubai..? --Exformation.info 23:28, 26 March 2006 (UTC)

 * Dubai isn't really "designed to be fake" the way Las Vegas is. I disagree that it is an illustrative example, but we sorted this out before and I agreed to leave it. - Abscissa 04:52, 21 May 2006 (UTC)

Discussion of Examples
"entertainment news programming and supermarket tabloids" -- I don't think this belongs as an example. But then I thought it over, and didn't delete it because I thought it did fit after all... but I still don't think it is an illustrative example. - Abscissa 16:38, 25 February 2006 (UTC)

 * It almost seems like, especially supermarket tabloids, are designed to be fake in a way that fits, but not taken for real, which doesn't fit... -Smahoney 04:59, 21 May 2006 (UTC)

I think the implication of hyperreal is much more serious and far less literal than "a sports drink for a flavor that does not exist." The concept of hyperreality brings into question all systems of order we have, of identity, sex, gender, race, class, nationality, etc. So a brief read through of the examples, like pretty gardens, sugary drinks, plastic christmas trees, is not helpful to anyone who actually wants to understand what hyperreal means. The examples section should be turned into links to essays or excerpts from essays by published academics in the field (I'm only familiar with Baudrillard but I'm also not well read).
 * True. Someone who reads this article will think "I am into hyperreality when I am in a casino, in Disneyland, etc.". The article should make the reader realize that his whole life is based on hyperreality, no matter what he does, what he thinks, who he is, etc. — Preceding unsigned comment added by 94.247.40.146 (talk) 13:43, 2 June 2012 (UTC)

 * I think the sports drink should be further explained. Like the whole "Ice" and "Rain" flavors of Gatorade. The drinks don't really taste like ice or rain, but the ice and rain represent something hyperreal. (Clopnaz 17:56, 10 July 2007 (UTC))

 * That wiseGEEK article with the thing about soap operas shouldn't be cited. I'm no psychologist, but there has to be some quantitative study of the effects of melodramatic influence on, for instance, personality disorders, that would lend comparatively more authority to this article.

Pornography
I removed "pornography" from examples of hyperreality. Though I certainly understand what the author was thinking, not everything considered "pornographic" by everyone's standards is necessarily "hyperreal." Without delving into the differing definitions of pornography, there's a specific example I can think of which illustrates my argument. Let's say that someone makes an amateur video of him or herself having intercourse, and let's postulate that this person decides to sell said video for whatever reason. Since it's a depiction of a sex act and it's being distributed, this video would be considered pornographic by most definitions. Nothing about this particular example, however, is inherently hyperreal. This might be an odd example, but I think it serves to illustrate that "pornography" is too vague and subjective a concept to consider implicitly hyperreal.

In addition, it seems to me that there is a clear distinction between something which is simply meant to arouse, and the hideously garish mainstream pornography which you'll find in your local "adult" video store. A lot of pornography is indeed designed and marketed to be "better" and more erotic than sex; this brand of pornography--the stuff with the bowling-ball sized implants and big budgets--is very clearly hyperreal because it's an artificial over-sexualization of sex. However, I don't see how watching a depiction of intercourse for the purpose of stimulating sexual arousal is inherently more hyperreal than watching someone get kicked in the groin to stimulate laughter, or than going to the orchestra or a concert to stimulate euphoria. I've always read Baudrillard as referring to the garish, hyper-sexualized variety of pornography, and not representations of sex acts in and of themselves, as being hyperreal. This would disqualify "pornography" as a blanket term from being included under examples of hyperreality. But perhaps I'm totally wrong.

 * I have re-inserted the example of pornography. THIS IS BAUDRILLARD'S EXAMPLE. It is also **THE BEST** example of hyperreality. I appriciate your argument but it doesn't really relate to what Baudrillard has to say. - Abscissa 04:48, 21 May 2006 (UTC)

 * Comment - the nature of pornography is to simulate sex. More specifically -- the act of watching pornography. This does not necessarily include masturbation, but unless you have a specific fetish that relates to the viewing of pornography, you are engaging in hyperreality. - Abscissa 04:48, 21 May 2006 (UTC)

 * The fact that anyone could take pornography to be a real dipiction of sexuality at all lends more creedence to the concept of hyperreality... --DanielCD 18:25, 4 September 2007 (UTC)

 * I rephrased the example to reflect film in general. I also gave direct credit to Baudrillard for the pornography example. 69.140.33.146 (talk) 19:10, 10 December 2007 (UTC)

 * The pornography example is much more relevant than film in general. It makes the point a lot better. People don't enter film in general the way they do with pornography. --DanielCD (talk) 20:43, 10 December 2007 (UTC)

 * Again, I don't see why this is being changed to "film". Film may be an example of this, but it is in no way as good an example as pornography. People don't engage film the way they do pornography, and trading the examples makes the article more confusing. Pornography is perhaps a perfect example of hyperreality. If it's taken out here, it needs to be reemphasized somewhere else. Therefore I see no reason to change it to "film" in general. It's not *just* Baudrillard's example either; it is the best example. Perhaps some expansion or rewording might make a stronger article, but the pornography shouldn't be de-emphasized. --DanielCD (talk) 16:34, 11 December 2007 (UTC)

 * That it is "perfect" or "the best example" is your opinion. The pornography example is compelling due to social norms and attitudes more than relevance, in my opinion.  The level of hyperreality in a medium really depends on how it is approached by the creator and the observer, meaning the experiance could very widely from one individual to another, one map to another.  Moreover, watching pornography isn't as universal as watching plain old movies, something to which everybody can relate.  As this is an introductory example, I think the article should use something that applies as widely as possible to maintain neutrality, even at thee expense of depth.  I don't have time to hunt down sources or cite Baudrillard to reemphasized the pornography example latter in the article, though, so I'll leave this for now.  I do, however, want to strengthen examples of social actions and combat.  Any comments on that?  69.140.33.146 (talk) 20:52, 11 December 2007 (UTC)

 * In reading Baudrillard's own definition of hyperreality: "the simulation of something which never really existed," I do not understand how this argument can continue. I understand Baudrillard did in fact make a statement about pornography, yet the example of pornography undercuts his own argument. Saying that in general pornography (without masturbation as the article is currently geared towards)is hyperreal is the same as saying watching pro football at home is hyperreal. Just because the representation surpasses your personal experiences does not mean it surpasses all experiences. After all, the people being filmed are having sex.  In the course of reading this article I am reminded of René Magritte's famous painting, "Ceci n'est pas une pipe" (This is not a pipe.) All media is a representation, simply viewing pornography is no different from viewing other media. The only real discussion left pertains to metaphysical beliefs surrounding truth and reality (simply what exactly are fiction and nonfiction, and how do they relate to the concept of hyperreality.) And that discussion is stick and gross, and I do not want to participate in another metaphysical discussion.  —Preceding unsigned comment added by 75.72.169.6 (talk) 19:03, 9 February 2008 (UTC)

You wrote : "In reading Baudrillard's own definition of hyperreality: "the simulation of something which never really existed,"" : do you have a source for this quote?

Explain Hyperreality
Maybe I'm just stupid, but I was totally incapable of figuring out what "hyperreality" is from a reading of this article. I don't the the article does a good job of serving as an encyclopedia entry; it opens by claiming that hyperreality doesn't exist, calls it a "symptom of culture" and then goes on to give metaphors relating to hyperreality and (probably debateable) examples of hyperreality without ever making a serious attempt to actually give a definition of hyperreality. The article comes across as self-serving and self-indulgent, like the article on U.G. Krishnamurti that opens with the claim that he isn't a philosopher, teacher, guru, author, etcetera. Someone needs to actually make this into an entry that explains what hyperreality is.--Halloween jack 05:44, 3 May 2006 (UTC)

 * A definition is there, though its not, granted entirely clear. From the intro:
 * Most aspects of hyperreality can be thought of as "reality by proxy." Baudrillard in particular suggests that the world we live in has been replaced by a copy world, where we seek simulated stimuli and nothing more.
 * -Smahoney 05:57, 3 May 2006 (UTC)

 * Perhaps I will try to write a more clear introduction -- though Baudrillard's writing is intentionally "roundabout" (don't have a better word at 12:50 AM) in this way. He is probably the clearest of all the postmodernists, and that's not saying much. - Abscissa 04:51, 21 May 2006 (UTC)

Not clear that Baudrillard was really "influenced" by McLuhan. My inclination is to disagree--but if true, then a reference and a footnote would seem appropriate.

122.203.83.2 (talk) 04:41, 26 March 2009 (UTC)

Mexican Election
The Mexican Election is not an appropriate example because it not only is a specific event, but it is not represnted by a signifier that confuses reality (McDonalds = M arches, Pornography = TV, Las Vegas = Decor, etc.). While I happen to agree that the election (and elections in general) are "fake" in the sense that they are driven by spectacle and meaning, it is best not to make this article more confusing and it doesn't really belong here. People unfermilliar with the topic have enough time understanding it as it is. - Abscissa 19:12, 7 July 2006 (UTC)
 * I have to (belatedly) concur. —  SMcCandlish  [talk] [cont] ‹(-¿-)› 14:41, 13 January 2009 (UTC)

Video Games
Video Games have previously been suggested as an example but, frankly (once again), they do not belong. I am not fermilliar with any of Baudrillard's work talking about video games. Also, the video game user is interacting (at a sub-basic level) with real-reality -- since he does know that he is interacting with it (and by choice).

However, I do agree that research in this area is out of date because the current video games are extraordinaraily realistic, i.e. they involve combat operations, going in and resucing soldiers, other sorts of nonsense. I would be interested to hear from anyone who has up-to-date information from someone in this field. - Abscissa 09:03, 9 September 2006 (UTC)

"Video games are NOT an example of hyperreality. This is because they do not seek to enhance and confuse reality."

Well I think you are wrong. Here let me quote a recent event which the reality/fantasy of the simulation of videogames has splilled into the real world because the user is totally immeresed in the stimuli. This is from netscape and the recent Montreal shootings.

"He said he liked to play "Super Columbine Massacre," an Internet-based computer game that simulates the April 20, 1999, shootings at the Colorado high school when Klebold and Harris killed 13 people and then themselves.

Gill complained that a video shooting game, "Postal 2," was too childish. He wanted one that allowed him to kill more and go "beserk."

"I want them to make a game so realistic, that it looks and feels like it's actually happening," he wrote in his blog."

Look at the last line, it been like this for many yaers. 'Pong' et el, are abstractions of reality that try to simulate the mechanics of one might do for real. The description of t.v. and film can be applied to videogames or the definition needs changing. End users "Engage in Fantasy worlds' al la the Matrix. Regardless of the way 'interactivity' is implemented, which is a bit of red herring, simply because people are only following the structure of games, (not creating thier own), which in turn borrow heavily from the film world or 'reality'. Also of note is that the original 'Columbine Shootings were allegedly influenced by the videogame Doom, which of course is a fantasy FPS game and lets the user be in the 'eyes' of the character which is what films are so successful at. Which is a paradox and post modern conundrum of immense proportions, is it not? RoloTamassey 07:57, 15 September 2006 (UTC)

 * I would like to suggest to you that is one example of a particular individual with a psychological problem rather than an example of a cultural phenomena. In general, "hyperreality" is like a fine wine and should only be brought out for those cases -- i.e., the Iraq war on TV -- where the general public has no idea what is really going on... instead they are excited for the bombs, the tanks, etc. which are thousands of miles away. I would say that 99.99% of the public understands what happens when they play a video game, and the video game is meant to hypnotise them for a bit and perhaps escape from reality but it does not substitute for reality. - Abscissa 12:15, 19 September 2006 (UTC)

Video games are a cultural phenomenom. They exceed films and music for revenue and the influence videogames have on other media is quite prevalant. Critical analysis of this phenomena is threadbear and your assumption that the influence is not widespread is inaccurate. Also, I could assume that 99.9% of people know whats going on when they watch a film or go to 'Las Vegas'. That is not the point wether someone knows or is unaware of what they are doing. It is about what artifacts contemporary culture produces that mould our environment. Baudrilliards notion of hyppereality is a theory on contemporary culture of the time and some foresight into where it will go. It's not a philosophy, it just incorpates exisentialism because of the notion that world centres around oneself. I.e. a certain amount of self dillusion is needed to believe the illusion. RoloTamassey 12:14, 20 September 2006 (UTC)

 * First, there is absolutely no way, none, zero, none at all -- nil -- that video game revenue exceeds that of the movies. But that is not relevant. I also was not aware that I spoke to the relevance of the "infuence" of video games, since that would be irrelevant also. You claim that "It is about what artifacts contemporary culture produces that mould our environment" is worth addressing, especially since that definition is highly specific and easily refutiable. I would propose to you that hyperreality is instead about how reality is confused by contemporary culture. Watching the Gulf war on TV (Baudrillard's most famous example) does not produce "artifacts", the entire idea behind it is that it confuses an entire nation of people about what a war is, what is actually happening, what is going on, etc. Video games do not have this effect, at least not permanantly for most people. And when people do choose to play video games, they realise that they are engaging in a fantasy world. - Abscissa 17:09, 21 September 2006 (UTC)

 * But another frequently cited example is Las Vegas. I think that most people playing roulette at Caesar's Palace are aware that they are not in ancient Rome. — Gwalla | Talk 19:32, 1 August 2008 (UTC)

 * Just as in any other medium, it depends on what we are analyzing (particular type of Video Games), no? Take Assassin's Creed 2 for example. While it may be obvious that the gamer knows he's playing in a fantasy world, where people plug into a system and explore past lives, jumping and falling from incredible high heights, the user might think that he really is exploring accurate replicas of the historical Venice, Firenze or whatever. That, imho, could qualify as hyper-reality. — Preceding unsigned comment added by Mrandre2u (talk • contribs) 12:48, 16 December 2010 (UTC)
 * I think Abscissa's rebuttle, 18 years old now, is quite good.
 * It's obviously contentious whether video games constitute hyperreality, and it is essential to consider the immersive nature of modern games and their impact on players' perceptions of reality - especially VR and AR games/experiences (these things are being blended, the gamification of everyday life through technology) today.
 * Baudrillard's hyperreality involves the merging of reality and simulation, where representations become more real than reality itself. Modern video games, with their detailed graphics and interactive environments, can create hyperreal experiences by immersing players in convincing simulations.
 * This temporary suspension of disbelief, where players feel they are exploring real historical settings or participating in realistic scenarios, aligns with Baudrillard's concept. Therefore, video games should be considered as a form of hyperreality, contributing to the broader cultural phenomenon alongside films, TV, and other media.
 * The Gulf War example you cite is more analogous now, in the time of Baudrillard, the television sets that were in front of the American people as the Gulf War took place were somewhat static, even if their representations were shifting. The programming was set by networks like CNN, ABC, the BBC, and CBS. Today, those screens have migrated into our pockets; a unique, distilled, algorithmically-selected, hyperreality.
 * The construction of hyperreality by videogames is an academic research topic in itself, so it's hard to say without developing a philosophy of virtual worlds. Luckily, the philosopher David Chalmers has a section in his article on Technology and virtual reality which suggests that "he does not consider virtual reality to be an illusion, but rather a "genuine reality" in its own right. "
 * Obviously a comprehensive philosophy isn't there yet... Hokusaii (talk) 12:30, 5 July 2024 (UTC)

McDonald's
[T]he McDonald's "M" arches create a world with the promise of endless amounts of identical food, when in "reality" the "M" represents nothing, and the food produced is neither identical nor infinite. Am I missing something here? How do you get a "promise of endless amounts of identical food" from a pair of giant yellow arches? Strad 19:04, 17 December 2006 (UTC)

 * Why do you think McDonald's is successful? If I go to Toronto, or Vancouver, or San Diego, or New York, I *know* I can get a Big Mac whenever I see the yellow arches. And I know my Big Macs will always be there. Why do you think they call it "McDonald's" everywhere with the exact same identical "M"? They could open tens of thousands of different menus, with local food, local tastes which change according to the seasons, etc. -- they would never be as successful. - Abscissa 22:58, 22 December 2006 (UTC)

 * Got it, thanks. I was trying to find symbolism in the arch itself, not the fact that it appears everywhere. Strad 03:20, 23 December 2006 (UTC)

 * It is the point when I see the "M" not for what it is, (a big yellow M) but for these things, I engage in the world of the hyperreal. - Abscissa 04:26, 23 December 2006 (UTC)

 * And lest anyone suggest, "but it is the same everywhere", I can assure you that it is not. I'm quite well traveled and can personally attest to vast differences in beef quality, as well as the overall "McDonald's experience".  McD in New Mexico is characterized by green chile being almost a de rigeur condiment. Meanwhile in Dublin, Ireland the concoction of a typical burger is almost sickeningly sweet to American palates due to the lack of any vinegar in the local variant of ketchup/catsup (pick your spelling; in the ROI and I seem to recall the UK as well, it is tomato paste, salt and sugar with no acidic quality at all).  And so on.  I've never had a consistent McD burger (or fries - different story) outside of about a 1000-mile radius. As Pulp Fiction lampooned, even the product names vary, for the same item, in these global fastfood chains.  And in recent years, the very nature of the products has been shifting more and more, on a regional basis.  McD is becoming hyper-hyper-real, not unlike the concept of "Disney".  It is no longer even the expectation of a consistent menu and product, but the expectation of a consistent level of (sheep-like, but efficient) treatment, of (disposable but recognizable) presentation and packaging and of (immediately urge-satisfying, but ultimately unhealthy and non-nutritious) alleged quality. —  SMcCandlish  [talk] [cont]  ‹(-¿-)› 14:33, 13 January 2009 (UTC)

 * You're not alone. When reading this article, I thought the McD's example came out of nowhere almost as an attack on the brand.  I think the example here can be generalized to any fast food restaurant and perhaps any proprietary eponym where the brand evolves to somehow represent more than the underlying product.  Don't get me wrong, I'm not a McD's apologist, I'm just calling this one as I see it -- a generalization that unfairly calls out a specific example. Does Wikipedia have a term for that?  Jomofo7 (talk) 07:12, 29 August 2012 (UTC)

Map Example
I don't understand what "a map so detailed that it covers the very things it was designed to represent" means. Specifically, I can't figure out the sense in which the word "covers" is being used. Iridius 10:44, 15 January 2007 (UTC)

 * In this quote, the word "covers" is being used in a literal sense. The idea is that the map is a perfect representation of the real land.  It is detailed and accurate down to details of size and space.  As you can imagine, a map like this would actually cover the land itself.  You can read more about this in  Jorge Luis Borges' On Exactitude in Science.--Audreyhorne 18:39, 13 February 2007 (UTC)

Criticism
It's all perspectival isn't it? It would be no less valid for a person whose consciousness has developed in a time when the phenomena in question are common to view the world which these authors view as 'normal' as hyporeality, i.e. if you will, 'devoid of the intensity and generality of the sign common the modern epoch'. This I think shows the worthlessness of much/most of this philosophy (postmodernism) and it's parochiality. As a constrast I am working on a short essay based on highlighting of Husserl Paris Lectures which is relevant to the underlying topic but addresses it in a manner worthy of the Western tradition and therefore as relevant now as it was in 1929.Lycurgus 09:47, 15 May 2007 (UTC)
 * Not to be harsh, but Wikipedia isn't interested in your upcoming work unless and until it becomes notable in philosophical circles as a valid challenge or adjunct to the subject of this article. Our articles are not concerned with whether you think the subject in question is "worthless".  If you can cite notable, independent, reliable sources that have already established a counter-position to the concepts of hyperreality discussed in this well-sourced article, then you may have a point to make here. Wikipedia is not here for advancing your novel viewpoints nor for promoting your views. —  SMcCandlish  [talk] [cont]  ‹(-¿-)› 14:19, 13 January 2009 (UTC)

Let's fix this sentence
I have a serious issue with this sentence (aside from the lack of source citations):

"Baudrillard's idea of hyperreality was heavily influenced by phenomenology, semiotics, and Marshall McLuhan."

This is just dreadfully out-of-synch. Phenomenology is a philosophical paradigm. Semiotics is a philosophical paradigm. Marshall McLuhan was a writer and (sometime) philosopher. This sentence reads something like "The most important experiences in my life were: learning to read, going through puberty, and George Lucas." Lucas is not an experience, and McLuhan is not a philosophy. —  SMcCandlish  [talk] [cont] ‹(-¿-)› 14:08, 13 January 2009 (UTC)

 * It should perhaps be something more like "the philosophies of Marshall McLuhan", though I think that's implicit in the sentence as it stands. I think whoever replaced "Marshall McLuhan" with "Dean Gaffney" probably isn't helping, so I undid their edit. —Preceding unsigned comment added by 217.155.159.166 (talk) 16:57, 8 May 2009 (UTC)

Criticism
I think that the article should at least mention that the idea of hyperreality is not necessarily a new phenomenon. The definition of hyperreality suggests that it would apply to any environment, as one must always interpret the actions and words of those around them in order to determine what reality is, which very well may be fantasy.

For reference, I'll cite Manuel Castells, who according to wikipedia (citations available though) is the 5th most cited social scientist between 2000-2006, and is the most cited communications scholar. In "The Network Society" (2000:403) he says"[R]eality, as experienced, has always been virtual because it is always perceived through symbols that frame practice with some meaning that escapes their strict definition. Thus there is no seperation between reality and symbolic representation."

I understand that it was defined by Baudrillard and applied most specifically to modern media and technology, but I've found that most definitions provided by the 'famous theorists' listed on the page are consistent with that presented by Castells. I've seen both Castells and George Landow criticize the theory as 'fashionable,' something that has gained a large amount of unmerited focus and applied only as a 'new' concept, a recent development of society, when it has in fact always existed. Perhaps these perspectives should be considered in the article? OpEd (talk) 11:35, 25 April 2009 (UTC)

Stevling (talk) 17:16, 23 June 2020 (UTC)What effect would this have on ethics/society?

Significance
The part about casinos switches from 'one' to 'you' and then starts sounding pretty informal. I was just going to switch all the 'you's to 'one's but I don't think that would fix it. I think it makes a good point, though, so I don't want to delete it altogether. What to do? GIBBOUS3 :D (talk) 16:29, 11 June 2009 (UTC)

Influence on Popular Culture
Could it be possible to list some of the art and writing influenced by the concept of the hyperreal? Personally I would like to see Philip K. Dick mentioned on this page, since he explored the deep end of the hyperreal in the sixties and seventies. (Squareape (talk) 09:59, 23 September 2009 (UTC))

Example of Hyperreality
Could a grouping of synthetic flavours under a single banner, for instance 'Oranges', be seen as hyperreality? Here various flavours are sold as 'Orange', but are not the natural 'Orange' flavour. This group of synthetic chemicals then constitutes a 'fake' reality, that has replaced the natural flavour.

If so, could this be incorporated in the examples list?

(Squareape (talk) 10:23, 23 September 2009 (UTC))

Baudrillard's quote is missing a correct source
”The simulation of something which never really existed.” This quote is attributed to French philosopher Jean Baudrillard's. However, it DOES NOT appears neither in the book Simulacra and Simulation nor in the article "The Precession of Simulacra". If source cannot be found, this quote should be removed. —Preceding unsigned comment added by Parneix (talk • contribs) 17:54, 8 March 2010 (UTC)

The quotation is from Baudrillard's book "Simulacra and Simulation", p.46 of the University of Michigan edition. — Preceding unsigned comment added by 80.60.71.116 (talk) 22:04, 25 June 2011 (UTC)

Some general issues
"Baudrillard borrows, from Jorge Luis Borges (who already borrowed from Lewis Carroll), the example of a society whose cartographers create a map so detailed that it covers the very things it was designed to represent." - Isn't the example here actually a reference to Alfred Korzybski's map-territory relation? Perhaps add a citation to where it is mentioned he borrows from Borges (Simulacra and Simulation “On Exactitude in Science”[ii]), to avoid confusion.

"Baudrillard's idea of hyperreality was heavily influenced by phenomenology, semiotics, and Marshall McLuhan." This sentence sounds odd with Marshall McLuhan tacked onto the end. If mentioning McLuhan, perhaps others such as; Hölderlin, Artaud, Barthes, Bataille, Benjamin, Borges, Brecht, Calvino,Canetti, Heidegger, Heisenberg, Jarry, Lichtenberg, Marx, Nietzsche, Orwell and Sartre ought to be mentioned.For reference - perhaps this: http://www.nobleworld.biz/images/Coulter.pdf

"Hyperreality tricks consciousness into detaching from any real emotional engagement." Such a significant statement requires a citation, I think.

"(although Baudrillard himself may balk at the use of this word)" Seems a little subjective.

No citations for any of the definitions?

Only one quotation in the quotations section?

In the 'see also' section, the 'allegory of the cave' is mentioned. Baudrillard specifically states that the allegory of the cave is no longer applicable in "The Perfect Crime".

The external link: "Why Las Vegas is "Hyperreal"" no longer leads to the article.

I didn't want to personally change anything, since I'm new here. Just a few ideas. GenericAccountName (talk) 04:53, 5 October 2010 (UTC)

Not enough Sci-Fi/pop writer references
I see that most people talking are wondering how this concept is different from that of midi-chlorians. It would also be nice with a link to "popular literature writer of the age makes a bid for post-modern philosophy with deep question" (such as the hopeless world-covering map example), if there is an -ism that exists for it yet.

I passionate long for the day when the Expert Attention Needed is displayed clearly at the top of each WP page, or in general a categorization of sections as "has not received expert attention", or any popular concept would be somehow substantiated as actual subjects of philosophy (or whatever discipline) from quote machines. Currently it might not be clear to someone going from Descartes' Evil Demon to this that the concept has not (yet, shall we say) been accepted into a discipline.

HenrikErlandsson (talk) 20:56, 8 December 2012 (UTC)

 * Should we make a list? "Welt Am Draht" is an obvious example. Also: "Blade Runner"/"Electric Sheep"/most of Dick's later work; "White Noise"; "Adaptation," or Charlie Kaufman in general; etc ...

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Can someone who has been to Disneyland improve the example please?
Disneyland is the only explained example in the article. But I do not understand why it counts as hyperreality because I have never been to Disneyland. I am familiar with Disney movies but have never been to their land. There should be an objective description of the place before going on to why it is an example of hyperreality.

For example:

" . . . with its settings such as Main Street and full sized houses has been created to look "absolutely realistic", taking visitors' imagination to a "fantastic past".

Please describe Main street and the full-sized houses. I see full-sized houses all the time in the real world so don't understand what is special about them here.

". . .for example, the numerous simulated rides, including the submarine ride and the Mississippi boat tour."

No information is given on these rides. The article says they are "simulated" but surely not all simulated things are hyperreality. — Preceding unsigned comment added by 2001:BB6:315F:3658:9442:73D:4F90:9B8D (talk) 19:28, 21 December 2021 (UTC)

Micah Dunham reference
In the section "Origins and Usage", the third paragraph mentions an "American author Micah Dunham", and the footnote (10) points to an Umberto Eco book which contains no reference to a Micah Dunham. Furthermore if you google anything like "Micah Dunham author", all results are just the same paragraph from this article copied and pasted. Does this author even exist? Can we get a real reference here? 70.54.21.71 (talk) 22:54, 10 May 2024 (UTC)

 * It seems like someone has been making the article hyperreal...
 * I'm using this article very frequently and these little details can completely side-swipe you. Hokusaii (talk) 11:41, 5 July 2024 (UTC)

Origins and Usage
There's a big problem in this section, and it's quite obvious when reading.

There have been many discussions across the years about its preceding sentence, "Baudrillard's idea of hyperreality was heavily influenced by phenomenology, semiotics, and Marshall McLuhan" which is disjointed. However, the following sentence is outright misunderstood:

> Baudrillard and Eco explained that it is "the unlimited existence of "hyperreal" number or "non-standard reals", infinite and infinitesimal, that cluster about assumedly fixed or real numbers and factor through transference differentials."

The footnote points to a book on the hyperreality of Cormac McCarthy by Kenneth Lincoln, and the reference completely misuses the quote, saying: "Baudrillard and Eco explained that it is..." when neither actually wrote explicitly about the hyperreal/nonstandard real numbers, and the section (p.19) explicitly states:

> "Notwithstanding the definitional forays of Marshall McLuhan through Ferdinand Saussure and Guilles Delueze, Baudrillard and Eco through Frederic Jameson and semiotic phenomenology, consider the original scientific definitions of hyperreality:..."

Note the misspelling of Deleuze's name also. I don't think this is a good source at all, the analogies between the definition of hyperreal numbers, and the transcendental nature of hyperreality in contemporary culture is an interesting topic, but not relevant to this section of the Wiki article. Hokusaii (talk) 11:55, 5 July 2024 (UTC)

title: Talk:Hyperreality


text:
Moretonhampstead

Moretonhampstead is a market town, parish and ancient manor in Devon, situated on the north-eastern edge of Dartmoor, within the Dartmoor National Park. The parish now includes the hamlet of Doccombe, and it is surrounded clockwise from the north by the parishes of Drewsteignton, Dunsford, Bridford, Bovey Tracey, Lustleigh, North Bovey and Chagford. At the 2011 census the population of the parish was 1,703, and Moorland electoral ward, in which Moretonhampstead lies, had a population of 2,806. The parish church is dedicated to St. Andrew. Along with a few other places in Devon, it is one of the longest place names in England with 16 letters. Moretonhampstead is twinned with Betton in France.

Toponymy
The Domesday Book of 1086 records the manor as MORTONE. This part of the name derives from the Old English for a town or village in moorland, referring to the town's situation on Dartmoor.

In 1493 the town was recorded as "Morton Hampstead" in the Calendar of Inquisitions Post Mortem, with 'ham' and 'stede' both being Anglo-Saxon words for a home or enclosed area,  but seemingly unnecessary to the historical context of the settlement.

The Oxford Names Companion (1991) speculates that this may be a family name, or a nearby place. However The Cambridge Dictionary of English Place-Names (2004) simply says the reason for the addition is unknown.

The 'Hampstead' part of the name was not always used, with the Recovery Rolls from the Court of Common Pleas in 1692 noting it as "Moreton al. Moreton Hampstead", indicating that both long and short forms may be used. Local noted antiquarian Cecil Torr states that the town continued to be known simply as Moreton to the majority of people prior to the arrival of the railway, which made the station Moretonhampstead in order to distinguish it from other towns called Moreton on the railways network, with 45 other settlements called Moreton or Morton.

History
The central region of Devon was occupied by the Saxons sometime after 710. Over time, it was divided into a number of estates, and one of these divisions included all land within the boundaries of the rivers Teign and Bovey, with Moreton as its major settlement.

The present parish of over 6,000 acres (24 km2) is the remainder of an ancient royal estate. It remained a royal estate immediately after the Norman Conquest of 1066, as is recorded in the Domesday Book of 1086, where it is listed as the 45th of the 72 Devonshire holdings of King William the Conqueror. The manor was held by grand serjeanty from the king by Richard de Burgh, 2nd Earl of Ulster (1259–1326) during the reign of King Edward I (1272–1307), for the annual yielding of one sparrow hawk.

After that time it was the seat of Sir Philip de Courtenay (killed at Stirling 1314), second son of Sir Hugh de Courtenay (died 1292), feudal baron of Okehampton, by his wife Eleanor le Despenser (died 1328), sister of Hugh le Despenser, 1st Earl of Winchester, and younger brother of Hugh de Courtenay, 1st/9th Earl of Devon (1276–1340) of Tiverton Castle. When he died childless Moretonhampstead was inherited by his elder brother the Earl of Devon, who gave Moretonhampstead to his third son Robert de Courtenay, who made it his seat. Robert's grandson William de Courtenay (1377–1388) died childless, and eventually the manor became the property of Sir Philip Courtenay (1340–1406) of Powderham, 5th or 6th son of Hugh Courtenay, 2nd Earl of Devon (1303–1377). Thenceforth it descended with the Powderham estate and, in the time of Pole (died 1635), belonged to Francis Courtenay (1576–1638), de jure 4th Earl of Devon.

Wool and (in later years) the manufacture of woollen cloth formed the basis of the town's economy for over 700 years. The economy was evidently healthy when Moretonhampstead established a water-powered fulling mill before the end of the 13th century.

In 1207 King John granted a weekly market and an annual five-day fair, indicating that Moretonhampstead had developed into an important local community. The town grew steadily through the Middle Ages and remained prosperous until the end of the 17th century, when the wool industry began to decline. The town continued to be a local trading centre and a rest stop for travellers on the difficult routes across Dartmoor and from Exeter and Newton Abbot.

A series of fires in the 20th century destroyed many of Moretonhampstead's ancient buildings, but sufficient still remain to demonstrate the Saxon and medieval heritage, and its later industrial prosperity. Much of the town is a designated conservation area, with many listed buildings being of architectural and historic interest. The whole parish lies within Dartmoor National Park.

The sparrowhawk
When King John granted the town its charter during the 13th century, the rent was set as one sparrowhawk per year. The bird has become something of a symbol for the town and is to be incorporated into works of public art under development by an artist in residence, Roger Dean.

Notable residents
Rev Dr James Fynes (1695 – 1774), a kinsman of the Dukes of Newcastle, served as Rector from 1735 until his death. Previously Vice-President of Magdalen College, Oxford, he married Elizabeth Bertie but they had no children, and his property in Moretonhampstead was inherited by his nephew, also James Fynes (died 1798).

George Parker Bidder (13 June 1806 – 20 September 1878), known as "the calculating boy", a calculating prodigy and engineer: the house where he was born burned down in 1926.

The Cross Tree
The Cross Tree, immortalised by R. D. Blackmore in his 1882 novel Christowell, is now only represented by a cross minus its shaft, which is enclosed near the almshouses. This famous dancing tree, a fine old elm, cut and clipped in the form of a punch bowl (by which name it was also known), has long since disappeared, and in its place a beech tree has been planted. It was around the original tree that the village lads and lasses would dance and it recorded that French officers on parole from Dartmoor Prison at Princetown during the Napoleonic Wars, "did assemble around the Cross Tree with their Band".

Almshouses
Standing behind the Cross Tree are the famous almshouses, built in solid granite. The date of 1637 on the outside is actually the date they were refurbished. Recent research has shown that the main core of these buildings are at least two hundred years older. Early in the 19th century the building was converted from two tenements into four and the facade was damaged. By 1938 they had fallen into disrepair. In 1940 they were purchased for the town and converted back into two tenements. In 1952 they were purchased by the National Trust.

St Andrew's Church
The Grade I listed parish church, dedicated to St. Andrew, is at the eastern end of the town. Its imposing four-stage tower with pentagonal stair-turret was being built by 1418. The entire church is built of granite blocks although the body is roughcast. It has a two-storey porch, battlemented like the tower. Inside, the north and south aisles are separated from the nave by arcades of five bays, constructed of octagonal granite piers. All the windows are of standard Perpendicular design, and according to Pevsner there is "a singular absence of fitments of interest", due to the heavy restorations the church was subjected to in 1856 and in 1904–5. All the ledger stones were removed with the floor flagstones in the first restoration, but above the south door a wall memorial to Rev Francis Whiddon, MA (died 1656) who "was 32 years minister of this parish" survives. There is also a classical monument by Edward Bowring Stephens to a Captain John Newcombe (died 1855), and a tower screen of wood and glass of 1980.

Tourism
Moretonhampstead relies heavily on tourism, and has done so for a long time. Its position makes it a base to explore both Dartmoor and Devon. The central part of the town stands at an altitude of 700 ft but a short stroll within the parish will elevate the walker to beyond 1,100 feet (340 m) and afford views of the surrounding area. Moretonhampstead has four pubs and three cafes. There is a wide selection of hotels, bed and breakfast, self-catering and camping accommodation.

Moretonhampstead has a good range of sporting facilities and the proximity of Dartmoor makes it popular with ramblers and cyclists, in particular for mountain biking.

Events
Moretonhampstead has an annual carnival, held in the fourth week in August which raises funds for local groups and associations. Since 2012 it has also held an annual flag festival: in 2017 it took place in mid-June. Other events include a fireworks night, annual pantomime, food and drink festival and music events spread throughout the year.

Transport
The town lies on the A382 road, connecting it to the trunk A38 and A30 roads.

Moretonhampstead railway station was opened by the Moretonhampstead and South Devon Railway on the south side of the town on 26 June 1866. It closed to passengers on 28 February 1959, although goods trains continued until 6 April 1964. After this the goods shed and engine shed continued to be used for many years by a commercial road haulage business.

Bus services are from the car park just west of the town centre and include services to Exeter (359/173) and Okehampton/Newton Abbot (178).

Sport and recreation
Moretonhampstead has King George's Field, a memorial to King George V. This facility includes indoor courts for basketball etc., a gym and also conference rooms to rent. It has cricket fields a camping site, football facilities and a skate park.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Moretonhampstead


text:
Grace Lumpkin

Grace Lumpkin (March 3, 1891 – March 23, 1980) was an American writer of proletarian literature who focused most of her works on the Depression era and the rise and fall of communism in the United States. The most important of four books was her first, To Make My Bread (1932), which won the Gorky Prize in 1933.

Early life
Grace Lumpkin was born on March 3, 1891, in Milledgeville, Georgia, the ninth of eleven children born to Annette Caroline Morris and William Wallace Lumpkin. In 1898 she moved with her family to South Carolina. She grew up in a very religious, prominent but economically-unstable aristocratic Georgian family. There were seven siblings, who by birth order were Elizabeth (teacher), Hope (clergyman), Alva (politician), Morris (lawyer), Grace (writer), and Katharine (academic).

In around 1910, William moved his family one final time, to a farm in Richland County. While in South Carolina, Grace witnessed firsthand the suffering of black and white sharecroppers and laborers. Black laborers performed fieldwork on the Lumpkin family farm, and the Lumpkin children attended school with white children from the "poorest classes". Just three months after the family began to farm, her father died and the family's financial health suffered.

Lumpkin worked at a variety of jobs before graduating from Brenau College in Gainesville, Georgia in 1911. At Brenau, she was a member of Phi Mu and she wrote the author of the Phi Mu Creed. She volunteered in France for a year, and then returned to Georgia. In Georgia she worked for the YMCA, eventually organized an adult night school for farmers and their wives, and worked at home as a demonstration agent. During most of the summers she lived in the mountains of North Carolina, staying with mill workers, sharecroppers, and other laborers, which convinced her that these workers could better their lives only by means of trade unions. Her stay in the mountains introduced her to the families about which she wrote in her first novel.

Communist years
Lumpkin had been publishing stories in college and other school magazines since 1908, but it was not until her mother's death, in 1925, that she decided to take seriously her career as a writer. Lumpkin moved to New York City when she was twenty-five and began to write short stories, becoming involved in liberal and radical politics. In the fall of 1925 she was hired as a member of the office staff at The World Tomorrow, one of the best selling magazines in New York. There she met Esther Shemitz, with whom she became lifelong friends. (Shemitz married Whittaker Chambers.) In 1926 she walked the picket lines with Passaic textile strikers and wrote about it for New Masses.

In 1927 Lumpkin was arrested at a picket sponsored by the Sacco and Vanzetti Defense Committee. She joined the staff of the New Masses in 1929, where she worked for "about a year and a half." In 1929 she was sent to the south by the Communist Party to organize among black sharecroppers and to observe and participate in the Communist-led Gastonia textile strikes.

Lumpkin first met Michael Intrator, a close friend of Chambers, who was very involved in the Communist movement, in the late 1920s. She and Intrator eventually became lovers. His expulsion from the Communist Party in 1929 brought a strain to their relationship as Grace remained part of the Communist milieu until the late 1930s. Lumpkin and Intrator married in 1931. The toughest crisis Lumpkin experienced (mid- to late-1930s) was her pregnancy with Intrator's child and decision to have an abortion, which she regretted, followed soon afterwards by divorce.

In the 1930s, Lumpkin's literary agent was Maxim Lieber, whom Chambers later named as part of his spy ring during that same period. Close to the time of Chambers' defection from the Soviet underground (April 1938), Lumpkin began rejecting Communist Party functions; soon she became actively anti-Communist.

Later years
Lumpkin became concerned with righting what she saw as her earlier political wrong and returned to the teachings of the Bible. She became a frequent speaker in churches and joined the anti-Communist Christians.

On April 2, 1953, Lumpkin testified before the Permanent Subcommittee of Investigations of the Senate Committee on Government Operations. She was then living on Gramercy Park in New York City and working as a proofreader for a printing firm called the Golden Eagle Press. Asked about her affiliations in the 1930s, she replied, "I was under the influence and the discipline of the Communist movement, although I was not a member" and that she had taken part in "faction meetings and cell meetings."

Asked about why she broke away from the party's influence, she described the following incident.

"Once I was down with a Communist organizer in Alabama. I was staying with sharecroppers down there. We were organizing the Negro sharecroppers. For some reason, there had been some trouble, and a deputy sheriff was patrolling the road outside of the home of these Negroes. I believed in helping the Negro race. I believe in helping them to help themselves, because they are God's children, as important as I am. That is what I believe now.

But the Communist organizer ordered me to go out and slap the deputy sheriff in the face. He said as a result of that I would be arrested, and as a way of trying to get me to do that, he said, "Now, your picture will appear in all the newspapers all over the country, and you will sell a lot more of your books." That was an added inducement.

I felt that the situation was tense enough without doing something to bring a worse situation about, and I refused to do it. I mean, there are certain things like that, that I would not submit to Communist discipline about. And so, when this book came along, they had known such things about me, so that I was called to the New Masses office...

Joshua Kunitz was the head editor. He had me in the office, and they said, "You are writing a new novel, and we want to tell you that if this novel has anything against the party line in it... We will break you as a writer. We have people in strategic positions on magazines, on papers, who will write reviews of your books...""

Lumpkin devoted all later writings to criticism of Communism. She continued writing and lecturing and kept her strong tie to the church until death. She died in 1980 in Columbia, South Carolina.

In 2012, Lumpkin is a character in Walt Larimore's novels Hazel Creek and Sugar Fork.

Works
Books:
 * To Make My Bread (1932). Tells the story of a family of Appalachian mountaineers who find themselves drawn to a mill town near their family plot after suffering great economic adversity. Soon, all the characters become involved in the politics surrounding the exploitation of labor workers. Lumpkin based her work on the Gastonia textile strike of 1929 at Loray Mill, one of the most important labor strikes in United States history. Also considered an examination of cultural and feminist history during the Depression, Lumpkin's novel addresses many of the stratifications between class and race. The novel won the Gorky Prize in 1933.
 * A Sign for Cain (1935). The novel follows an African-American protagonist, Dennis, who dreams of organizing workers of all skin colors in order to stand together against business owners and others who wish to control them, regardless of race. A Sign for Cain focuses on the struggle between newly freed blacks and their old owners. Issues with sharecropping and land ownership impact both races represented and talk of a social uprising has tones of communist revolution, a theme then emerging more prevalently in Lumpkin's own life. Lumpkin realized the influence the Communist Party had over her writing, and even claimed that the strong implications evident in her text were driven by her mentors in the party. Maxim Lieber served as her literary agent in 1935.
 * The Wedding (1939). The storyline follows the marriage ceremony of Jennie Middleton, the daughter of an aristocratic family that has ended up in ruin. The novel is set in 1909 and the families involved live strictly by the code of the Confederacy. Jennie's groom is Dr. Gregg, a new member of the community, having moved to town due to its rising industrialization. The wedding is almost put on hold after a heated argument and it is only after her mother, father, and Gregg's friend act as peacemakers that it continues. Jennie conforms to society's demands, having stood her ground for the last time against a marriage in which she has little emotional relation with the doctor.
 * Full Circle (1962). Lumpkin's final novel explores her changing ideas regarding communism. She uses the case of the Scottsboro Boys, and the characters involved, as an exposé of the "evils of Communism". The main character, Arnie Braxton, and her mother are slowly tempted into the world of Communist Party politics. Soon the two women find themselves rejecting bourgeois illusions, allowing the sacrilege of a Christ figurine and deserting the rest of their family. Eventually, Arnie is ejected from the Communist Party for racial prejudice. Throughout the text, Lumpkin describes the Communist Party in stark terms and addresses her novel towards Southern issues.

Articles:
 * "White Man, A Story" New Masses (September 1927)
 * "'Flaming Milka's' Story," New Masses (February 1928)
 * "The Law and the Spirit," National Review (May 25, 1957)

Legacy
In 1935, Albert Bein adapted To Make My Bread into the play Let Freedom Ring.

Lumpkin provides modern readers with a window into the past of the building of the southern working class and the changes to its patriarchal values and women's roles. Lumpkin's writings give cultural historians and scholars an important body to consider when considering this period and the movements to which she contributed.

Beginning in the 1950s, scholars regained interest in radical "lost novels" of the 1930s. They have pointed to Lumpkin as one of the period's most influential authors. They have noted both her historical and literary accomplishments, particularly prominent as a figure in the early feminist movement and for promoting worker's rights. She has received praise for her ability to portray the process in which "external forces shape a literary work". she was only 22 when she made her first novel. Recent literary scholarship has noted Lumpkin's ideals of progressive representations of race relations and how she incorporated these into her writings. For example, the characters in To Make My Bread illustrate the importance of alliances between white and black women workers, and how these can be based on mutual understanding and need. Lumpkin shows readers that solidarity across racial and economic lines is essential for members of all groups.

Historians during the 1960s and 1970s found particular interest in whether the United States run according to competitive individualism or by cooperation and mutuality. They looked to Lumpkin's literature to study this argument.

Further resources

 * New Georgia Encyclopedia
 * TIME Magazine Review of Story of the Wedding (February 27, 1939)
 * Root Cellar Lumpkin Family History
 * Jacquelyn Dowd Hall, "Women Writers, the 'Southern Front,' and the Dialectical Imagination", Journal of Southern History 69 (February 2003):3-38
 * Sowinska, Suzanne. "Introduction." To Make My Bread. Alan Wald. Chicago: 2. University of Illinois Press,1995.
 * Sowinska, Suzanne. "Grace Lumpkin (1891–1980)." The New Georgia Encyclopedia. Georgia Humanities Council and the University of Georgia Press. 15 October 2009. http://www.georgiaencyclopedia.org/nge/Article.jsp?path=/Literature/Fiction/Authors&id=h-2473
 * "To Make My Bread." University of Illinois Press. The Board of Trustees of the University of Illinois. 15 October 2009. http://www.press.uillinois.edu/books/catalog/44dyt2qp9780252065019.html
 * Miller, James A. Remembering Scottsboro: The Legacy of an Infamous Trial. Princeton University Press, 2009. https://books.google.com/books?id=qUjVbbwpNIwC&dq=Full+Circle+-+Grace+Lumpkin&pg=PA213
 * "June 1929 – Strike at Loray Mill." UNC University Libraries. 19 October 2009. http://www.lib.unc.edu/ncc/ref/nchistory/jun2004/
 * "Grace Lumpkin." Center for Working-Class Studies. Youngstown State University, Ohio. 14 October 2009.
 * "The Wedding (Lost American Fiction)." Paper Back Swap. http://www.paperbackswap.com/book/details/9780809307678-The+Wedding+Lost+American+Fiction
 * "Books: Bride's Strike." Time Magazine. 15 October 2009.
 * "Books: Bride's Strike." Time Magazine. 15 October 2009.

title: Grace Lumpkin


text:
Slipper

Slippers are a type of shoes falling under the broader category of light footwear, that are easy to put on and off and are intended to be worn indoors, particularly at home. They provide comfort and protection for the feet when walking indoors.

History
The recorded history of slippers can be traced back to the 12th century. In the West, the record can only be traced to 1478. The English word "slippers" (sclyppers) occurs from about 1478. English-speakers formerly also used the related term "" (from French pantoufle).

Slippers in China date from 4700 BCE; they were made of cotton or woven rush, had leather linings, and featured symbols of power, such as dragons.

Native American moccasins were also highly decorative. Such moccasins depicted nature scenes and were embellished with beadwork and fringing; their soft sure-footedness made them suitable for indoors appropriation. Inuit and Aleut people made shoes from smoked hare-hide to protect their feet against the frozen ground inside their homes.

Fashionable Orientalism saw the introduction into the West of designs like the.

Victorian people needed such shoes to keep the dust and gravel outside their homes. For Victorian ladies slippers gave an opportunity to show off their needlepoint skills and to use embroidery as decoration.

Types
Types of slippers include:
 * Open-heel slippers – usually made with a fabric upper layer that encloses the top of the foot and the toes, but leaves the heel open. These are often distributed in expensive hotels, included with the cost of the room.
 * Closed slippers – slippers with a heel guard that prevents the foot from sliding out.
 * Slipper boots – slippers meant to look like boots. Often favored by women, they are typically furry boots with a fleece or soft lining, and a soft rubber sole. Modeled after sheepskin boots, they may be worn outside.
 * Sandal slippers – cushioned sandals with soft rubber or fabric soles, similar to Birkenstock's cushioned sandals.
 * Evening slipper, also known as the "Prince Albert" slipper in reference to Albert, Prince Consort. It is made of velvet with leather soles and features a grosgrain bow or the wearer’s initials embroidered in gold.

Some slippers are made to resemble something other than a slipper and are sold as a novelty item. The slippers are usually made from soft and colorful materials and may come in the shapes of animals, animal paws, vehicles, cartoon characters, etc.

Not all shoes with a soft fluffy interior are slippers. Any shoe with a rubber sole and laces is a normal outdoor shoe. In India, rubber chappals (flip-flops) are worn as indoor shoes.

In popular culture
The fictional character Cinderella is said to have worn glass slippers; in modern parlance, they would probably be called glass high heels. This motif was introduced in Charles Perrault's 1697 version of the fairy tale, "Cendrillon ou la petite pantoufle de verre" "Cinderella, or The Little Glass Slipper". For some years it was debated that this detail was a mistranslation and the slippers in the story were instead made of fur (French: vair), but this interpretation has since been discredited by folklorists.

A pair of ruby slippers worn by Judy Garland in The Wizard of Oz sold at Christie's in June 1988 for $165,000. The same pair was resold on May 24, 2000, for $666,000. On both occasions, they were the most expensive shoes from a film to be sold at auction.

In Hawaii and many islands of The Caribbean, slippers, or "slippahs" is used for describing flip-flops.

The term "house shoes" (elided into how-shuze) is common in the American South.

title: Slipper


text:
David Baddiel

David Lionel Baddiel (born 28 May 1964) is an English comedian, presenter, screenwriter, author and singer. He became known for his early work alongside Rob Newman in The Mary Whitehouse Experience and later for his comedy partnership with Frank Skinner.

He has written the children's books The Parent Agency, The Person Controller, AniMalcolm, Birthday Boy, Head Kid, and The Taylor TurboChaser. He is also a lyricist on "Three Lions," a song that has been described as the de facto "anthem" of English football since 1996.

Early life
David Lionel Baddiel was born on 28 May 1964 in Troy, New York, the son of a Welsh-Jewish father and German-Jewish mother. He moved to England with his family when he was four months old.

Baddiel's father, Colin Brian Baddiel, came from a working-class Swansea family and worked as a research chemist with Unilever before being made redundant in the 1980s, after which he sold Dinky Toys at Grays Antique Market. His mother, Sarah, was born in Nazi Germany. She was five months old when she was taken to England by her parents in 1939 after the family had fled Nazi Germany, where her wealthy father had been stripped of his assets as a victim of Kristallnacht. Soon after their arrival in the United Kingdom, her father was interned as an "enemy alien" on the Isle of Man for a year. Baddiel’s grandfather had mental health issues, sometimes requiring hospitalisation, for the rest of his life. Baddiel said in 2022 that he had been parented by his elder brother Ivor, as "my dad was unemployed and angry, while my mum was distracted by her passionate affair". An episode of the BBC genealogy series Who Do You Think You Are? investigated Baddiel's heritage in some detail, but failed to prove his theory that his mother had been secretly adopted from another Jewish family who had no hope of escaping.

Baddiel grew up in the Dollis Hill area of London alongside his two brothers Ivor and Dan (one older, one younger). Ivor is a writer. Baddiel attended the North West London Jewish Day School in Brent, and the public school Haberdashers' Aske's Boys' School in Elstree. He studied English at King's College, Cambridge, where he was a member of the Cambridge Footlights, and graduated with a double first BA. He began studies for a PhD in English at University College London, but did not complete it.

The Mary Whitehouse Experience and Newman and Baddiel
After leaving university, Baddiel became a professional stand-up comedian in London, as well as a writer for acts such as Rory Bremner and series including Spitting Image. His first television appearance came in one episode of the showbiz satire Filthy Rich and Catflap. In 1988 he was introduced to Rob Newman, and the two formed a writing partnership. Subsequently, paired up with Steve Punt and Hugh Dennis, another comedy duo, they began writing and performing in The Mary Whitehouse Experience on BBC Radio 1, where the show ran for four series and a special. This success led the show to transfer to BBC2, where it ran for two series, after which both duos decided to end the show. During this time, Baddiel also co-hosted the Channel 4 programme A Stab in the Dark.

After The Mary Whitehouse Experience, Baddiel and Newman re-teamed up for Newman and Baddiel in Pieces, which ran for seven episodes on BBC2, featuring character sketches, monologues, and observation routines. Despite a fraught working relationship, the show saw Newman and Baddiel find enormous success as live performers, held up as examples of comedy as ‘the new rock ’n’ roll’, with their tour (Newman and Baddiel: Live and In Pieces) culminating in the first-ever sold-out gig for a comedy act at Wembley Arena, playing to 12,500 people. Despite this success, increasing tension between the pair led to them announcing the tour would be their last together. Their final tour was the subject of a BBC2 documentary, Newman and Baddiel on the Road to Wembley.

Collaboration with Frank Skinner
Baddiel subsequently met and began sharing a flat with fellow comedian Frank Skinner. Both lifelong football fans (Baddiel is a Chelsea F.C. fan), the pair created, wrote and performed Fantasy Football League, a popular entertainment show based on fantasy football. Running for three series on BBC2, followed by a series of live specials throughout the 1998 World Cup and then again through the 2004 European Championship, as well as a series of podcasts for The Times from Germany at the 2006 World Cup, and another series for Absolute Radio from South Africa during the 2010 World Cup (amassing over three million downloads). During this time the duo also twice topped the UK Singles Chart with the football anthem "Three Lions", co-written and performed with The Lightning Seeds.

The song was originally written as the England football team's official anthem for UEFA Euro 1996 and was re-recorded with updated lyrics as the unofficial anthem for the 1998 World Cup. The song continues to be popular with England fans and returned to the charts in July 2018, celebrating the progress of the England national football team at the 2018 FIFA World Cup with the phrase "it's coming home" featuring heavily on social media and television.

Baddiel received criticism for his impression of black footballer Jason Lee in Fantasy Football League, which involved him wearing a pineapple on his head and using blackface. Lee said he considered this a form of bullying. Baddiel has issued a number of apologies on social media and in an article for The Daily Telegraph, saying it was "part of a very bad racist tradition". Lee said in 2020 that he had not received a direct apology from Baddiel or Skinner over the series of sketches, but in 2022, Baddiel met Lee to apologise in his Channel 4 documentary.

In his 2021 book Jews Don't Count, Baddiel said that, despite apologizing for the Jason Lee impression "on various occasions", people, particularly on social media, continued to share it in order to silence him:

 * They want me to shut up, particularly about anti-Semitism. As far as they are concerned, the photo of me as Jason Lee is a trump card that means I cannot speak about racism, even the racism that threatens me personally.

After ending Fantasy Football League, the pair took an improvised question-and-answer show to the Edinburgh Fringe which then became a television series, Baddiel and Skinner Unplanned, which ran for five series on ITV, as well as a West End run at the Shaftesbury Theatre in 2001. The pair also appeared on a celebrity special of Who Wants to Be a Millionaire? in 2001, becoming the first celebrity contestants to reach £250,000 for their charities, the Catholic Children's Society and the Imperial Cancer Research Fund.

In February 2022, a clip emerged from Baddiel's 2004 guest appearance on the Frank Skinner Show. In the clip, Baddiel uses "pikey", a pejorative term used to refer to people who are of a Traveller community, to negatively denote his own appearance. Critics accused Baddiel of hypocrisy given his own polemic, Jews Don't Count.

Solo work
Baddiel has written four novels: Time for Bed (1996), Whatever Love Means (2002), The Secret Purposes (2006), and The Death of Eli Gold (2011). In June 2015, he published his first children's novel, The Parent Agency, which won the LOLLIE award (the successor to the Roald Dahl Funny Book Awards) for "Best Laugh Out Loud Book for 9–13-Year-Olds" and is set to be developed into a feature film (also written and produced by Baddiel) through Fox 2000 Pictures. His subsequent children's novels include The Person Controller (2015), AniMalcolm (2016), Birthday Boy (2017) and Head Kid (2018). He wrote The Boy Who Could Do What He Liked, a short story published for World Book Day in 2016. In 2001, Baddiel wrote and starred in Baddiel's Syndrome, a sitcom for Sky 1 which also starred Morwenna Banks, Stephen Fry and Jonathan Bailey, which ran for fourteen episodes. He also wrote the comedy film, The Infidel, starring Omid Djalili, Richard Schiff, Matt Lucas and Miranda Hart. Baddiel has since adapted the film into a musical with music by Erran Baron Cohen. Baddiel directed the production which ran at London's Theatre Royal Stratford East in late 2014. Baddiel's other writing credits include The Norris McWhirter Chronicles for Sky 1, which starred Alistair McGowan and John Thomson and which Baddiel also directed, and two episodes of the ITV reboot of Thunderbirds, Thunderbirds Are Go! In 2004, Baddiel created and hosted Heresy, a BBC Radio 4 panel show which sees celebrity guests trying to overthrow popular prejudice and received wisdom. The show is currently in its 10th series and has been hosted by Victoria Coren since 2008, with Baddiel returning regularly as a guest. In 2014 Baddiel created and hosted Don't Make Me Laugh, a new panel show for Radio 4 that tasks guests with talking for as long as possible on obviously humorous subjects without getting laughs. The second series aired in 2016. In 2015, he created and fronted David Baddiel Tries to Understand..., a BBC Radio 4 show which sees Baddiel try to understand famously complex subjects as suggested by his followers on Twitter, and has now run for three series. Baddiel has appeared in shows including Little Britain, Skins, The Life of Rock with Brian Pern and Horrible Histories and is a regular guest on panel shows including 8 Out of 10 Cats Does Countdown, QI and Alan Davies’ As Yet Untitled. In 2016, he fronted a four-part travel documentary for Discovery entitled David Baddiel On the Silk Road, a 4,000-mile journey to explore the most famous trade route in history, as well as presenting two episodes of BBC2's Artsnight and becoming a regular presenter of The Penguin Podcast in which he interviews authors about the objects that inspired their books, which has seen him interview guests including Johnny Marr, Zadie Smith and Ruby Wax. Other documentaries he has fronted include Baddiel and the Missing Nazi Billions (BBC2), Who Do You Want Your Child to Be? (BBC2), World's Most Dangerous Roads (BBC2), and an episode of Who Do You Think You Are? (BBC1). He appeared on Desert Island Discs in 2018.

Baddiel filmed a documentary about his father's dementia, The Trouble with Dad, shown on Channel 4 in 2017.

In 2019 Baddiel featured in Taskmaster series 9. He won one episode and finished fifth out of five in the overall series.

In January 2021, it was announced Baddiel would appear as a contestant on the 4th series of The Great Stand Up to Cancer Bake Off, which aired in Spring 2021.

Stand-up
In 2013, he returned to stand-up comedy with his critically acclaimed show Fame (Not the Musical), which ran at the Edinburgh Festival Fringe before transferring to London's Menier Chocolate Factory and a subsequent nationwide tour. In Spring 2016 Baddiel premiered a new show, My Family: Not the Sitcom, again at the Menier Chocolate Factory; the confessional show tells the true story of Baddiel's recently deceased mother and dementia-suffering father.

Following a five-week run, the show transferred to London's West End in September 2016 for another five-week run at the Vaudeville Theatre. In spring 2017 it was announced that the show would return to the West End for one final ten-week run at the Playhouse Theatre in March 2017. In the same month, it was announced that the show was nominated for an Olivier Award, in The Entertainment and Family category. Rob Newman saw one of these performances, the first time the two had been in the same room since 1993. The show was performed as part of the Montreal Comedy Festival in 2017 and will tour the UK in 2018. Most recently, Baddiel took the show to a four-city tour of Australia. His new show about social media, Trolls: Not The Dolls, toured the UK in 2020.

Plays and books
In October 2019 Baddiel's play God's Dice was produced at the Soho Theatre, London. The title is an allusion to Einstein's view of quantum uncertainty: "God does not play dice with the universe". The work deals with "an ageing [quantum physicist] seduced into supporting a radical religious sect".

Baddiel has written books for both adults and children and was elected a fellow of the Royal Society of Literature in 2019.

TV at Channel 4
In November 2022 Baddiel fronted a Channel 4 documentary David Baddiel: Jews Don't Count. The Guardian TV section summed it up as:"Baddiel focuses on the ideas that formed his 2021 book of the same title. His central thesis is that “Jews don’t count as a proper minority” when it comes to contemporary notions of prejudice and racism. He sets out to explore why so many people seem to ignore antisemitism, as well as “the dysfunction between progressives and Jews'."The Financial Times review remarked :"That Baddiel and Channel 4 have already received a torrent of scorn online for making the programme only serves to highlight its importance."

Politics
Baddiel is a Labour Party voter, but does not describe himself as a "Labour supporter". He has said, "I would never support a political party like that, regardless of what I believe personally. My job is to be funny and that might involve me being funny at the expense of whoever's stepped in shit that week."

In February 2016, Baddiel commented on the election of Jeremy Corbyn as Labour leader: "I think it's interesting to think that we've got a proper left-wing Labour politician. My main thing about Corbyn is I think the scaremongering about him by the right-wing press is so absurd it makes me want to support Corbyn, even though in some ways I might not. Some of the people around him I personally wouldn't trust but I think he himself is a decent man."

In April 2017, Baddiel wrote an article for The Guardian in which he was critical of Ken Livingstone's comments regarding Adolf Hitler and Zionism, but also made it clear that he was not a Zionist and that he disagreed with "religion being the basis for statehood" and what he called "the appalling actions of the present Israeli government".

In March 2018, Baddiel appeared on Daily Politics, in which he described antisemitism as "sort of invisible" to Corbyn and others on the political left because they are focused on "fighting the good fight against capitalism".

In February 2020, he told The Guardian that Holocaust denial is "a direct way of saying Jews are liars, Jews have tricked the world for their own gain, Jews are the most evil, pernicious race that exist". He further said, "It is hate speech. There's no other conclusion.”

In February 2021, Baddiel's non-fiction book Jews Don't Count was published by The Times Literary Supplement. The book asserts that double standards are extensively employed (either knowingly or unknowingly) by anti-racists when dealing with antisemitism, stating that "a sacred circle is drawn around those whom the progressive modern left are prepared to go into battle for, and it seems as if the Jews aren't in it". Much of the book consists of examples which the author argues are evidence that such progressives have a blind spot when it comes to antisemitism.

Charity
Baddiel is a patron of Humanists UK and the Campaign Against Living Miserably (CALM). He acted as compere for the Stand-Up to Stop Suicide event organised by Claire Anstey and the charity, and has appeared on radio advertisements publicising the issue of young male suicide.

In February 2009, Baddiel and several other entertainers wrote an open letter in The Times supporting leaders of the Baháʼí Faith who were then on trial in Iran. Following his experiences with his father, Baddiel has worked closely with a number of charities supporting the victims of dementia and their families. He performed a special one-off charity gala of his My Family: Not the Sitcom show at the Vaudeville Theatre, with all proceeds from the evening being split between the Alzheimer's Society, the National Brain Appeal, and the Unforgettable Foundation. There were also collections made for the charities throughout the run of the show.

In 2017, it was announced that Baddiel would take part in Comic Relief's Red Nose Convoy, in which three pairs of celebrities travel in convoy from Kenya to Uganda while delivering aid. To benefit the cancer charity CLIC Sargent, Baddiel narrated the 2018 short film To Trend on Twitter with fellow comedians Reece Shearsmith, Steve Pemberton, and Helen Lederer, and actor Jason Flemyng. In March 2019, Baddiel hosted Comic Relief Does University Challenge on BBC One as part of Red Nose Day.

Personal life
Baddiel has been in a relationship since 1998 with fellow comedian Morwenna Banks, and they married in 2017. They currently live in North London with their two children: a daughter named Dolly (b. 2001) and a son named Ezra (b. 2004). Despite his upbringing, he has described himself as a "10 out of 10 atheist" and as a "fundamentalist" Jewish atheist. He suffers from insomnia, about which he has written guest articles.

Baddiel is an avid fan of the rock band Genesis and introduced them at their Turn It On Again: The Tour press conference in 2006. He also provided sleeve notes for the reissue of the album Nursery Cryme as part of the Genesis 1970–1975 boxed set. He is a fan of the band's former lead singer Peter Gabriel, and a diarist for The Times once incorrectly reported that he had been "loud and offensive" while attending one of Gabriel's concerts, something Baddiel has referred to in his live act. He is also a fan of David Bowie and marked Bowie's 65th birthday in 2012 by expressing a desire to see him come out of retirement. He attended the tribute concert to Bowie at London's Union Chapel following Bowie's death in 2016 and addressed the audience, describing Bowie as "the greatest tunesmith we have".

title: David Baddiel


text:
Tuuri

Tuuri is a village in Töysä, since 2013 part of Alavus, a town of Finland. It is located in the province of Western Finland and is part of the Southern Ostrobothnia region. The village has a population of 500. In Modern Finnish the appellative tuuri means 'luck'.

The village is known for the second biggest department store in Finland, Veljekset Keskinen. The massive golden horseshoe erected over the shopping mall stands at number three in Reuters' list of world's ugliest buildings and monuments.

title: Tuuri


text:
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