GRAVE DIGGER SKULL MASK hooded pvc purple hood reaper Monster Jam collectible

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Seller: sidewaysstairsco ✉️ (1,180) 100%, Location: Santa Ana, California, US, Ships to: US & many other countries, Item: 196033467369 GRAVE DIGGER SKULL MASK hooded pvc purple hood reaper Monster Jam collectible. Check out our store for more great new and used items! FOR SALE: An awesome, wearable monster truck rally souvenir 2022 MONSTER JAM GRAVE DIGGER PVC MASK DETAILS: Celebrate 40 years of Grave Digger! Can you believe it was over 40 years ago that Dennis Anderson brought monster truck madness to life with his first conception and build of Grave Digger? We can't believe it either. And now Anderson has been properly immortalized with multiple Hall of Fame inductions while his kids proudly carry on the torch. 2022 marked 40 years of Grave Digger, what a wild ride! Are you ready to take your Halloween costume to the next level and show your unwavering support for the legendary Grave Digger monster truck? Look no further! We present to you the official Monster Jam 2022 Grave Digger PVC Mask – the perfect addition to your Halloween wardrobe for all the thrill-seekers and monster truck enthusiasts out there. Beyond Halloween, this mask is great for a wide range of cosplay and costume events. Turn it into a grim reaper costume or incorporate it into your own creative costume idea. You'll be the life of the party! It's a conversation starter and a fantastic way to showcase your love for the Monster Jam phenomenon and Hall of Famer, Dennis Anderson and his family of drivers. Let the monster truck madness come to life! Size: One size fits most; mask has an elastic band. Fits children well and fits adults snug because the mask is narrow. Monster Jam 2022 exclusive souvenir! If you're a Grave Digger superfan, this mask is a must-have collectible from Monster Jam 2022. It's so badass and the perfect showpiece for your memorabilia collection. CONDITION: In excellent, pre-owned condition. Please see photos. To ensure safe delivery all items are carefully packaged before shipping out. THANK YOU FOR LOOKING. QUESTIONS? JUST ASK. *ALL PHOTOS AND TEXT ARE INTELLECTUAL PROPERTY OF SIDEWAYS STAIRS CO. ALL RIGHTS RESERVED.* "Feld Entertainment Inc. is an American live show production company which owns a number of traveling shows. The company began with the soon-to-return Ringling Bros. and Barnum & Bailey Circus then expanded into additional live events, including Disney on Ice (owned by The Walt Disney Company), Monster Jam, Monster Energy AMA Supercross, and Sesame Street Live (under license of Sesame Workshop). The company is family owned. History In 1967, Irvin Feld Israel Feld and Roy M. Hofheinz offered to purchase the Ringling Bros. and Barnum & Bailey Circus. Broadway producers Cy Feuer and Ernest H. Martin sued in December 1967 to stop the sale.[9] Nevertheless, the purchase of the combined circuses from the Ringling and North families to the Feld group took place for $8 million. The company was taken public in 1969.[8] Kenneth Feld joined the business in 1970 after finishing college.[5] Mattel purchased the company in 1971 for $50 million in Mattel stock, while Feld continued managing the circus.[8] After Walt Disney World opened near Orlando, Florida, in 1971, the circus company attempted to cash in on the resulting tourism surge by opening Circus World in nearby Haines City.[10] Irvin & Kenneth Feld Productions in 1979 purchased from Chicago-based Bill Wirtz the Holiday on Ice and Ice Follies for $12 million. The company soon approached Disney about doing a Disney show on ice.[11] By 1980, the company produced 10 circus and ice show TV specials. An investment was also made in Barnum, the Broadway musical.[10] In 1981, Ken Feld started the Beyond Belief show at the New Frontier Hotel and Casino.[4][12] The Felds bought the company back in 1982 for $22.8 million. By then, the business included Holiday on Ice, Ice Follies, Walt Disney's World on Ice, and Beyond Belief Las Vegas nightclub act.[8] Circus World was sold to Arizona developer James Monaghan in 1984.[13] Ringlings' third touring company, Gold Unit, premiered on July 1, 1988, in Japan. In late 1988, Beyond Belief Las Vegas act went on an international tour.[4] Feld Entertainment In October 1996, Irvin & Kenneth Feld Productions, Inc. changed its name to Feld Entertainment, Inc.[14] In 2001, Ken Feld began gifting shares of Feld Entertainment to his three daughters Nicole, Alana and Juliette Feld.[5] Nicole was hired into the family business in 2001 and became the first female producer of the Ringling Bros. Circus in 2004. Alana also signed on in 2003.[7] Due to an accident in October 2003, the Siegfried & Roy show was closed.[12] FE started producing Disney Live! shows in June 2004 with Winnie the Pooh in the United Kingdom.[15] Alana produced the first Doodlebops Live! in 2006.[7] In 2006, Nicole was a vice president in charge of the circus.[5] The company sold its Vienna, Virginia headquarters in May 2006 to America's Capital Partners then leased it back until 2018.[2] In 2007, Nicole and Alana were elevated to executive vice president of the company.[7] The company signed a 10-year agreement with Disney Live Family Entertainment for Disney on Ice, Disney Live and other Disney productions in August 2008.[12] In September, Feld also acquired the motorsports division of Live Nation, including the properties of Monster Jam (and several associated monster trucks), Supercross, Arenacross, and the IHRA. The motor sport division was renamed Feld Entertainment Motor Sports.[1] Feld Motor Sports launched its first new arena-based freestyle motocross touring production, Nuclear Cowboyz, in 2010.[16] Feld Motor Sports sold the IHRA to IRG Sports + Entertainment in 2012.[17] Feld Entertainment and Zignia Live, management company of Arena Ciudad de Mexico and Arena Monterrey, signed a promotion agreement in April 2011 bringing any of Feld shows to Zingia's managed arenas for a total of 18 weeks. This brings back the Ringling Bros circus in May 2012 that had been absent from Mexico since 2002.[18] In January 2012, the company purchased Palmetto Corporate Center, a former Siemens Corp. complex in Ellenton, Florida, and plans to move most of its various operations and its world headquarters there over a five-year period starting with its worldwide production center.[2] Feld agreed in October 2013 to occupy a to be built 241,457-square-foot warehouse in the Baltimore-Washington Industrial Park, Jessup, Maryland expected to be finished in November 2014 to consolidated two other warehouse elsewhere in the industrial park used for merchandise.[19] In 2015, Feld Motor Sports HQ moved from Illinois to Ellenton.[20] In March 2013, Feld agreed with Marvel Entertainment, which was acquired by The Walt Disney Company in 2009, to produce Marvel Universe Live!, a Marvel character-based live arena show.[21] Marketing campaign company Cimarron Group was hired in 2013 by Feld Entertainment for all media campaign for Marvel Live and other Feld shows.[22] The Cimarron Group however shut down August 2013.[23] Juliette Feld was promoted to chief operating officer of the corporation in February 2016.[3] In November 2016, Feld Entertainment and Sesame Workshop announced an agreement for a new Sesame Street Live show to debut in October 2017 to replace one by VStar Entertainment Group ending in July 2017.[24][25] Citing low attendance rates, Feld Entertainment announced the Ringling Bros. and Barnum & Bailey Circus would close after their final performance on May 21, 2017. The retirement of the elephants was a factor in the decreased attendance, but the company would continue operating its Center for Elephant Conservation.[26] It is set to return in 2023, but with the animal acts removed.[27] Feld Entertainment entered into the amusement and attractions industry again. Feld and Universal Brand Development has agreed to develop multiple properties into mobile pop-up attractions in April 2018. The first being DreamWorks Trolls: The Experience starting its tour in the third quarter 2018 in New York.[28] At the IAAPA Attractions Expo 2018, Feld offered two concepts at the expo, a Monster Jam roller coaster and Ringling Bros. and Barnum & Bailey Circus interactive stations.[29] In September 2019, Feld and Universal will start its joint touring show, Jurassic World Live Tour, in Columbus, Ohio.[30] Units Feld Entertainment owns:     Feld Consumer Products, concession and merchandising division in Jessup, Maryland[6]     Feld Motor Sports, Inc.[31]         Monster Jam         AMA Supercross Championship         International Hot Rod Association Nitro Jam (2008–2012)[17]         Nuclear Cowboyz (2010–2013)[16]     Hagenbeck–Wallace, Inc., a property, costume and scenic design company[6]     Ice Follies And Holiday on Ice, Inc.[4] produces:         Disney on Ice, originally Walt Disney's World on Ice[8]         Classic Ice Spectaculars[6]     Ringling Bros. and Barnum & Bailey Circus[8] (1967–2017, 2023–)[26][27] Live show productions Disney Live!     Winnie the Pooh (June 2004–2005) United Kingdom, Spain, The Netherlands, Australia and New Zealand (July 29, 2005–2006) USA (2006–) Japan[15]     Mickey’s Magic Show[6]     Playhouse Disney / Disney Junior Live:         Playhouse Disney Live on Tour! (launched August 25, 2007) focuses on Mickey Mouse Clubhouse, Little Einsteins, Handy Manny and My Friends Tigger & Pooh characters of Playhouse Disney shows and produced by Ken and Alana Feld.[32]         Mickey's Rockin' Road Show was created in early 2009 and is on its second tour starting in July 2010. The show has 15-minute interactive pre-show segment, Playhouse Disney Pre-Show Party, with video highlights.[33]         Pirate & Princess Adventure features Sofia the First and Jake and the Never Land Pirates[34]     Three Classic Fairy Tales (opened May 2008) China[6][35])     Mickey's Music Festival[36]     Mickey and Minnie’s Doorway to Magic (Brazil April 2015–2016) (US Early 2016–) The show is directed and choreographed by Fred Tallaksen and produced by Alana Feld.[37] Others     Beyblade LIVE(2001-2003)         Beyblade LIVE(2001)         Beyblade V-Force LIVE(2002)         Beyblade G-Revolution LIVE(2003)     Beyblade: Metal Saga THE LIVE(2009-2012)         Beyblade: Metal Fusion THE LIVE(2009)         Beyblade: Metal Masters THE LIVE(2010)         Beyblade: Metal Fury THE LIVE(2011)         Beyblade: Shogun Steel THE LIVE(2012)     Beyblade Burst THE LIVE STAGE(2016-)         Beyblade Burst THE LIVE STAGE(2016)         Beyblade Burst Evolution THE LIVE STAGE(2017)         Beyblade Burst Turbo THE LIVE STAGE(2018)         Beyblade Burst Rise THE LIVE STAGE(2019)         Beyblade Burst Surge THE LIVE STAGE(2020)         Beyblade Burst QuadDrive THE LIVE STAGE(2021)     Doodlebops Live! (2006–[7])     High School Musical Summer Celebration (2009–[7]     Marvel Universe Live! (July 10, 2014–present)[21][38]     George Lucas’ Super Live Adventure, premiere in Yokohama, Japan on April 27, 1993 with a 22-week tour there. "Willow," "American Graffiti," the Indiana Jones series, "Tucker" and the "Star Wars" movies were all included in the story.[39]     Goosebumps–Live on Stage     Disney’s Phineas and Ferb: The Best Live Tour Ever![40] (August 2011 — February 2013)[41]     Sesame Street Live (October 2017—February 2023)[24]         Sesame Street, Beaches Resorts         Sesame Street, SeaWorld theme parks         Sesame Street, Sesame Place in Middletown Township, Pa and Chula Vista, CA.     Jurassic World Live Tour (September 2019—) started in Columbus, Ohio moved across part of the Midwest and East Coast[30][42] Pop-up attractions     DreamWorks Trolls: The Experience[28] (New York October 22, 2018)[43] Theatrical (most on Broadway):     Big[44]     Barnum[10]     Largely New York     Fool Moon     MADhattan in Las Vegas[6]     Three Musketeers musical (1984)" (wikipedia.org) "A gravedigger is a cemetery worker who is responsible for digging a grave prior to a funeral service. Description If the grave is in a cemetery on the property of a church or other religious organization (part of, or called, a churchyard), gravediggers may be members of the decedent's family or volunteer parishioners. Digging graves has also been one of the traditional duties of a church's sexton. In municipal and privately owned cemeteries, gravediggers may be low-paid, unskilled and temporary labourers, or they may be well-paid, trained and professional careerists, as their duties may include landscaping tasks and courteous interactions with mourners and other visitors. In some countries, gravedigging may be done by landscaping workers for the local council or local authority. A gravedigger implements a variety of tools to accomplish his primary task. A template, in the form of a wooden frame built to prescribed specifications, is often placed on the ground over the intended grave. The gravedigger may use a sod-cutter or spade to cut the outline of the grave and remove the top layer of sod. Digging the grave by hand usually requires shovels, picks, mattocks and/or other tools. Cemeteries in industrialized countries may keep a backhoe loader and other heavy equipment, which greatly increases the efficiency of gravedigging. Typically, gravediggers – at least in most Western countries – will use a wooden box to put the soil in. This box consists of several large pieces of wood that fit together, and the box is assembled next to the grave. Once the grave has been dug and the soil from the grave has been placed in the box, the box will usually be covered with a piece of tarpaulin or similar material. The soil will then remain in the box until the day of the back-fill, when the funeral takes place and the soil is emptied back into the grave after the coffin has been lowered, after which the box is disassembled. Due to the close proximity of graves in cemeteries (4 feet (1.20 m) between the centre of each headstone is common in modern UK cemeteries), the wooden box is often placed in front of one or more other graves, and is seen as a nuisance to those wishing to visit graves adjacent to a grave that is due to be filled. Although the expression "six feet under" refers to the depth at which people were traditionally buried, at least in the UK, the minimum legal depth for a new grave is seven feet (2.10 m).[citation needed] This allows a maximum of three coffins to be buried in the same grave, typically family members of the deceased who are buried at a later date – which is known as a re-open. Gravediggers must take care to get the proportions of a grave right, as the hole needs to be big enough for the coffin to be lowered in. Additionally, shoring is often used to stop a grave from collapsing. Gravediggers must make sure that the coffin can fit through the shoring. Additionally, on the day of the back-fill and for the funeral service, typically artificial turf will be placed around the grave whilst the coffin is being lowered. In many cultures throughout history, gravediggers have been highly marginalized by their societies. In the traditional caste system of India, cemetery work has been the responsibility of the lowest castes, considered "unclean" or "untouchable" for their association with death. Fossors Grave template, topped with the handle of a scythe. Church of St. Michael, Garway, England. Gravedigger with shovels, during the Siege of Sarajevo Fossor (Latin fossorius, from the verb fodere 'to dig') is a term described in Chambers' dictionary as archaic, but can conveniently be revived to describe grave diggers in the Roman catacombs in the first three centuries of the Christian Era. The duties of the Christian fossor corresponded in a general way with those of the pagan vespillones, but whereas the latter were held in anything but esteem in pagan society (many religions consider corpses, and sometimes anyone who touches them, 'unclean' also in a religious sense), the fossors from an early date were ranked among the inferior clergy of the Church.[1] In the Gesta apud Zenophilum by St. Optatus of Mileve, a reference is made to the character of the fossors as an order of inferior clergy. Speaking of the "house in which Christians assembled" at Cirta in the year 303, during the persecution of Diocletian, this writer enumerates first the higher orders of the clergy present, from the bishop to the subdeacons, and then mentions by name the fossors Januarius, Heraclius, Fructuosus, et ceteris fossoribus. St. Jerome alludes to fossors as clerici, and a sixth-century chronicle edited by Cardinal Mai enumerates the (minor) orders of the clergy as ostiarius, fossorius, lector, etc. At first the fossors seem to have received no regular salary, but were paid by individuals for the work accomplished; with the organization of the Church, however, they appear to have been paid from the common treasury. In the fourth century the corporation of fossors was empowered to sell burial spaces. For example, in the cemetery of St. Cyriacus, two women bought from the fossor Quintus a bisomus, or double grave, retro sanctos (behind and near a martyr's tomb), and there are several other references to this practice.[1] The corporation of fossors probably did not consist merely of the labourers who excavated the galleries of the catacombs; it also included the artists who decorated the tombs, as appears from another allusion in the Gesta apud Zenophilum already cited. According to this authority two fossors were brought before the judge;[a] when interrogated as to their calling, one replied that he was a fossor, the other that he was an artifex, meaning a painter or sculptor.[1] Among the representations of fossors in the catacombs the one best known, through Wiseman's "Fabiola", is that of the fossor Diogenes, discovered by Boldetti. The picture, which was seriously damaged in an attempt to remove it from the wall, represents Diogenes with his pick over his right shoulder and a sack, probably containing his midday meal, on his left shoulder, while in his left hand he carries a staff with a light attached. The inscription reads: DIOGENES FOSSOR, IN PACE DEPOSITVS, OCTABV KALENDAS OCTOBRIS ("the fossor Diogenes, interred in peace, the eighth day before the calends of October"). The oldest fresco of a fossor, or rather of two fossors, dates from the late second century, is in one of the Sacrament Chapels in the catacomb of St. Callistus. The figures are represented pointing toward three Eucharistic scenes, a reference to another of their duties, which was to exclude unauthorized persons from taking part in the liturgical celebrations held occasionally in the cemeteries in commemoration of martyrs. Representations of fossors are usually near the entrance of the subterranean cemeteries.[1] Notable gravediggers     Abraham Lincoln, later President of the United States, worked as a sexton in a churchyard in Spencer County, Indiana,[b]     Blues musician James "Sonny Ford" Thomas worked as a gravedigger during his youth in Mississippi.[2]     Blues musician John Jackson worked as a gravedigger in Fairfax County, Virginia.[3]     British singer/songwriter Rod Stewart is commonly believed to have worked as a grave digger at Highgate Cemetery, north London.[4] In fact, this is something of an urban myth. While he was temporarily employed by the cemetery in his youth, his work consisted of marking plots and performing various other manual tasks, which did not include gravedigging. Stewart himself acknowledges that "the popular myth arose (one I happily rode along with) that I was once a gravedigger. It's a delicious, mysterious piece of back-story, but again we must move to strike it from the record."[5]     British author Sid Smith was briefly employed as a gravedigger.[6]     Former Major League Baseball player Richie Hebner had an off-season job as a gravedigger at a cemetery managed by his father.[7]     Dave Vanian of British punk/goth rock band The Damned worked as a gravedigger before the band got started. This would come into play with The Damned's lyrics and imagery later.     Joe Strummer, frontman of The Clash worked as a gravedigger in 1973.     Tom Petty, singer of Tom Petty and the Heartbreakers worked briefly as a grave digger and is alluded to in the music video for Mary Jane's Last Dance.     British serial killer Peter Sutcliffe was a gravedigger in the 1960s. At his trial, Sutcliffe claimed to have heard voices that ordered him to kill prostitutes while working as a gravedigger. He said the voices originated from a headstone of a deceased Polish man, Bronisław Zapolski,[8] and that the voices were that of God.[9][10]     Actor and comedian Nathan Barnatt was a gravedigger for two years prior to moving to Los Angeles.[11] Gravediggers in literature One of Barbara Paul's novels was titled First Gravedigger as an allusion to this scene.[12] Gravedigging has also been used as a theme in detective and crime fiction. Gravedigger Jones is one of two black detectives featured in the "Harlem cycle" of novels by Chester Himes.[13] His partner in the novels is Coffin Ed Johnson and the pair are often involved in violent confrontations. The timbre of these novels is frequently mordant, and a funeral director is a recurring character. Hamlet Main article: The Gravediggers Hamlet and the Gravediggers, by Pascal Dagnan-Bouveret. Because of their association with the subject of death, gravediggers have made notable appearances in literature. Perhaps the most famous of these occurs during Act 5, Scene 1 of Shakespeare's Hamlet, where Hamlet and Horatio engage in dialogue with one of the grave-makers (called "First Clown") as he is digging Ophelia's grave. The Gravediggers (or Clowns) make their one and only appearance at the beginning of the act. They enter and begin digging a grave for the newly deceased Ophelia, discussing whether or not she deserves a Christian burial after having killed herself. When together, the Gravediggers speak mainly in riddles and witty banter regarding death, with the first asking the questions and the second answering.     GRAVEDIGGER: What is he that builds stronger than either the mason, the shipwright, or the carpenter?     OTHER: The gallows-maker, for that frame outlives a thousand tenants.     — V.i., 38–41 and later in the scene:     GRAVEDIGGER: And when you are asked this question next, say "A grave-maker". The houses that he makes last till doomsday.     — V.i., 53–55 Soon, Hamlet enters and engages in a quick dialog with the first Gravedigger. The scene ends with Hamlet's soliloquies regarding the circle of life prompted by his discovery of the skull of his beloved jester, Yorick. The First Clown unearths Yorick's skull, prompting Hamlet to deliver the memorable lines: "Alas, poor Yorick! I knew him, Horatio: a fellow of infinite jest, of most excellent fancy".[14] Marxism In the terminology of Marxism, a rising revolutionary class which is destined to overthrow and supplant an earlier ruling class is often referred to as that earlier class' "gravedigger". Thus, the bourgeoisie's historical role was to act as "the gravedigger of feudalism", but by creating a vast exploited working class which is bound to organize and stage a revolution, the bourgeoisie has inevitably created its own "gravedigger".[15] This metaphorical use of gravedigger is already attested in Karl Marx's own writings, and was continued in the same sense by Lenin, Stalin, Trotsky and many other Marxist theoreticians and leaders. Low social status In several societies worldwide, gravediggers are often drawn from the lowest social class or caste, and regarded as unclean. In India, gravediggers and related professions have traditionally been drawn from among the Untouchables. In feudal Japan, gravedigging was one of the "unclean" professions historically allotted to the Burakumin class. Other examples can be found in Ancient Egypt and elsewhere. Industrial action Main article: Winter of Discontent § Gravediggers' strike In 1979, in what came to be called the Winter of Discontent, British gravediggers and crematorium workers in Liverpool and Manchester, took industrial action for the first time. At a January strike committee meeting in the Liverpool, local convener for the General and Municipal Workers' Union (GMWU) Ian Lowes was asked if the gravediggers and crematorium workers he represented would join the large number of public sector employees already taking action. He accepted, as long as the other unions followed; and the GMWU's national executive approved the strike.[16] Those unions had never gone on strike before[16] with the GMWU being known as the most conservative and least militant of the public employee unions. Faced with the growing threat from the National Union of Public Employees (NUPE) and the Confederation of Health Service Employees, both of which were growing more quickly, it was trying not to be what members of those unions called the 'scab union'.[17] The ensuing strike, in Liverpool and in Tameside near Manchester, was later frequently referred to by Conservative politicians.[18] With 80 gravediggers on strike, Liverpool City Council hired a factory in Speke to store corpses until they could be buried. The Department of Environment noted that there were 150 bodies stored at the factory at one point, with 25 more being added every day. The reports of unburied bodies caused public concern.[19] On 1 February a persistent journalist asked the Medical Officer of Health for Liverpool, Dr Duncan Bolton, what would be done if the strike continued for months, Bolton speculated that burial at sea would be considered. Although his response was hypothetical, in the circumstances it caused great alarm. Other alternatives were considered, including allowing the bereaved to dig their own funeral's graves, deploying troops, and engaging private contractors to inter the bodies. The main concerns were said to be aesthetic because bodies could be safely stored in heat-sealed bags for up to six weeks.[19] The gravediggers eventually settled for a 14 per cent pay rise, after a fortnight off the job. In their later memoirs, Labour Leader James Callaghan and Chancellor of the Exchequer Denis Healey both blamed NUPE for letting the strike go on as long as it did, as would Conservatives. While the Tameside gravediggers had been members of that union, those in the Liverpool area were GMWU." (wikipedia.org) "Monster Jam is a live motorsport event tour operated by Feld Entertainment. The series began in 1992, and is sanctioned under the umbrella of the United States Hot Rod Association. Events are primarily held in North America, with some additional events in other countries. Although individual event formats can vary greatly based on the "intermission" entertainment, the main attraction is always the racing, two-wheel skills competition, and freestyle competitions by monster trucks. Live events Grave Digger, one of the most popular monster trucks on the Monster Jam tours Monster Jam events are held throughout the year in various venues around the U.S. and Canada. Events are generally held in the winter and early spring when professional football and southern baseball stadiums are generally dormant for their main purpose. Events have also been held in other locations around the world, including Europe, Australia, Mexico, Costa Rica, the Philippines, Saudi Arabia, Japan, and Singapore. At Monster Jam events, monster trucks face off in three forms of competition: racing, two-wheel skills, and freestyle. Racing is traditional heads-up tournament racing, where the first truck to cross the finish line moves onto the next round; the final race of the night is for that particular event's championship. The two-wheel skills competition was introduced in late 2017. This competition consists of trucks performing their best moves on two wheels for two attempts. They can also choose to perform donuts or cyclones as an alternative. The two-wheel skills winner is determined by attendees voting via a score tracking website. The truck with the highest score at the end of the event wins that particular competition. The freestyle competition allows drivers two minutes (one-and-a-half minutes for arena shows) on an open floor to show off their skills as they drive the trucks over ramps and junked cars, performing stunts and tricks with their trucks. In 2020, Monster Jam introduced a rule in which a truck must complete 30 seconds to qualify for an eligible score. If they fail to do so, they will receive a score of 0. The freestyle winner is determined by attendees voting via a score tracking website. The truck with the highest score at the end of the event wins the competition. Each event produces its own winner. This winner is determined by the truck that has the most points gained in that particular event at the end of that event. If the same driver wins all three events in the same night, they are considered as "Doubling Down" in the event. Between the main competitions, other events are held. In the Triple Threat Series and Arena Series, the "donut" competition is featured, in which a driver tries to spin their truck until the driver or truck is unable to continue, or until the driver thinks they have a high enough score to win. Also presented at Triple Threat Series events are ATV racing, speedster racing, and speedster obstacle course competitions. In 2019, free-standing crush cars were officially removed from Monster Jam events.[1]     Monster Jam track used from 1992 to 2013     Monster Jam track used from 1992 to 2013     Monster Jam track used since 2014     Monster Jam track used since 2014 Tours     This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2023) (Learn how and when to remove this template message) From 2000 to 2018, Monster Jam's competitive season began in January and ended in March, with the World Finals in Las Vegas every year, with exhibition shows continuing into the summer and fall months. Since 2019, the season still begins in January, but now ends in May with the World Finals held in Orlando, with exhibition shows continuing until the end of the year. The tours visit many major cities in the United States, Canada, Europe, South America, Central America, South Africa, and Australia. In 2015, an arena tour debuted. This tour featured 8 drivers driving 3 different vehicles in a points series. The top two finishers received an invitation to Monster Jam World Finals 16. Also in 2015, Monster Jam started its first stadium tour. This tour followed 16 drivers each weekend on Fox Sports 1 competing for points in qualifying, racing, obstacle course racing and freestyle. The top four in the series received invitations to the Monster Jam World Finals 16. In 2016, the arena series was split into two series, east and west, with the winner of each tour getting an invitation to Monster Jam World Finals 17. Since then the number of regional tours has increased, both for stadium and arena tours. In 2022, the Monster Jam calendar featured three arena tours with 8 drivers each; each tour's winner receives a spot at Monster Jam World Finals XXI in Orlando. The schedule also includes two stadium tours, each with 14 drivers competing for one spot in Monster Jam World Finals XXI. Following the World Finals, additional exhibition tours are held through much of the rest of the year. These traditionally included stadium tours in northern cities where it is too cold during the main season to hold outdoor events, which were known as the "Path of Destruction" tour. With the expansion of the competitive season to May, these events now comprise the late-season stops of the regular stadium tours. World Finals The Monster Jam World Finals are the culmination of the Monster Jam winter season, featuring top drivers from the year. It is often referred to as the "Super Bowl of monster trucks" and features drivers competing for the racing and freestyle championships. For the first 19 World Finals, the event was held annually at Sam Boyd Stadium in Las Vegas, Nevada. On February 15, 2018, a new format was announced where the World Finals would rotate venues annually, beginning with World Finals XX. The original location for World Finals XX was set to be MetLife Stadium in East Rutherford, New Jersey, but it was later changed to Camping World Stadium in Orlando, Florida due to scheduling issues. World Finals XXI was scheduled for May 2–3, 2020, at Camping World Stadium. The event was later cancelled due to public health concerns regarding the international .[2] This is the first time that a Monster Jam World Finals event has been cancelled. The event would eventually happen in the same venue on May 21-22 2022. Hall of Fame On January 8, 2020, Monster Jam announced that they would be establishing a Hall of Fame, dedicated to honor those who, "have made immeasurable contributions to the sport".[3] Dennis Anderson, creator and former driver of Grave Digger, and Scott Douglass, longtime announcer of Monster Jam events, were announced as the inaugural class of the new Hall of Fame at a live event at Raymond James Stadium on January 11, 2020. Originally set to be inducted at a ceremony during the weekend of World Finals XXI,[4] the induction was held on February 27, 2021 during halftime of a show at Camping World Stadium.[5] On February 28, 2021, it was announced that Gary Porter, creator of Carolina Crusher and former driver of Grave Digger, and Mike Wales, former Senior Director of Fleet Operations,[6] would be inducted as part of the Hall of Fame 2021 Class.[7] Porter and Wales were inducted during a show at NRG Stadium on October 23, 2021.[8] Licensing See also: List of Monster Jam video games Mattel's Hot Wheels brand produced officially licensed toy versions of monster trucks under the Monster Jam name. They also sponsored a monster truck that competed in the series in previous years. Monster Jam and Mattel's contract ended in 2018. Monster Jam toys have been produced by Spin Master since January 2019. Nine officially licensed Monster Jam video games have been produced. The first two, Monster Jam: Maximum Destruction, a vehicular combat game, and Monster 4x4: Masters of Metal, an arcade racing game, were published by Ubisoft. The third, titled simply Monster Jam, was released by Activision on November 13, 2007, and a sequel to it titled Monster Jam: Urban Assault was released on October 28, 2008. A fifth game, Monster Jam: Path of Destruction, was released on November 9, 2010. On June 17, 2015, Monster Jam Battlegrounds was released as a download on Xbox Live and Steam. Monster Jam: Crush It! was released on Xbox One and PlayStation 4 on October 25, 2016, and was later released on Nintendo Switch on October 31, 2017. On June 25, 2019, Monster Jam Steel Titans was released on the PlayStation 4, PC, Xbox One, and Nintendo Switch. A sequel, Monster Jam Steel Titans 2, was released on March 2, 2021, for the same platforms as the first game. Traxxas released a series of radio controlled former and current Monster Jam monster trucks, including Bigfoot, Grave Digger, and Monster Mutt. Media coverage See also: List of Monster Jam episodes In the United States, Monster Jam originally aired on TNN and Speed, with season preview and World Finals recap packages occasionally airing on CBS as part of the CBS Sports Spectacular from 2007 to 2012. From 2014 to 2018, FS1 and FS2 aired events form the series. Beginning in 2019, NBC Sports started airing the show on NBCSN.[9] On February 15, 2023, it was announced that Monster Jam would be moving to MAVTV with a multi-year deal.[10] Recaps from each event are posted on Monster Jam's official YouTube account the following week. In 2020, during the international , Monster Jam began posting hour-long recaps of previous events recorded in 2019 and 2020, such as the 2019 All-Star Challenge. In 2020, Monster Jam introduced a subscription membership program for YouTube featuring videos of past events. New membership videos are posted each week." (wikipedia.org) "Motorsport(s), or motor sport(s), are sporting events, competitions and activities that primarily involve the use of automobiles. Historically, the terms have encompassed sporting use of other motorised vehicles including motorcycles, motorboats and powered aircraft, however, specific terms are now more commonly used in these areas such as motorcycle sport, power boating and air sports.[1][2][3][4] Different manifestations of motorsport with their own objectives and specific rulesets are known as disciplines; examples are circuit racing, rallying or trials. Governing bodies, also called sanctioning bodies, often have general rules for each discipline, allowing supplementary rules to define the character of competitions, series' or championships. Groups of these are often categorised informally, for example into vehicle type, surface type or propulsion method. Examples of categories within a discipline are formula racing, touring car racing, sports car racing etc." (wikipedia.org) "A monster truck is a specialized off-road vehicle with a heavy duty suspension, four-wheel steering, large-displacement V8 engines and oversized tires constructed for competition and entertainment uses. Originally created by modifying stock pickup trucks and sport utility vehicles (SUVs), they have evolved into purpose-built vehicles with tube-frame chassis and fiberglass bodies rather than metal. A competition monster truck is typically 12 feet (3.7 m) tall, and equipped with 66-inch (1.7 m) off-road tires. Monster trucks developed in the late 1970s and came into the public eye in the early 1980s as side acts at popular motocross, tractor pulling, and mud bogging events, where they were used in car-crushing demonstrations. Today they are usually the main attraction with motocross, mud bogging, ATV racing, or demolition derbies as supporting events. Events A typical track for arena monster truck shows from 2000-2014. The cars have ramps on one side for racing and are left bare on the other side for freestyle. The jumps around the perimeter are for ATV races. Monster truck shows typically have two main events, a race and a freestyle stunt driving competition. Races are conducted as a single-elimination tournament on short, symmetrical tracks, which may include obstacles such as junk cars or dirt mounds. The length and complexity of the track can vary with the size of the venue, with courses in indoor arenas typically being shorter with fewer obstacles. In freestyle events, each driver puts on a performance consisting of stunts such as obstacle jumps, backflips, wheelies, and doughnuts. A panel of judges assign points to each performance and the driver with the most points is declared the winner. Historically, additional vehicles for the drivers to crush, such as motor homes and school buses, were placed on the track specifically for the freestyle event, however incidents of debris flying into the stands and causing serious injuries have influenced most event promoters to turn away from such obstacles. Most freestyle courses now consist mostly of large mounds and ramps erected to allow the trucks to perform large jumps and wheelies upon landing. Freestyle performances have a set time limit and only one truck is allowed on the track at a time as a safety measure. Freestyle events are typically the final competition of a show, as damage to the trucks would make them unable to race. History The U.S. Air Force-themed Afterburner performing at the Monster Jam World Finals in Las Vegas in March 2008 In the late 1970s, heavily modified pickup trucks were becoming popular and the sports of mud bogging and truck pulling were gaining in popularity. Several truck owners had created lifted trucks to compete in such events, and soon competition to hold the title of "biggest truck" developed. The trucks which garnered the most national attention were Bob Chandler's Bigfoot, Everett Jasmer's USA-1, Fred Shafer and Jack Willman Sr.'s Bear Foot, and Jeff Dane's King Kong. At the time, the largest tires the trucks were running were 48 inches (1.2 m) in diameter. In April 1981, Bob Chandler drove over junked cars in Bigfoot in what is often believed to be the first monster truck to crush cars. Chandler drove Bigfoot over a pair of cars in a field as a test of the truck's ability, and filmed it to use as a promotional tool in his four-wheel drive performance shop. An event promoter saw the video of the car crush and asked Chandler to do it in front of a crowd. Initially hesitant because of the "destructive" image that could be associated with Bigfoot, Chandler eventually agreed. After some smaller shows, Chandler performed the feat in the Pontiac Silverdome in 1982. At this show, Chandler also debuted a new version of Bigfoot with 66-inch (170 cm) tires. At a prior event in the early 1980s, when Bigfoot was still running 48-inch (120 cm) tires, Bob George, one of the owners of a motorsport promotion company named Truck-a-rama – later known as the United States Hot Rod Association (USHRA) – is said to have coined the phrase "monster truck" when referring to Bigfoot. The term "monster truck" became the generic name for all trucks with oversized tires. King Kong and Bear Foot each followed Bigfoot to 66-inch-diameter (1.7 m) tires, and soon other monster trucks, such as King Krunch, Maddog, and Virginia Giant were being constructed. These early trucks were built on stock chassis which were heavily reinforced, used leaf spring suspension, a stock body, and heavy axles from military-specification vehicles to support the tires. For most of the early 1980s, monster trucks performed primarily exhibitions as a side show to truck pulling or mud bogging events. In August 1983, Bigfoot and USA-1 competed in the first side-by-side monster truck race, which was filmed for the television show That's Incredible. By 1985 major promoters, such as the USHRA and TNT Motorsports, were racing monster trucks on a regular basis. In 1988, TNT Motorsports created a series to establish the first national championship of monster truck racing; USA-1 and rookie driver Rod Litzau edged out Bigfoot, driven by Rich Hoosier, for the title. In 1988, to standardize rules for truck construction and safety, Bob Chandler, Braden, and George Carpenter formed the Monster Truck Racing Association (MTRA). The MTRA created standard safety rules to govern monster trucks. The organization still plays a major role in the sport's development in the US and EU. With racing taking precedence, several teams began to think in new ways as to how the trucks could be built. Towards the end of 1988, Gary Cook and David Morris debuted Equalizer, a truck with a combination of coil springs and shock absorbers as the main source of suspension rather than the standard of leaf springs and shock absorbers. In 1989, Jack Willman Sr., now with his own truck, Taurus, debuted a new truck which used a solid axle suspension system made of parallel four-link suspensions and coilovers that together weighed in at close to 9,000 pounds (4,100 kg). However, the biggest innovation came from Chandler, also in 1989, when the CAD-designed Bigfoot #8 debuted featuring a full tubular chassis and a long-travel suspension system made of triangulated four-link suspensions, bump stops, limit straps, cantilevers, and shock absorbers charged with nitrogen gas. The truck revolutionized how monster trucks were built, and within a few years most top-level teams built similar vehicles. In 1991, TNT was purchased by the USHRA and their points series were merged. The Special Events championship began to grow in popularity with teams as it had open qualifying spots which the invite-only USHRA championship did not have. The Special Events series lost its Pendaliner sponsorship in 1997. The short-lived ProMT series started in 2000. Even though racing was dominant as a competition, USHRA events began having freestyle exhibitions as early as 1993. These exhibitions were developed as drivers, notably Dennis Anderson of the extremely popular Grave Digger, began asking for time to come out and perform if they lost in early rounds of racing. Promoters began to notice the popularity of freestyle among fans, and in 2000 the USHRA began holding freestyle as a judged competition at events, and now awards a freestyle championship. Promoters The USHRA's Monster Jam series, now owned by Feld Entertainment, is currently the largest, touring through the United States, Canada and select regions of Europe. Other promoters of monster truck events include the Toughest Monster Truck Tour, the Monster X Tour, and Hot Wheels Monster Trucks Live. Truck construction This image of Grave Digger, minus much of its body work, reveals how far removed monster truck designs are from the traditional trucks they somewhat resemble. The first monster trucks built were pickup trucks and SUVs that were modified with larger suspension and larger tires. Today, trucks now have custom built tubular chassis, with four-link suspension to provide up to four feet (1.2 m) of clearance, and they also now have fiberglass bodies that attach to the chassis separately and are designed to be easily removed and easily replaced when damaged. The use of fiberglass panel bodies has allowed monster truck owners to develop a wide variety of thematic concept trucks that scarcely resemble the modified stock trucks that became early monster trucks. Engines are now typically mounted behind the driver on most trucks and are typically supercharged, run on a methanol-based fuel, and have displacement of up to 575 cubic inches (9.42 L). Axles are mostly taken from either heavy-duty military trucks or road vehicles such as school buses, and are modified to have a planetary gear reduction at the hub to help turn the tires. All trucks have hydraulic steering in both the front and the rear (four wheel steering), with the front wheels controlled by the steering wheel and the rear wheels by a toggle switch. The tires are typically "terra" tires used on farm equipment, and are of size 66-inch (170 cm) in diameter, 43-inch (110 cm) in width, and fit on 25-inch (64 cm) diameter rims. Most trucks utilize a modified or custom-designed automatic transmission, such as a Turbo 400, Powerglide, Ford C6 transmission, or a TorqueFlite 727. A limited number of trucks utilize a Lenco transmission, which traces its roots to drag racing. Most of the automatic transmissions are heavily modified with transbrakes, manual valve bodies, and heavy duty gear sets. Trucks running a Lenco use a centrifugal clutch as opposed to a torque converter, which are used in automatic transmissions. Lenco transmissions are usually found in two-speed or three speed configurations, and are commonly shifted using compressed carbon dioxide. The trucks have many safety features, several of which are required just to run in the indoor arenas that the trucks frequent. Trucks are equipped with three shut-off switches: a remote ignition interrupt (RII), which allows event stewards to stop a truck remotely, a switch within the driver's reach in the cab, and another at the rear of the truck so that all electrical power may be shut off in the event of a rollover. Many trucks are constructed with the driver sitting in the center of the cab for visibility. Most cabs are shielded with Lexan or comparable polycarbonate, which not only protects the driver from track debris, but also allows for increased visibility. Drivers are required to wear firesuits, safety harnesses, helmets, and head and neck restraints. Most moving parts on the truck are also shielded, and high pressure components have restraining straps, both in case of an explosion....Guinness World Records The world's biggest monster truck is Bigfoot 5, built in 1986, with tires that measure 10 feet (3.0 m).[3] The world's longest monster truck is the Sin City Hustler, which measures 32 feet (9.8 m) long and was created by Brad and Jen Campbell in 2014.[4] The fastest speed record for a monster truck was achieved on June 24, 2020, by Bryce Kenny in Great Clips Mohawk Warrior at a speed of 100.31 miles per hour (161.43 km/h)[5] as a part of Monster Jam Breaking World Records in Bradenton, Florida. The longest ramp jump done by a monster truck was achieved in 2013 by Joey Sylvester in Bad Habit at a distance of 237.7 feet (72.5 m).[citation needed] The first monster truck backflip in a scored competition was achieved in 2010 by Cam McQueen in Nitro Circus.[citation needed] The first monster truck front flip in a scored competition was achieved in 2017 by Lee O'Donnell in VP Racing Fuels’ Mad Scientist at Monster Jam World Finals 18.[6] In June 2020, with touring suspended due to the ic, Monster Jam staged an event for pay-per-view called Monster Jam Breaking World Records in Bradenton, Florida. As part of the event, many new Guinness-recognized world records were set. These include the highest ramp jump by a monster truck by Krysten Anderson in Grave Digger at a height of 10.3 metres (34 ft),[7] the most monster trucks jumped by a monster truck, by Adam Anderson in Megalodon, jumping over 8 trucks,[8] the most donuts (spins) in a monster truck in one minute by Bari Musawwir in Zombie, spinning 44 times, the most consecutive donuts (spins), also by Musawwir, with 58,[9] the longest stoppie (nose wheelie) by Tom Meents in Max-D, at 63.77 metres (209.2 ft),[10] the farthest bicycle (side wheelie) by Ryan Anderson in Son Uva Digger, at 271.83 metres (891.8 ft),[11] and the longest monster truck wheelie was by Adam Anderson in Grave Digger, at 190.46 m (624 ft 10.44 in)." (wikipedia.org) "Dennis Montague Anderson (born October 24, 1960)[1] is an American former professional monster truck driver. He is the creator, team owner, and former driver of "Grave Digger" on the USHRA Monster Jam circuit. Anderson is from Kill Devil Hills, North Carolina, where he currently resides.[1] Career Dennis started out as a mud bogger with his original truck in 1982. This truck was built using the body of a 1952 Ford pickup truck painted in red primer, and was dubbed Grave Digger after a boast made before a race. The truck was later rebuilt with larger wheels and using a 1951 Ford panel truck painted in silver and blue. At one local show, a scheduled monster truck failed to appear and Anderson, who already had large tractor tires on the truck, offered to crush cars in the absence of the full-size monster truck. The success of the event led Anderson to pursue monster trucks as a career. In 1986, Grave Digger was further modified and first received its distinctive black graveyard paint scheme. In 1987 and 1988 Anderson drove the truck primarily at TNT Motor sports races. In 1988 Anderson beat Bigfoot in Saint Paul, Minnesota, on a show taped for ESPN. Anderson moved to a newly built Grave Digger 2 in 1989, made with a 1950 Chevrolet panel van body. TNT began promoting Grave Digger heavily, especially for races on the Tuff Trax syndicated television series and ESPN's Powertrax. This was helped by Bigfoot running a limited schedule in the 1989 championship as Bigfoot 8 was deemed too advanced for the field. During the same year, construction of Grave Digger 3 had begun. While Dennis drove Grave Digger 2, his brother Leslie drove Grave Digger 1. When TNT became a part of the USHRA in 1991, Anderson began running on the USHRA tour and debuted his first four-link suspension truck, Grave Digger 3. In 1992, after Dennis Anderson was injured during an event in Louisville, Kentucky, he decided to build a better truck with a similar short wheelbase and a new tube frame, therefore Grave Digger 7 was constructed (numbers 4 and 5 having been franchised to other drivers and number 6 being a street-legal display truck). He drove that truck from 1992 until 1996, and was a regular on the USHRA syndicated series "Monster Wars". In 1997 he built and debuted Grave Digger 12, which would be inherited by former Carolina Crusher driver Gary Porter in early 2001. In late 1998, due to his financial difficulties, Anderson sold the Grave Digger team to SRO/Pace, then-owners of the USHRA, leading to controversy and accusations of rigged races due to Anderson driving for the same company that runs the events.[citation needed] In 1999 he won his first championship in the USHRA series. In 2001, he drove Mr. Destruction into a wall of cars as a special stunt for a show in the Louisiana Superdome. Anderson won the inaugural Monster Jam World Finals freestyle championship in 2000, and scored a racing championship win at the 2004 World Finals. He won another racing championship at the 2006 World Finals driving Grave Digger 20. Anderson has also won the 2010 World Finals Racing Championship also driving Grave Digger. Anderson was also a co-host on History Channel's Around the World in 80 Ways. His final event as a competitor took place in Tampa, Florida, at Raymond James Stadium on January 14, 2017, as he was injured and forced to miss the rest of the season. During Monster Jam's 2018 Season Kickoff Show on September 18, 2017, Anderson announced his retirement from the sport. He stated he would remain "behind the scenes" at events, working in the pits with his team. Injuries Anderson has had several injuries over his career. In late 1991 he broke his kneecap when he hit a wall at the Rosemont Horizon in Chicago, forcing him to sit out the 1992 winter season. He recovered and beat Jack Willman Jr. in Taurus at Carter Finley Stadium in Raleigh, North Carolina. Later in 1992, a hard side hit on the wall of Louisville Motor Speedway in Louisville, Kentucky broke several ribs near his backbone and caused recurring problems throughout his career. A nose-dive, AKA the lawn dart, at the Louisiana Superdome in New Orleans in 1999 aggravated the injury and caused Anderson to miss several shows over the next couple of years. He reinjured himself at a Special Events show in Bloomsburg, Pennsylvania. A broken hand from a non-driving accident in Philadelphia 2003 sat him out for half of the year. A lesser-known injury happened during the summer of 2006 in a non-monster truck accident when Anderson injured his wrist. He also suffered a shoulder injury at the Metrodome in late 2006, in which his son Adam Anderson drove Grave Digger at shows in early 2007 until The Monster Jam World Finals 8. In 2017, Anderson was hospitalized following an accident while attempting a backflip.[2] On March 10, 2017, it was announced on that Anderson would not compete in World Finals 18 due to the previously stated injury he would retire later that year. Hallmarks Anderson has often crashed or damaged his truck early in racing rounds due to his driving style. For this reason, he had a nickname of "One Run Anderson". Back in his early mud bogging days, he was known for running full throttle, flinging mud everywhere. He would either make a mess going through, or break the truck from heavy strain during most events. Coincidentally and fitting enough, his most recent work has brought Anderson 'full circle' – back to the mud – a custom built monster mud truck called King Sling. The truck, a 1941 Willys truck with custom-cut tractor tires and modern chassis and suspension components, carries twice the horsepower at half the weight of his monster truck Grave Digger. The truck is a favorite exhibition vehicle at mud bogs as it is a combination of monster mud vehicle with the monster mud driver. Awards     Motor Madness World Finals Points Champion - 1999     USHRA World Finals Freestyle Champion – 2000     USHRA World Finals Racing Champion – 2004, 2006, 2010     Inducted in the International Monster Truck Hall of Fame - 2012     Inducted in the Monster Jam Hall Of Fame - 2020" (wikipedia.org) "Halloween or Hallowe'en (less commonly known as Allhalloween,[5] All Hallows' Eve,[6] or All Saints' Eve)[7] is a celebration observed in many countries on 31 October, the eve of the Western Christian feast of All Saints' Day. It begins the observance of Allhallowtide,[8] the time in the liturgical year dedicated to remembering the dead, including saints (hallows), martyrs, and all the faithful departed.[9][10][11][12] One theory holds that many Halloween traditions were influenced by Celtic harvest festivals, particularly the Gaelic festival Samhain, which are believed to have pagan roots.[13][14][15][16] Some go further and suggest that Samhain may have been Christianized as All Hallow's Day, along with its eve, by the early Church.[17] Other academics believe Halloween began solely as a Christian holiday, being the vigil of All Hallow's Day.[18][19][20][21] Celebrated in Ireland and Scotland for centuries, Irish and Scottish immigrants took many Halloween customs to North America in the 19th century,[22][23] and then through American influence various Halloween customs spread to other countries by the late 20th and early 21st century.[24][25] Popular Halloween activities include trick-or-treating (or the related guising and souling), attending Halloween costume parties, carving pumpkins or turnips into jack-o'-lanterns, lighting bonfires, apple bobbing, divination games, playing pranks, visiting haunted attractions, telling scary stories, and watching horror or Halloween-themed films.[26] Some people practice the Christian observances of All Hallows' Eve, including attending church services and lighting candles on the graves of the dead,[27][28][29] although it is a secular celebration for others.[30][31][32] Some Christians historically abstained from meat on All Hallows' Eve, a tradition reflected in the eating of certain vegetarian foods on this vigil day, including apples, potato pancakes, and soul cakes.[33][34][35][36] Etymology "Halloween" (1785) by Scottish poet Robert Burns, recounts various legends of the holiday. The word Halloween or Hallowe'en ("Saints' evening"[37]) is of Christian origin;[38][39] a term equivalent to "All Hallows Eve" is attested in Old English.[40] The word hallowe[']en comes from the Scottish form of All Hallows' Eve (the evening before All Hallows' Day):[41] even is the Scots term for "eve" or "evening",[42] and is contracted to e'en or een;[43] (All) Hallow(s) E(v)en became Hallowe'en. History Christian origins and historic customs Halloween is thought to have influences from Christian beliefs and practices.[44][45] The English word 'Halloween' comes from "All Hallows' Eve", being the evening before the Christian holy days of All Hallows' Day (All Saints' Day) on 1 November and All Souls' Day on 2 November.[46] Since the time of the early Church,[47] major feasts in Christianity (such as Christmas, Easter and Pentecost) had vigils that began the night before, as did the feast of All Hallows'.[48][44] These three days are collectively called Allhallowtide and are a time when Western Christians honour all saints and pray for recently departed souls who have yet to reach Heaven. Commemorations of all saints and martyrs were held by several churches on various dates, mostly in springtime.[49] In 4th-century Roman Edessa it was held on 13 May, and on 13 May 609, Pope Boniface IV re-dedicated the Pantheon in Rome to "St Mary and all martyrs".[50] This was the date of Lemuria, an ancient Roman festival of the dead.[51] In the 8th century, Pope Gregory III (731–741) founded an oratory in St Peter's for the relics "of the holy apostles and of all saints, martyrs and confessors".[44][52] Some sources say it was dedicated on 1 November,[53] while others say it was on Palm Sunday in April 732.[54][55] By 800, there is evidence that churches in Ireland[56] and Northumbria were holding a feast commemorating all saints on 1 November.[57] Alcuin of Northumbria, a member of Charlemagne's court, may then have introduced this 1 November date in the Frankish Empire.[58] In 835, it became the official date in the Frankish Empire.[57] Some suggest this was due to Celtic influence, while others suggest it was a Germanic idea,[57] although it is claimed that both Germanic and Celtic-speaking peoples commemorated the dead at the beginning of winter.[59] They may have seen it as the most fitting time to do so, as it is a time of 'dying' in nature.[57][59] It is also suggested the change was made on the "practical grounds that Rome in summer could not accommodate the great number of pilgrims who flocked to it", and perhaps because of public health concerns over Roman Fever, which claimed a number of lives during Rome's sultry summers.[60][44] On All Hallows' Eve, Christians in some parts of the world visit cemeteries to pray and place flowers and candles on the graves of their loved ones.[61] Top: Christians in Bangladesh lighting candles on the headstone of a relative. Bottom: Lutheran Christians praying and lighting candles in front of the central crucifix of a graveyard. By the end of the 12th century, the celebration had become known as the holy days of obligation in Western Christianity and involved such traditions as ringing church bells for souls in purgatory. It was also "customary for criers dressed in black to parade the streets, ringing a bell of mournful sound and calling on all good Christians to remember the poor souls".[62] The Allhallowtide custom of baking and sharing soul cakes for all christened souls,[63] has been suggested as the origin of trick-or-treating.[64] The custom dates back at least as far as the 15th century[65] and was found in parts of England, Wales, Flanders, Bavaria and Austria.[66] Groups of poor people, often children, would go door-to-door during Allhallowtide, collecting soul cakes, in exchange for praying for the dead, especially the souls of the givers' friends and relatives. This was called "souling".[65][67][68] Soul cakes were also offered for the souls themselves to eat,[66] or the 'soulers' would act as their representatives.[69] As with the Lenten tradition of hot cross buns, soul cakes were often marked with a cross, indicating they were baked as alms.[70] Shakespeare mentions souling in his comedy The Two Gentlemen of Verona (1593).[71] While souling, Christians would carry "lanterns made of hollowed-out turnips", which could have originally represented souls of the dead;[72][73] jack-o'-lanterns were used to ward off evil spirits.[74][75] On All Saints' and All Souls' Day during the 19th century, candles were lit in homes in Ireland,[76] Flanders, Bavaria, and in Tyrol, where they were called "soul lights",[77] that served "to guide the souls back to visit their earthly homes".[78] In many of these places, candles were also lit at graves on All Souls' Day.[77] In Brittany, libations of milk were poured on the graves of kinfolk,[66] or food would be left overnight on the dinner table for the returning souls;[77] a custom also found in Tyrol and parts of Italy.[79][77] Christian minister Prince Sorie Conteh linked the wearing of costumes to the belief in vengeful ghosts: "It was traditionally believed that the souls of the departed wandered the earth until All Saints' Day, and All Hallows' Eve provided one last chance for the dead to gain vengeance on their enemies before moving to the next world. In order to avoid being recognized by any soul that might be seeking such vengeance, people would don masks or costumes".[80] In the Middle Ages, churches in Europe that were too poor to display relics of martyred saints at Allhallowtide let parishioners dress up as saints instead.[81][82] Some Christians observe this custom at Halloween today.[83] Lesley Bannatyne believes this could have been a Christianization of an earlier pagan custom.[84] Many Christians in mainland Europe, especially in France, believed "that once a year, on Hallowe'en, the dead of the churchyards rose for one wild, hideous carnival" known as the danse macabre, which was often depicted in church decoration.[85] Christopher Allmand and Rosamond McKitterick write in The New Cambridge Medieval History that the danse macabre urged Christians "not to forget the end of all earthly things".[86] The danse macabre was sometimes enacted in European village pageants and court masques, with people "dressing up as corpses from various strata of society", and this may be the origin of Halloween costume parties.[87][88][89][72] In Britain, these customs came under attack during the Reformation, as Protestants berated purgatory as a "popish" doctrine incompatible with the Calvinist doctrine of predestination. State-sanctioned ceremonies associated with the intercession of saints and prayer for souls in purgatory were abolished during the Elizabethan reform, though All Hallow's Day remained in the English liturgical calendar to "commemorate saints as godly human beings".[90] For some Nonconformist Protestants, the theology of All Hallows' Eve was redefined; "souls cannot be journeying from Purgatory on their way to Heaven, as Catholics frequently believe and assert. Instead, the so-called ghosts are thought to be in actuality evil spirits".[91] Other Protestants believed in an intermediate state known as Hades (Bosom of Abraham).[92] In some localities, Catholics and Protestants continued souling, candlelit processions, or ringing church bells for the dead;[46][93] the Anglican church eventually suppressed this bell-ringing.[94] Mark Donnelly, a professor of medieval archaeology, and historian Daniel Diehl write that "barns and homes were blessed to protect people and livestock from the effect of witches, who were believed to accompany the malignant spirits as they traveled the earth".[95] After 1605, Hallowtide was eclipsed in England by Guy Fawkes Night (5 November), which appropriated some of its customs.[96] In England, the ending of official ceremonies related to the intercession of saints led to the development of new, unofficial Hallowtide customs. In 18th–19th century rural Lancashire, Catholic families gathered on hills on the night of All Hallows' Eve. One held a bunch of burning straw on a pitchfork while the rest knelt around him, praying for the souls of relatives and friends until the flames went out. This was known as teen'lay.[97] There was a similar custom in Hertfordshire, and the lighting of 'tindle' fires in Derbyshire.[98] Some suggested these 'tindles' were originally lit to "guide the poor souls back to earth".[99] In Scotland and Ireland, old Allhallowtide customs that were at odds with Reformed teaching were not suppressed as they "were important to the life cycle and rites of passage of local communities" and curbing them would have been difficult.[22] In parts of Italy until the 15th century, families left a meal out for the ghosts of relatives, before leaving for church services.[79] In 19th-century Italy, churches staged "theatrical re-enactments of scenes from the lives of the saints" on All Hallow's Day, with "participants represented by realistic wax figures".[79] In 1823, the graveyard of Holy Spirit Hospital in Rome presented a scene in which bodies of those who recently died were arrayed around a wax statue of an angel who pointed upward towards heaven.[79] In the same country, "parish priests went house-to-house, asking for small gifts of food which they shared among themselves throughout that night".[79] In Spain, they continue to bake special pastries called "bones of the holy" (Spanish: Huesos de Santo) and set them on graves.[100] At cemeteries in Spain and France, as well as in Latin America, priests lead Christian processions and services during Allhallowtide, after which people keep an all night vigil.[101] In 19th-century San Sebastián, there was a procession to the city cemetery at Allhallowtide, an event that drew beggars who "appeal[ed] to the tender recollectons of one's deceased relations and friends" for sympathy.[102] Gaelic folk influence An early 20th-century Irish Halloween mask displayed at the Museum of Country Life Today's Halloween customs are thought to have been influenced by folk customs and beliefs from the Celtic-speaking countries, some of which are believed to have pagan roots.[103] Jack Santino, a folklorist, writes that "there was throughout Ireland an uneasy truce existing between customs and beliefs associated with Christianity and those associated with religions that were Irish before Christianity arrived".[104] The origins of Halloween customs are typically linked to the Gaelic festival Samhain.[105] Samhain is one of the quarter days in the medieval Gaelic calendar and has been celebrated on 31 October – 1 November[106] in Ireland, Scotland and the Isle of Man.[107][108] A kindred festival has been held by the Brittonic Celts, called Calan Gaeaf in Wales, Kalan Gwav in Cornwall and Kalan Goañv in Brittany; a name meaning "first day of winter". For the Celts, the day ended and began at sunset; thus the festival begins the evening before 1 November by modern reckoning.[109] Samhain is mentioned in some of the earliest Irish literature. The names have been used by historians to refer to Celtic Halloween customs up until the 19th century,[110] and are still the Gaelic and Welsh names for Halloween. Snap-Apple Night, painted by Daniel Maclise in 1833, shows people feasting and playing divination games on Halloween in Ireland.[111] Samhain marked the end of the harvest season and beginning of winter or the 'darker half' of the year.[112][113] It was seen as a liminal time, when the boundary between this world and the Otherworld thinned. This meant the Aos Sí, the 'spirits' or 'fairies', could more easily come into this world and were particularly active.[114][115] Most scholars see them as "degraded versions of ancient gods [...] whose power remained active in the people's minds even after they had been officially replaced by later religious beliefs".[116] They were both respected and feared, with individuals often invoking the protection of God when approaching their dwellings.[117][118] At Samhain, the Aos Sí were appeased to ensure the people and livestock survived the winter. Offerings of food and drink, or portions of the crops, were left outside for them.[119][120][121] The souls of the dead were also said to revisit their homes seeking hospitality.[122] Places were set at the dinner table and by the fire to welcome them.[123] The belief that the souls of the dead return home on one night of the year and must be appeased seems to have ancient origins and is found in many cultures.[66] In 19th century Ireland, "candles would be lit and prayers formally offered for the souls of the dead. After this the eating, drinking, and games would begin".[124] Throughout Ireland and Britain, especially in the Celtic-speaking regions, the household festivities included divination rituals and games intended to foretell one's future, especially regarding death and marriage.[125] Apples and nuts were often used, and customs included apple bobbing, nut roasting, scrying or mirror-gazing, pouring molten lead or egg whites into water, dream interpretation, and others.[126] Special bonfires were lit and there were rituals involving them. Their flames, smoke, and ashes were deemed to have protective and cleansing powers.[112] In some places, torches lit from the bonfire were carried sunwise around homes and fields to protect them.[110] It is suggested the fires were a kind of imitative or sympathetic magic – they mimicked the Sun and held back the decay and darkness of winter.[123][127][128] They were also used for divination and to ward off evil spirits.[74] In Scotland, these bonfires and divination games were banned by the church elders in some parishes.[129] In Wales, bonfires were also lit to "prevent the souls of the dead from falling to earth".[130] Later, these bonfires "kept away the devil".[131] photograph A plaster cast of a traditional Irish Halloween turnip (rutabaga) lantern on display in the Museum of Country Life, Ireland[132] From at least the 16th century,[133] the festival included mumming and guising in Ireland, Scotland, the Isle of Man and Wales.[134] This involved people going house-to-house in costume (or in disguise), usually reciting verses or songs in exchange for food. It may have originally been a tradition whereby people impersonated the Aos Sí, or the souls of the dead, and received offerings on their behalf, similar to 'souling'. Impersonating these beings, or wearing a disguise, was also believed to protect oneself from them.[135] In parts of southern Ireland, the guisers included a hobby horse. A man dressed as a Láir Bhán (white mare) led youths house-to-house reciting verses – some of which had pagan overtones – in exchange for food. If the household donated food it could expect good fortune from the 'Muck Olla'; not doing so would bring misfortune.[136] In Scotland, youths went house-to-house with masked, painted or blackened faces, often threatening to do mischief if they were not welcomed.[134] F. Marian McNeill suggests the ancient festival included people in costume representing the spirits, and that faces were marked or blackened with ashes from the sacred bonfire.[133] In parts of Wales, men went about dressed as fearsome beings called gwrachod.[134] In the late 19th and early 20th century, young people in Glamorgan and Orkney cross-dressed.[134] Elsewhere in Europe, mumming was part of other festivals, but in the Celtic-speaking regions, it was "particularly appropriate to a night upon which supernatural beings were said to be abroad and could be imitated or warded off by human wanderers".[134] From at least the 18th century, "imitating malignant spirits" led to playing pranks in Ireland and the Scottish Highlands. Wearing costumes and playing pranks at Halloween did not spread to England until the 20th century.[134] Pranksters used hollowed-out turnips or mangel wurzels as lanterns, often carved with grotesque faces.[134] By those who made them, the lanterns were variously said to represent the spirits,[134] or used to ward off evil spirits.[137][138] They were common in parts of Ireland and the Scottish Highlands in the 19th century,[134] as well as in Somerset (see Punkie Night). In the 20th century they spread to other parts of Britain and became generally known as jack-o'-lanterns.[134] Spread to North America The annual New York Halloween Parade in Greenwich Village, Manhattan, is the world's largest Halloween parade, with millions of spectators annually, and has its roots in New York's queer community.[139] Lesley Bannatyne and Cindy Ott write that Anglican colonists in the southern United States and Catholic colonists in Maryland "recognized All Hallow's Eve in their church calendars",[140][141] although the Puritans of New England strongly opposed the holiday, along with other traditional celebrations of the established Church, including Christmas.[142] Almanacs of the late 18th and early 19th century give no indication that Halloween was widely celebrated in North America.[22] It was not until after mass Irish and Scottish immigration in the 19th century that Halloween became a major holiday in America.[22] Most American Halloween traditions were inherited from the Irish and Scots,[23][143] though "In Cajun areas, a nocturnal Mass was said in cemeteries on Halloween night. Candles that had been blessed were placed on graves, and families sometimes spent the entire night at the graveside".[144] Originally confined to these immigrant communities, it was gradually assimilated into mainstream society and was celebrated coast to coast by people of all social, racial, and religious backgrounds by the early 20th century.[145] Then, through American influence, these Halloween traditions spread to many other countries by the late 20th and early 21st century, including to mainland Europe and some parts of the Far East.[24][25][146] Symbols At Halloween, yards, public spaces, and some houses may be decorated with traditionally macabre symbols including skeletons, ghosts, cobwebs, headstones, and scary looking witches. Development of artifacts and symbols associated with Halloween formed over time. Jack-o'-lanterns are traditionally carried by guisers on All Hallows' Eve in order to frighten evil spirits.[73][147] There is a popular Irish Christian folktale associated with the jack-o'-lantern,[148] which in folklore is said to represent a "soul who has been denied entry into both heaven and hell":[149]     On route home after a night's drinking, Jack encounters the Devil and tricks him into climbing a tree. A quick-thinking Jack etches the sign of the cross into the bark, thus trapping the Devil. Jack strikes a bargain that Satan can never claim his soul. After a life of sin, drink, and mendacity, Jack is refused entry to heaven when he dies. Keeping his promise, the Devil refuses to let Jack into hell and throws a live coal straight from the fires of hell at him. It was a cold night, so Jack places the coal in a hollowed out turnip to stop it from going out, since which time Jack and his lantern have been roaming looking for a place to rest.[150] In Ireland and Scotland, the turnip has traditionally been carved during Halloween,[151][152] but immigrants to North America used the native pumpkin, which is both much softer and much larger, making it easier to carve than a turnip.[151] The American tradition of carving pumpkins is recorded in 1837[153] and was originally associated with harvest time in general, not becoming specifically associated with Halloween until the mid-to-late 19th century.[154] Decorated house in Weatherly, Pennsylvania The modern imagery of Halloween comes from many sources, including Christian eschatology, national customs, works of Gothic and horror literature (such as the novels Frankenstein; or, The Modern Prometheus and Dracula) and classic horror films such as Frankenstein (1931) and The Mummy (1932).[155][156] Imagery of the skull, a reference to Golgotha in the Christian tradition, serves as "a reminder of death and the transitory quality of human life" and is consequently found in memento mori and vanitas compositions;[157] skulls have therefore been commonplace in Halloween, which touches on this theme.[158] Traditionally, the back walls of churches are "decorated with a depiction of the Last Judgment, complete with graves opening and the dead rising, with a heaven filled with angels and a hell filled with devils", a motif that has permeated the observance of this triduum.[159] One of the earliest works on the subject of Halloween is from Scottish poet John Mayne, who, in 1780, made note of pranks at Halloween; "What fearfu' pranks ensue!", as well as the supernatural associated with the night, "bogles" (ghosts),[160] influencing Robert Burns' "Halloween" (1785).[161] Elements of the autumn season, such as pumpkins, corn husks, and scarecrows, are also prevalent. Homes are often decorated with these types of symbols around Halloween. Halloween imagery includes themes of death, evil, and mythical monsters.[162] Black cats, which have been long associated with witches, are also a common symbol of Halloween. Black, orange, and sometimes purple are Halloween's traditional colors.[163] Trick-or-treating and guising Main article: Trick-or-treating Trick-or-treaters in Sweden Trick-or-treating is a customary celebration for children on Halloween. Children go in costume from house to house, asking for treats such as candy or sometimes money, with the question, "Trick or treat?" The word "trick" implies a "threat" to perform mischief on the homeowners or their property if no treat is given.[64] The practice is said to have roots in the medieval practice of mumming, which is closely related to souling.[164] John Pymm wrote that "many of the feast days associated with the presentation of mumming plays were celebrated by the Christian Church."[165] These feast days included All Hallows' Eve, Christmas, Twelfth Night and Shrove Tuesday.[166][167] Mumming practiced in Germany, Scandinavia and other parts of Europe,[168] involved masked persons in fancy dress who "paraded the streets and entered houses to dance or play dice in silence".[169] Girl in a Halloween costume in 1928, Ontario, Canada, the same province where the Scottish Halloween custom of guising was first recorded in North America In England, from the medieval period,[170] up until the 1930s,[171] people practiced the Christian custom of souling on Halloween, which involved groups of soulers, both Protestant and Catholic,[93] going from parish to parish, begging the rich for soul cakes, in exchange for praying for the souls of the givers and their friends.[67] In the Philippines, the practice of souling is called Pangangaluluwa and is practiced on All Hallow's Eve among children in rural areas.[26] People drape themselves in white cloths to represent souls and then visit houses, where they sing in return for prayers and sweets.[26] In Scotland and Ireland, guising – children disguised in costume going from door to door for food or coins – is a traditional Halloween custom.[172] It is recorded in Scotland at Halloween in 1895 where masqueraders in disguise carrying lanterns made out of scooped out turnips, visit homes to be rewarded with cakes, fruit, and money.[152][173] In Ireland, the most popular phrase for kids to shout (until the 2000s) was "Help the Halloween Party".[172] The practice of guising at Halloween in North America was first recorded in 1911, where a newspaper in Kingston, Ontario, Canada, reported children going "guising" around the neighborhood.[174] American historian and author Ruth Edna Kelley of Massachusetts wrote the first book-length history of Halloween in the US; The Book of Hallowe'en (1919), and references souling in the chapter "Hallowe'en in America".[175] In her book, Kelley touches on customs that arrived from across the Atlantic; "Americans have fostered them, and are making this an occasion something like what it must have been in its best days overseas. All Halloween customs in the United States are borrowed directly or adapted from those of other countries".[176] While the first reference to "guising" in North America occurs in 1911, another reference to ritual begging on Halloween appears, place unknown, in 1915, with a third reference in Chicago in 1920.[177] The earliest known use in print of the term "trick or treat" appears in 1927, in the Blackie Herald, of Alberta, Canada.[178] An automobile trunk at a trunk-or-treat event at St. John Lutheran Church and Early Learning Center in Darien, Illinois The thousands of Halloween postcards produced between the turn of the 20th century and the 1920s commonly show children but not trick-or-treating.[179] Trick-or-treating does not seem to have become a widespread practice in North America until the 1930s, with the first US appearances of the term in 1934,[180] and the first use in a national publication occurring in 1939.[181] A popular variant of trick-or-treating, known as trunk-or-treating (or Halloween tailgating), occurs when "children are offered treats from the trunks of cars parked in a church parking lot", or sometimes, a school parking lot.[100][182] In a trunk-or-treat event, the trunk (boot) of each automobile is decorated with a certain theme,[183] such as those of children's literature, movies, scripture, and job roles.[184] Trunk-or-treating has grown in popularity due to its perception as being more safe than going door to door, a point that resonates well with parents, as well as the fact that it "solves the rural conundrum in which homes [are] built a half-mile apart".[185][186] Costumes Main article: Halloween costume Halloween costumes were traditionally modeled after figures such as vampires, ghosts, skeletons, scary looking witches, and devils.[64] Over time, the costume selection extended to include popular characters from fiction, celebrities, and generic archetypes such as ninjas and princesses. Halloween shop in Derry, Northern Ireland, selling masks Dressing up in costumes and going "guising" was prevalent in Scotland and Ireland at Halloween by the late 19th century.[152] A Scottish term, the tradition is called "guising" because of the disguises or costumes worn by the children.[173] In Ireland and Scotland, the masks are known as 'false faces',[38][187] a term recorded in Ayr, Scotland in 1890 by a Scot describing guisers: "I had mind it was Halloween . . . the wee callans (boys) were at it already, rinning aboot wi’ their fause-faces (false faces) on and their bits o’ turnip lanthrons (lanterns) in their haun (hand)".[38] Costuming became popular for Halloween parties in the US in the early 20th century, as often for adults as for children, and when trick-or-treating was becoming popular in Canada and the US in the 1920s and 1930s.[178][188] Eddie J. Smith, in his book Halloween, Hallowed is Thy Name, offers a religious perspective to the wearing of costumes on All Hallows' Eve, suggesting that by dressing up as creatures "who at one time caused us to fear and tremble", people are able to poke fun at Satan "whose kingdom has been plundered by our Saviour". Images of skeletons and the dead are traditional decorations used as memento mori.[189][190] "Trick-or-Treat for UNICEF" is a fundraising program to support UNICEF,[64] a United Nations Programme that provides humanitarian aid to children in developing countries. Started as a local event in a Northeast Philadelphia neighborhood in 1950 and expanded nationally in 1952, the program involves the distribution of small boxes by schools (or in modern times, corporate sponsors like Hallmark, at their licensed stores) to trick-or-treaters, in which they can solicit small-change donations from the houses they visit. It is estimated that children have collected more than $118 million for UNICEF since its inception. In Canada, in 2006, UNICEF decided to discontinue their Halloween collection boxes, citing safety and administrative concerns; after consultation with schools, they instead redesigned the program.[191][192] The yearly New York's Village Halloween Parade was begun in 1974; it is the world's largest Halloween parade and America's only major nighttime parade, attracting more than 60,000 costumed participants, two million spectators, and a worldwide television audience.[193] Since the late 2010s, ethnic stereotypes as costumes have increasingly come under scrutiny in the United States.[194] Such and other potentially offensive costumes have been met with increasing public disapproval.[195][196] Pet costumes According to a 2018 report from the National Retail Federation, 30 million Americans will spend an estimated $480 million on Halloween costumes for their pets in 2018. This is up from an estimated $200 million in 2010. The most popular costumes for pets are the pumpkin, followed by the hot dog, and the bumblebee in third place.[197] Games and other activities In this 1904 Halloween greeting card, divination is depicted: the young woman looking into a mirror in a darkened room hopes to catch a glimpse of her future husband. There are several games traditionally associated with Halloween. Some of these games originated as divination rituals or ways of foretelling one's future, especially regarding death, marriage and children. During the Middle Ages, these rituals were done by a "rare few" in rural communities as they were considered to be "deadly serious" practices.[198] In recent centuries, these divination games have been "a common feature of the household festivities" in Ireland and Britain.[125] They often involve apples and hazelnuts. In Celtic mythology, apples were strongly associated with the Otherworld and immortality, while hazelnuts were associated with divine wisdom.[199] Some also suggest that they derive from Roman practices in celebration of Pomona.[64] Children bobbing for apples at Hallowe'en The following activities were a common feature of Halloween in Ireland and Britain during the 17th–20th centuries. Some have become more widespread and continue to be popular today. One common game is apple bobbing or dunking (which may be called "dooking" in Scotland)[200] in which apples float in a tub or a large basin of water and the participants must use only their teeth to remove an apple from the basin. A variant of dunking involves kneeling on a chair, holding a fork between the teeth and trying to drive the fork into an apple. Another common game involves hanging up treacle or syrup-coated scones by strings; these must be eaten without using hands while they remain attached to the string, an activity that inevitably leads to a sticky face. Another once-popular game involves hanging a small wooden rod from the ceiling at head height, with a lit candle on one end and an apple hanging from the other. The rod is spun round and everyone takes turns to try to catch the apple with their teeth.[201] Image from the Book of Hallowe'en (1919) showing several Halloween activities, such as nut roasting Several of the traditional activities from Ireland and Britain involve foretelling one's future partner or spouse. An apple would be peeled in one long strip, then the peel tossed over the shoulder. The peel is believed to land in the shape of the first letter of the future spouse's name.[202][203] Two hazelnuts would be roasted near a fire; one named for the person roasting them and the other for the person they desire. If the nuts jump away from the heat, it is a bad sign, but if the nuts roast quietly it foretells a good match.[204][205] A salty oatmeal bannock would be baked; the person would eat it in three bites and then go to bed in silence without anything to drink. This is said to result in a dream in which their future spouse offers them a drink to quench their thirst.[206] Unmarried women were told that if they sat in a darkened room and gazed into a mirror on Halloween night, the face of their future husband would appear in the mirror.[207] The custom was widespread enough to be commemorated on greeting cards[208] from the late 19th century and early 20th century. Another popular Irish game was known as púicíní ("blindfolds"); a person would be blindfolded and then would choose between several saucers. The item in the saucer would provide a hint as to their future: a ring would mean that they would marry soon; clay, that they would die soon, perhaps within the year; water, that they would emigrate; rosary beads, that they would take Holy Orders (become a nun, priest, monk, etc.); a coin, that they would become rich; a bean, that they would be poor.[209][210][211][212] The game features prominently in the James Joyce short story "Clay" (1914).[213][214][215] In Ireland and Scotland, items would be hidden in food – usually a cake, barmbrack, cranachan, champ or colcannon – and portions of it served out at random. A person's future would be foretold by the item they happened to find; for example, a ring meant marriage and a coin meant wealth.[216] Up until the 19th century, the Halloween bonfires were also used for divination in parts of Scotland, Wales and Brittany. When the fire died down, a ring of stones would be laid in the ashes, one for each person. In the morning, if any stone was mislaid it was said that the person it represented would not live out the year.[110] Telling ghost stories, listening to Halloween-themed songs and watching horror films are common fixtures of Halloween parties. Episodes of television series and Halloween-themed specials (with the specials usually aimed at children) are commonly aired on or before Halloween, while new horror films are often released before Halloween to take advantage of the holiday. Haunted attractions Main article: Haunted attraction (simulated) Humorous tombstones in front of a house in California Humorous display window in Historic 25th Street, Ogden, Utah Haunted attractions are entertainment venues designed to thrill and scare patrons. Most attractions are seasonal Halloween businesses that may include haunted houses, corn mazes, and hayrides,[217] and the level of sophistication of the effects has risen as the industry has grown. The first recorded purpose-built haunted attraction was the Orton and Spooner Ghost House, which opened in 1915 in Liphook, England. This attraction actually most closely resembles a carnival fun house, powered by steam.[218][219] The House still exists, in the Hollycombe Steam Collection. It was during the 1930s, about the same time as trick-or-treating, that Halloween-themed haunted houses first began to appear in America. It was in the late 1950s that haunted houses as a major attraction began to appear, focusing first on California. Sponsored by the Children's Health Home Junior Auxiliary, the San Mateo Haunted House opened in 1957. The San Bernardino Assistance League Haunted House opened in 1958. Home haunts began appearing across the country during 1962 and 1963. In 1964, the San Manteo Haunted House opened, as well as the Children's Museum Haunted House in Indianapolis.[220] The haunted house as an American cultural icon can be attributed to the opening of The Haunted Mansion in Disneyland on 12 August 1969.[221] Knott's Berry Farm began hosting its own Halloween night attraction, Knott's Scary Farm, which opened in 1973.[222] Evangelical Christians adopted a form of these attractions by opening one of the first "hell houses" in 1972.[223] The first Halloween haunted house run by a nonprofit organization was produced in 1970 by the Sycamore-Deer Park Jaycees in Clifton, Ohio. It was cosponsored by WSAI, an AM radio station broadcasting out of Cincinnati, Ohio. It was last produced in 1982.[224] Other Jaycees followed suit with their own versions after the success of the Ohio house. The March of Dimes copyrighted a "Mini haunted house for the March of Dimes" in 1976 and began fundraising through their local chapters by conducting haunted houses soon after. Although they apparently quit supporting this type of event nationally sometime in the 1980s, some March of Dimes haunted houses have persisted until today.[225] On the evening of 11 May 1984, in Jackson Township, New Jersey, the Haunted Castle at Six Flags Great Adventure caught fire. As a result of the fire, eight teenagers perished.[226] The backlash to the tragedy was a tightening of regulations relating to safety, building codes and the frequency of inspections of attractions nationwide. The smaller venues, especially the nonprofit attractions, were unable to compete financially, and the better funded commercial enterprises filled the vacuum.[227][228] Facilities that were once able to avoid regulation because they were considered to be temporary installations now had to adhere to the stricter codes required of permanent attractions.[229][230][231] In the late 1980s and early 1990s, theme parks entered the business seriously. Six Flags Fright Fest began in 1986 and Universal Studios Florida began Halloween Horror Nights in 1991. Knott's Scary Farm experienced a surge in attendance in the 1990s as a result of America's obsession with Halloween as a cultural event. Theme parks have played a major role in globalizing the holiday. Universal Studios Singapore and Universal Studios Japan both participate, while Disney now mounts Mickey's Not-So-Scary Halloween Party events at its parks in Paris, Hong Kong and Tokyo, as well as in the United States.[232] The theme park haunts are by far the largest, both in scale and attendance.[233] Food Pumpkins for sale during Halloween On All Hallows' Eve, many Western Christian denominations encourage abstinence from meat, giving rise to a variety of vegetarian foods associated with this day.[234] A candy apple Because in the Northern Hemisphere Halloween comes in the wake of the yearly apple harvest, candy apples (known as toffee apples outside North America), caramel apples or taffy apples are common Halloween treats made by rolling whole apples in a sticky sugar syrup, sometimes followed by rolling them in nuts. At one time, candy apples were commonly given to trick-or-treating children, but the practice rapidly waned in the wake of widespread rumors that some individuals were embedding items like pins and razor blades in the apples in the United States.[235] While there is evidence of such incidents,[236] relative to the degree of reporting of such cases, actual cases involving malicious acts are extremely rare and have never resulted in serious injury. Nonetheless, many parents assumed that such heinous practices were rampant because of the mass media. At the peak of the hysteria, some hospitals offered free X-rays of children's Halloween hauls in order to find evidence of tampering. Virtually all of the few known candy poisoning incidents involved parents who poisoned their own children's candy.[237] One custom that persists in modern-day Ireland is the baking (or more often nowadays, the purchase) of a barmbrack (Irish: báirín breac), which is a light fruitcake, into which a plain ring, a coin, and other charms are placed before baking.[238] It is considered fortunate to be the lucky one who finds it.[238] It has also been said that those who get a ring will find their true love in the ensuing year. This is similar to the tradition of king cake at the festival of Epiphany. Halloween-themed foods are also produced by companies in the lead up to the night, for example Cadbury releasing Goo Heads (similar to Creme Eggs) in spooky wrapping.[239] A jack-o'-lantern Halloween cake with a witches hat List of foods associated with Halloween:     Barmbrack (Ireland)     Bonfire toffee (Great Britain)     Candy apples/toffee apples (Great Britain and Ireland)     Candy apples, candy corn, candy pumpkins (North America)     Chocolate     Monkey nuts (peanuts in their shells) (Ireland and Scotland)     Caramel apples     Caramel corn     Colcannon (Ireland; see below)     Halloween cake     Sweets/candy     Novelty candy shaped like skulls, pumpkins, bats, worms, etc.     Roasted pumpkin seeds     Roasted sweet corn     Soul cakes     Pumpkin Pie Christian observances The Vigil of All Hallows' is being celebrated at an Episcopal Christian church on Hallowe'en On Hallowe'en (All Hallows' Eve), in Poland, believers were once taught to pray out loud as they walk through the forests in order that the souls of the dead might find comfort; in Spain, Christian priests in tiny villages toll their church bells in order to remind their congregants to remember the dead on All Hallows' Eve.[240] In Ireland, and among immigrants in Canada, a custom includes the Christian practice of abstinence, keeping All Hallows' Eve as a meat-free day and serving pancakes or colcannon instead.[241] In Mexico children make an altar to invite the return of the spirits of dead children (angelitos).[242] The Christian Church traditionally observed Hallowe'en through a vigil. Worshippers prepared themselves for feasting on the following All Saints' Day with prayers and fasting.[243] This church service is known as the Vigil of All Hallows or the Vigil of All Saints;[244][245] an initiative known as Night of Light seeks to further spread the Vigil of All Hallows throughout Christendom.[246][247] After the service, "suitable festivities and entertainments" often follow, as well as a visit to the graveyard or cemetery, where flowers and candles are often placed in preparation for All Hallows' Day.[248][249] In Finland, because so many people visit the cemeteries on All Hallows' Eve to light votive candles there, they "are known as valomeri, or seas of light".[250] Halloween Scripture Candy with gospel tract Today, Christian attitudes towards Halloween are diverse. In the Anglican Church, some dioceses have chosen to emphasize the Christian traditions associated with All Hallow's Eve.[251][252] Some of these practices include praying, fasting and attending worship services.[1][2][3]     O LORD our God, increase, we pray thee, and multiply upon us the gifts of thy grace: that we, who do prevent the glorious festival of all thy Saints, may of thee be enabled joyfully to follow them in all virtuous and godly living. Through Jesus Christ, Our Lord, who liveth and reigneth with thee, in the unity of the Holy Ghost, ever one God, world without end. Amen. —Collect of the Vigil of All Saints, The Anglican Breviary[253] Votive candles in the Halloween section of Walmart Other Protestant Christians also celebrate All Hallows' Eve as Reformation Day, a day to remember the Protestant Reformation, alongside All Hallow's Eve or independently from it.[254] This is because Martin Luther is said to have nailed his Ninety-five Theses to All Saints' Church in Wittenberg on All Hallows' Eve.[255] Often, "Harvest Festivals" or "Reformation Festivals" are held on All Hallows' Eve, in which children dress up as Bible characters or Reformers.[256] In addition to distributing candy to children who are trick-or-treating on Hallowe'en, many Christians also provide gospel tracts to them. One organization, the American Tract Society, stated that around 3 million gospel tracts are ordered from them alone for Hallowe'en celebrations.[257] Others order Halloween-themed Scripture Candy to pass out to children on this day.[258][259] Belizean children dressed up as Biblical figures and Christian saints Some Christians feel concerned about the modern celebration of Halloween because they feel it trivializes – or celebrates – paganism, the occult, or other practices and cultural phenomena deemed incompatible with their beliefs.[260] Father Gabriele Amorth, an exorcist in Rome, has said, "if English and American children like to dress up as witches and devils on one night of the year that is not a problem. If it is just a game, there is no harm in that."[261] In more recent years, the Roman Catholic Archdiocese of Boston has organized a "Saint Fest" on Halloween.[262] Similarly, many contemporary Protestant churches view Halloween as a fun event for children, holding events in their churches where children and their parents can dress up, play games, and get candy for free. To these Christians, Halloween holds no threat to the spiritual lives of children: being taught about death and mortality, and the ways of the Celtic ancestors actually being a valuable life lesson and a part of many of their parishioners' heritage.[263] Christian minister Sam Portaro wrote that Halloween is about using "humor and ridicule to confront the power of death".[264] In the Roman Catholic Church, Halloween's Christian connection is acknowledged, and Halloween celebrations are common in many Catholic parochial schools, such as in the United States,[265][266] while schools throughout Ireland also close for the Halloween break.[267][268] Many fundamentalist and evangelical churches use "Hell houses" and comic-style tracts in order to make use of Halloween's popularity as an opportunity for evangelism.[269] Others consider Halloween to be completely incompatible with the Christian faith due to its putative origins in the Festival of the Dead celebration.[270] Indeed, even though Eastern Orthodox Christians observe All Hallows' Day on the First Sunday after Pentecost, The Eastern Orthodox Church recommends the observance of Vespers or a Paraklesis on the Western observance of All Hallows' Eve, out of the pastoral need to provide an alternative to popular celebrations.[271] Analogous celebrations and perspectives Judaism According to Alfred J. Kolatch in the Second Jewish Book of Why, in Judaism, Halloween is not permitted by Jewish Halakha because it violates Leviticus 18:3, which forbids Jews from partaking in gentile customs. Many Jews observe Yizkor communally four times a year, which is vaguely similar to the observance of Allhallowtide in Christianity, in the sense that prayers are said for both "martyrs and for one's own family".[272] Nevertheless, many American Jews celebrate Halloween, disconnected from its Christian origins.[273] Reform Rabbi Jeffrey Goldwasser has said that "There is no religious reason why contemporary Jews should not celebrate Halloween" while Orthodox Rabbi Michael Broyde has argued against Jews' observing the holiday.[274] Purim has sometimes been compared to Halloween, in part due to some observants wearing costumes, especially of Biblical figures described in the Purim narrative.[275] Islam Sheikh Idris Palmer, author of A Brief Illustrated Guide to Understanding Islam, has ruled that Muslims should not participate in Halloween, stating that "participation in Halloween is worse than participation in Christmas, Easter, ... it is more sinful than congratulating the Christians for their prostration to the crucifix".[276] It has also been ruled to be haram by the National Fatwa Council of Malaysia because of its alleged pagan roots stating "Halloween is celebrated using a humorous theme mixed with horror to entertain and resist the spirit of death that influence humans".[277][278] Dar Al-Ifta Al-Missriyyah disagrees provided the celebration is not referred to as an 'eid' and that behaviour remains in line with Islamic principles.[279] Hinduism Hindus remember the dead during the festival of Pitru Paksha, during which Hindus pay homage to and perform a ceremony "to keep the souls of their ancestors at rest". It is celebrated in the Hindu month of Bhadrapada, usually in mid-September.[280] The celebration of the Hindu festival Diwali sometimes conflicts with the date of Halloween; but some Hindus choose to participate in the popular customs of Halloween.[281] Other Hindus, such as Soumya Dasgupta, have opposed the celebration on the grounds that Western holidays like Halloween have "begun to adversely affect our indigenous festivals".[282] Neopaganism There is no consistent rule or view on Halloween amongst those who describe themselves as Neopagans or Wiccans. Some Neopagans do not observe Halloween, but instead observe Samhain on 1 November,[283] some neopagans do enjoy Halloween festivities, stating that one can observe both "the solemnity of Samhain in addition to the fun of Halloween". Some neopagans are opposed to the celebration of Hallowe'en, stating that it "trivializes Samhain",[284] and "avoid Halloween, because of the interruptions from trick or treaters".[285] The Manitoban writes that "Wiccans don't officially celebrate Halloween, despite the fact that 31 Oct. will still have a star beside it in any good Wiccan's day planner. Starting at sundown, Wiccans celebrate a holiday known as Samhain. Samhain actually comes from old Celtic traditions and is not exclusive to Neopagan religions like Wicca. While the traditions of this holiday originate in Celtic countries, modern day Wiccans don't try to historically replicate Samhain celebrations. Some traditional Samhain rituals are still practised, but at its core, the period is treated as a time to celebrate darkness and the dead – a possible reason why Samhain can be confused with Halloween celebrations."[283] Geography Main article: Geography of Halloween Halloween display in Kobe, Japan The traditions and importance of Halloween vary greatly among countries that observe it. In Scotland and Ireland, traditional Halloween customs include children dressing up in costume going "guising", holding parties, while other practices in Ireland include lighting bonfires, and having firework displays.[172][286][287] In Brittany children would play practical jokes by setting candles inside skulls in graveyards to frighten visitors.[288] Mass transatlantic immigration in the 19th century popularized Halloween in North America, and celebration in the United States and Canada has had a significant impact on how the event is observed in other nations.[172] This larger North American influence, particularly in iconic and commercial elements, has extended to places such as Brazil, Ecuador, Chile,[289] Australia,[290] New Zealand,[291] (most) continental Europe, Finland,[292] Japan, and other parts of East Asia." (wikipedai.org) "A mask is an object normally worn on the face, typically for protection, disguise, performance, or entertainment, and often employed for rituals and rites. Masks have been used since antiquity for both ceremonial and practical purposes, as well as in the performing arts and for entertainment. They are usually worn on the face, although they may also be positioned for effect elsewhere on the wearer's body. In art history, especially sculpture, "mask" is the term for a face without a body that is not modelled in the round (which would make it a "head"), but for example appears in low relief. Etymology The word "mask" appeared in English in the 1530s, from Middle French masque "covering to hide or guard the face", derived in turn from Italian maschera, from Medieval Latin masca "mask, specter, nightmare".[1] This word is of uncertain origin, perhaps from Arabic maskharah مَسْخَرَۃٌ "buffoon", from the verb sakhira "to ridicule". However, it may also come from Provençal mascarar "to black (the face)" (or the related Catalan mascarar, Old French mascurer). This in turn is of uncertain origin – perhaps from a Germanic source akin to English "mesh", but perhaps from mask- "black", a borrowing from a pre-Indo-European language.[2] One German author claims the word "mask" is originally derived from the Spanish más que la cara (literally, "more than the face" or "added face"), which evolved to "máscara", while the Arabic "maskharat" – referring to the buffoonery which is possible only by disguising the face – would be based on these Spanish roots.[3] Other related forms are Hebrew masecha= "mask"; Arabic maskhara مَسْخَرَ = "he ridiculed, he mocked", masakha مَسَخَ = "he transfomed" (transitive). History The use of masks in rituals or ceremonies is a very ancient human practice across the world,[4] although masks can also be worn for protection, in hunting, in sports, in feasts, or in wars – or simply used as ornamentation.[5] Some ceremonial or decorative masks were not designed to be worn. Although the religious use of masks has waned, masks are used sometimes in drama therapy or psychotherapy.[6] One of the challenges in anthropology is finding the precise derivation of human culture and early activities, the invention and use of the mask is only one area of unsolved inquiry. The use of masks dates back several millennia. It is conjectured that the first masks may have been used by primitive people to associate the wearer with some kind of unimpeachable authority, such as a deity, or to otherwise lend credence to the person's claim on a given social role. The earliest known anthropomorphic artwork is circa 30,000–40,000 years old.[note 1] The use of masks is demonstrated graphically at some of these sites. Insofar as masks involved the use of war-paint, leather, vegetative material, or wooden material, such masks failed to be preserved, however, they are visible in paleolithic cave drawings, of which dozens have been preserved.[note 2] At the neanderthal Roche-Cotard site in France, a flintstone likeness of a face was found that is approximately 35,000 years old, but it is not clear whether it was intended as a mask.[7][8] In the Greek bacchanalia and the Dionysus cult, which involved the use of masks, the ordinary controls on behaviour were temporarily suspended, and people cavorted in merry revelry outside their ordinary rank or status. René Guénon claims that in the Roman saturnalia festivals, the ordinary roles were often inverted. Sometimes a slave or a criminal was temporarily granted the insignia and status of royalty, only to be killed after the festival ended.[9] The Carnival of Venice, in which all are equal behind their masks, dates back to 1268 AD.[10] The use of carnivalesque masks in the Jewish Purim festivities probably originated in the late 15th century, although some Jewish authors claim it has always been part of Judaic tradition.[11] The North American Iroquois tribes used masks for healing purposes (see False Face Society). In the Himalayas, masks functioned above all as mediators of supernatural forces.[12][13][14] Yup'ik masks could be small 3-inch (7.6 cm) finger masks, but also 10-kilogram (22 lb) masks hung from the ceiling or carried by several people.[15][16] Masks have been created with plastic surgery for mutilated soldiers.[17] Masks in various forms – sacred, practical, or playful – have played a crucial historical role in the development of understandings about "what it means to be human", because they permit the imaginative experience of "what it is like" to be transformed into a different identity (or to affirm an existing social or spiritual identity).[18] Not all cultures have known the use of masks, but most of them have. Masks in performance Throughout the world, masks are used for their expressive power as a feature of masked performance – both ritually and in various theatre traditions. The ritual and theatrical definitions of mask usage frequently overlap and merge but still provide a useful basis for categorisation. The image of juxtaposed Comedy and Tragedy masks are widely used to represent the Performing Arts, and specifically drama. In many dramatic traditions including the theatre of ancient Greece, the classical Noh drama of Japan (14th century to present), the traditional Lhamo drama of Tibet, Talchum in Korea, and the Topeng dance of Indonesia, masks were or are typically worn by all the performers, with several different types of mask used for different types of character. In Ancient Rome, the word persona meant 'a mask'; it also referred to an individual who had full Roman citizenship. A citizen could demonstrate his or her lineage through imagines, death masks of the ancestors. These were wax casts kept in a lararium, the family shrine. Rites of passage, such as initiation of young members of the family, or funerals, were carried out at the shrine under the watch of the ancestral masks. At funerals, professional actors would wear these masks to perform deeds of the lives of the ancestors,[21] thus linking the role of mask as a ritual object and in theatre. Masks are a familiar and vivid element in many folk and traditional pageants, ceremonies, rituals, and festivals, and are often of an ancient origin. The mask is normally a part of a costume that adorns the whole body and embodies a tradition important to the religious and/or social life of the community as whole or a particular group within the community. Masks are used almost universally and maintain their power and mystery both for their wearers and their audience. The continued popularity of wearing masks at carnival, and for children at parties and for festivals such as Halloween are good examples. Nowadays these are usually mass-produced plastic masks, often associated with popular films, television programmes, or cartoon characters – they are, however, reminders of the enduring power of pretence and play and the power and appeal of masks....Fashion Decorative masks may be worn as part of a costume outside of ritual or ceremonial functions. This is often described as a masque, and relates closely to carnival styles. For example, attendants of a costume party will sometimes wear masks as part of their costumes....Wrestling masks are used most widely in Mexican and Japanese wrestling. A wrestler's mask is usually related to a wrestler's persona (for example, a wrestler known as 'The Panda' might wear a mask with a panda's facial markings). Often, wrestlers will put their masks on the line against other wrestlers' masks, titles or an opponent's hair. While in Mexico and Japan, masks are a sign of tradition, they are looked down upon in the United States and Canada. Several bands and performers, notably members of the groups Slipknot, Mental Creepers and Gwar, and the guitarist Buckethead, wear masks when they perform on stage. Several other groups, including Kiss, Alice Cooper, and Dimmu Borgir simulate the effect with facepaint. Hollywood Undead also wears masks but often remove them mid-performance....In works of fiction Main article: Masked villain Masks have been used in many horror films to conceal the identities of the killer. Notable examples include Jason Voorhees of the Friday the 13th series, Jigsaw Killer from Saw, Ghostface of the Scream series, and Michael Myers of the Halloween series." (wikipedia.org) "A masked villain, also seen as masked mystery villain,[1][2] is a stock character in genre fiction. It was developed and popularized in movie serials, beginning with The Hooded Terror in The House of Hate, (1918) the first fully-costumed mystery villain of the movies, and frequently used in the adventure stories of pulp magazines and sound-era movie serials in the early twentieth century,[3][4] as well as postmodern horror films[5] where the character "hides in order to claim unsuspecting victims".[6] They can also appear in crime fiction to add to the atmosphere of suspense and suspicion. It is used to engage the readers or viewers by keeping them guessing just as the characters are,[3] and suspension by drawing on the fear of the unknown.[7]: 135  The "Mask" need not be literal (although it often is), referring more to the subterfuge involved. He or she is the often main antagonist of the story, often acting behind the scenes with henchmen confronting the protagonists directly.[3] Usually, the protagonists must discover the villain's true identity before they can be defeated.[8] Often, the villain will turn out to be either one of the protagonists themselves, or a significant supporting character. The author may give the viewer or reader clues, with many red herrings, as to the villain's identity - sometime as the characters find them and sometimes for the audience alone. However, the identity is not usually revealed to the audience before it is revealed to the characters of the story." (wikipedia.org) "Halloween costumes are costumes worn on Halloween, a festival which falls on October 31. An early reference to wearing costumes at Halloween comes from Scotland in 1585, but they may pre-date this. There are many references to the custom during the 18th and 19th centuries in the Celtic countries of Scotland, Ireland, Mann and Wales. It has been suggested that the custom comes from the Celtic festivals of Samhain and Calan Gaeaf, or from the practise of "souling" during the Christian observance of Allhallowtide. The Christian tradition of acknowledging the danse macabre is also suggested as the origin of dressing up on Halloween [1][2][3][4] Dressing up is not strictly restricted to Halloween among Christians, with similar practices being observed on holidays like Christmas.[5] Halloween costumes are traditionally based on frightening supernatural or folkloric beings. However, by the 1930s costumes based on characters in mass media such as film, literature, and radio were popular. Halloween costumes have tended to be worn mainly by young people, but since the mid-20th century they have been increasingly worn by adults also. History of Halloween costumes An early 20th-century Irish Halloween mask (a "rhymer" or a "vizor") displayed at the Museum of Country Life. The wearing of costumes at Halloween may come from the belief that supernatural beings, or the souls of the dead, roamed the earth at this time. The practice may have originated in a Celtic festival, held on 31 October to mark the beginning of winter. It was called Samhain in Ireland, Scotland and the Isle of Man, and Calan Gaeaf in Wales, Cornwall and Brittany. The festival is believed to have pre-Christian roots. After the Christianization of Ireland in the 5th century, some of these customs may have been retained in the Christian observance of All Hallows' Eve in that region—which continued to be called Samhain/Calan Gaeaf—blending the traditions of their ancestors with Christian ones.[6][7] It was seen as a liminal time, when the spirits or fairies (the Aos Sí), and the souls of the dead, could more easily come into our world.[8] It was believed that the Aos Sí needed to be propitiated to ensure that the people and their livestock survived the winter. From at least the 16th century,[9] the festival included mumming and guising,[10] which involved people going house-to-house in costume (or in disguise), usually reciting verses or songs in exchange for food.[10] It may have originally been a tradition whereby people impersonated the Aos Sí, or the souls of the dead, and received offerings on their behalf. Impersonating these beings, or wearing a disguise, was also believed to protect oneself from them.[11] It is suggested that the mummers and guisers "personify the old spirits of the winter, who demanded reward in exchange for good fortune".[12] F. Marian McNeill suggests the ancient pagan festival included people wearing masks or costumes to represent the spirits, and that faces were marked (or blackened) with ashes taken from the sacred bonfire.[9] In parts of southern Ireland, a man dressed as a Láir Bhán (white mare) led youths house-to-house reciting verses—some of which had pagan overtones—in exchange for food. If the household donated food it could expect good fortune from the 'Muck Olla'; not doing so would bring misfortune.[13] In 19th century England , youths went house-to-house with masked, painted or blackened faces, often threatening to do mischief if they were not welcomed.[10] In parts of Wales, men went about dressed as fearsome beings called gwrachod,[10] while in some places, young people cross-dressed.[10] Elsewhere in Europe, mumming and costumes were part of other yearly festivals. However, in the Celtic-speaking regions they were "particularly appropriate to a night upon which supernatural beings were said to be abroad and could be imitated or warded off by human wanderers".[10] It has also been suggested that the wearing of Halloween costumes developed from the custom of souling, which was practised by Christians in parts of Western Europe from at least the 15th century.[14][15] At Allhallowtide, groups of poor people would go door-to-door, collecting soul cakes – either as representatives of the dead,[16] or in return for saying prayers for them.[17] One 19th century English writer said it "used to consist of parties of children, dressed up in fantastic costume, who went round to the farm houses and cottages, singing a song, and begging for cakes (spoken of as "Soal-cakes"), apples, money, or anything that the goodwives would give them".[18] The soulers typically asked for "mercy on all Christian souls for a soul cake".[19] The practice was mentioned by Shakespeare his play The Two Gentlemen of Verona (1593).[20][21] Christian minister Prince Sorie Conteh wrote on the wearing of costumes: "It was traditionally believed that the souls of the departed wandered the earth until All Saints' Day, and All Hallows' Eve provided one last chance for the dead to gain vengeance on their enemies before moving to the next world. In order to avoid being recognised by any soul that might be seeking such vengeance, people would don masks or costumes to disguise their identities".[22] In the Middle Ages, statues and relics of martyred saints were paraded through the streets at Allhallowtide. Some churches who could not afford these things had people dress as saints instead.[23][24] Some believers continue the practice of dressing as saints, biblical figures, and reformers in Halloween celebrations today.[25] Many Christians in continental Europe, especially in France, believed that on Halloween "the dead of the churchyards rose for one wild, hideous carnival," known as the danse macabre, which has often been depicted in church decoration.[26] An article published by Christianity Today claimed the danse macabre was enacted at village pageants and at court masques, with people "dressing up as corpses from various strata of society", and suggested this was the origin of Halloween costume parties.[27][28] People in Halloween Costumes The custom of guising at Halloween in North America is first recorded in 1911, where a newspaper in Kingston, Ontario reported children going "guising" around the neighborhood.[29] In 19th century America, Halloween was often celebrated with costume parades and "licentious revelries".[30] However, efforts were made to "domesticate" the festival to conform with Victorian era morality. Halloween was made into a private rather than public holiday, celebrations involving liquor and sensuality de-emphasized, and only children were expected to celebrate the festival.[31] Early Halloween costumes emphasized the gothic nature of Halloween, and were aimed primarily at children. Costumes were also made at home, or using items (such as make-up) which could be purchased and utilized to create a costume. But in the 1930s, A.S. Fishbach, Ben Cooper, Inc., and other firms began mass-producing Halloween costumes for sale in stores as trick-or-treating became popular in North America. Halloween costumes are often designed to imitate supernatural and scary beings. Costumes are traditionally those of monsters such as vampires, werewolves, zombies, ghosts,[32] skeletons, witches, goblins, trolls, devils, etc. or in more recent years such science fiction-inspired characters as aliens and superheroes. There are also costumes of pop culture figures like presidents, athletes, celebrities, or characters in film, television, literature, etc. Another popular trend is for women (and in some cases, men) to use Halloween as an excuse to wear sexy or revealing costumes, showing off more skin than would be socially acceptable otherwise.[33] Young girls also often dress as entirely non-scary characters at Halloween, including princesses, fairies, angels, cute animals and flowers. Child in a plain white mask Halloween costume parties generally take place on or around October 31, often on the Friday or Saturday prior to the holiday. Halloween parties are the 3rd most popular type of party held in Western countries, falling behind only to Super Bowl & New Year's Eve parties.[34] College students dressed up for Halloween. A couple trying Halloween face masks at a costume store in Iowa Economics of Halloween costumes [35] Researchers conducted a survey for the National Retail Federation in the United States and found that 53.3 percent of consumers planned to buy a costume for Halloween 2005, spending $38.11 on average (up $10 from the year before). They were also expected to spend $4.96 billion in 2006, up significantly from just $3.3 billion the previous year.[36] The troubled economy has caused many Americans to cut back on Halloween spending. In 2009, the National Retail Federation anticipated that American households would decrease Halloween spending by as much as 15% to $56.31.[37] In 2013, Americans spent an estimated $6.9 billion to celebrate Halloween, including a predicted $2.6 billion on costumes (with more spent on adult costumes than for children's costumes) and $330 million on pet costumes.[38][39] In 2017 it was estimated that Americans would spend $9.1 billion on Halloween merchandise with $3.4 billion of that being on spend on Halloween costumes.[40] Another survey by NRF showed that 67% of Halloween shoppers would buy Halloween costumes spending $3.2 billion in 2019.[41] It is estimated that the Halloween spending in 2022 could reach $10.6 billion." (wikipedia.org) "Halloween is a celebration observed on October 31, the day before the feast of All Hallows, also known as Hallowmas or All Saint's Day. The celebrations and observances of this day occur primarily in regions of the Western world, albeit with some traditions varying significantly between geographical areas. Origins Halloween is the eve of vigil before the Western Christian feast of All Hallows (or All Saints) which is observed on November 1. This day begins the triduum of Hallowtide, which culminates with All Souls' Day. In the Middle Ages, many Christians held a folk belief that All Hallows' Eve was the "night where the veil between the material world and the afterlife was at its most transparent".[2] Americas Canada Scottish emigration, primarily to Canada before 1870 and to the United States thereafter, brought the Scottish version of the holiday to each country. The earliest known reference to ritual begging on Halloween in English speaking North America occurs in 1911 when a newspaper in Kingston, Ontario reported that it was normal for the smaller children to go street "guising" on Halloween between 6 and 7 p.m., visiting shops, and neighbours to be rewarded with nuts and candies for their rhymes and songs.[3] Canadians spend more on candy at Halloween than at any time apart from Christmas. Halloween is also a time for charitable contributions. Until 2006 when UNICEF moved to an online donation system, collecting small change was very much a part of Canadian trick-or-treating.[4] Quebec offers themed tours of parts of the old city and historic cemeteries in the area.[5] In 2014 the hamlet of Arviat, Nunavut moved their Halloween festivities to the community hall, cancelling the practice of door-to-door "trick or treating", due to the risk of roaming polar bears.[6][7] In British Columbia it is a tradition to set off fireworks at Halloween.[8] United States Children in Halloween costumes at High Point, Seattle, 1943 In the United States, Halloween did not become a holiday until the 19th century. The transatlantic migration of nearly two million Irish following the Great Irish Famine (1845–1849) brought the holiday to the United States. American librarian and author Ruth Edna Kelley wrote the first book length history of the holiday in the U.S., The Book of Hallowe'en (1919), and references souling in the chapter "Hallowe'en in America": "All Hallowe'en customs in the United States are borrowed directly or adapted from those of other countries. The taste in Hallowe'en festivities now is to study old traditions, and hold a Scotch party, using Robert Burns's poem Halloween as a guide; or to go a-souling as the English used. In short, no custom that was once honored at Hallowe'en is out of fashion now."[9] The main event for children of modern Halloween in the United States and Canada is trick-or-treating, in which children, teenagers, (sometimes) young adults, and parents (accompanying their children) disguise themselves in costumes and go door-to-door in their neighborhoods, ringing each doorbell and yelling "Trick or treat!" to solicit a gift of candy or similar items.[10] Teenagers and adults will more frequently attend Halloween-themed costume parties typically hosted by friends or themed events at nightclubs either on Halloween itself or a weekend close to the holiday. At the turn of the 20th century, Halloween had turned into a night of vandalism, with destruction of property and cruelty to animals and people.[11] Around 1912, the Boy Scouts, Boys Clubs, and other neighborhood organizations came together to encourage a safe celebration that would end the destruction that had become so common on this night. The commercialization of Halloween in the United States did not start until the 20th century, beginning perhaps with Halloween postcards (featuring hundreds of designs), which were most popular between 1905 and 1915.[12] Dennison Manufacturing Company (which published its first Halloween catalog in 1909) and the Beistle Company were pioneers in commercially made Halloween decorations, particularly die-cut paper items.[13][14] German manufacturers specialised in Halloween figurines that were exported to the United States in the period between the two World Wars. Halloween is now the United States' second most popular holiday (after Christmas) for decorating; the sale of candy and costumes is also extremely common during the holiday, which is marketed to children and adults alike. The National Confectioners Association (NCA) reported in 2005 that 80% of American adults planned to give out candy to trick-or-treaters.[15] The NCA reported in 2005 that 93% of children planned to go trick-or-treating.[16] According to the National Retail Federation, the most popular Halloween costume themes for adults are, in order: witch, pirate, vampire, cat, and clown.[17][when?] Each year, popular costumes are dictated by various current events and pop culture icons. On many college campuses, Halloween is a major celebration, with the Friday and Saturday nearest 31 October hosting many costume parties. Other popular activities are watching horror movies and visiting haunted houses. Total spending on Halloween is estimated to be $8.4 billion.[18] Events Four contestants in the Halloween Slick Chick beauty contest in Anaheim, California, 1947 Many theme parks stage Halloween events annually, such as Halloween Horror Nights at Universal Studios Hollywood and Universal Orlando, Mickey's Halloween Party and Mickey's Not-So-Scary Halloween Party at Disneyland Resort and Magic Kingdom respectively, and Knott's Scary Farm at Knott's Berry Farm. One of the more notable parades is New York's Village Halloween Parade. Each year approximately 50,000 costumed marchers parade up Sixth Avenue.[19] Salem, Massachusetts, site of the Salem witch trials, celebrates Halloween throughout the month of October with tours, plays, concerts, and other activities.[20] A number of venues in New York's lower Hudson Valley host various events to showcase a connection with Washington Irving's Legend of Sleepy Hollow. Van Cortlandt Manor stages the "Great Jack o' Lantern Blaze" featuring thousands of lighted carved pumpkins.[21] Some locales have had to modify their celebrations due to disruptive behavior on the part of young adults. Madison, Wisconsin hosts an annual Halloween celebration. In 2002, due to the large crowds in the State Street area, a riot broke out, necessitating the use of mounted police and tear gas to disperse the crowds.[22] Likewise, Chapel Hill, site of the University of North Carolina, has a downtown street party which in 2007 drew a crowd estimated at 80,000 on downtown Franklin Street, in a town with a population of just 54,000. In 2008, in an effort to curb the influx of out-of-towners, mayor Kevin Foy put measures in place to make commuting downtown more difficult on Halloween.[23] In 2014, large crowds of college students rioted at the Keene, New Hampshire Pumpkin Fest, whereupon the City Council voted not to grant a permit for the following year's festival,[24] and organizers moved the event to Laconia for 2015.[25] Brazil Main article: Saci Day The Brazilian non-governmental organization named Amigos do Saci created Saci Day as a Brazilian parallel in opposition to the "American-influenced" holiday of Halloween that saw minor celebration in Brazil. The Saci is a mischievous evil character in Brazilian folklore. Saci Day is commemorated on October 31, the same day as Halloween, and is an official holiday in the state of São Paulo. Despite official recognition in São Paulo and several other municipalities throughout the country, few Brazilians celebrate it.[26][27] Dominican Republic In the Dominican Republic it has been gaining popularity, largely due to many Dominicans living in the United States and then bringing the custom to the island. In the larger cities of Santiago or Santo Domingo it has become more common to see children trick-or-treating, but in smaller towns and villages it is almost entirely absent, partly due to religious opposition. Tourist areas such as Sosua and Punta Cana feature many venues with Halloween celebrations, predominantly geared towards adults.[28] Mexico (Día de Muertos) Mexican tomb on the Day of the Dead, adorned with the cempasúchil, the holiday's traditional flower, and a Halloween ghost balloon, at the historic cemetery of San Luis Potosí City Observed in Mexico and Mexican communities abroad, Day of the Dead (Spanish: Día de Muertos) celebrations arose from the syncretism of indigenous Aztec traditions with the Christian Hallowtide of the Spanish colonizers. Flower decorations, altars and candies are part of this holiday season. The holiday is distinct from Halloween in its origins and observances, but the two have become associated because of cross-border connections between Mexico and the United States through popular culture and migration, as the two celebrations occur at the same time of year and may involve similar imagery, such as skeletons. Halloween and Día de Muertos have influenced each other in some areas of the United States and Mexico, with Halloween traditions such as costumes and face-painting becoming increasingly common features of the Mexican festival.[29][30] Asia China The Chinese celebrate the "Hungry Ghost Festival" in mid-July, when it is customary to float river lanterns to remember those who have died. By contrast, Halloween is often called "All Saints' Festival" (Wànshèngjié, 萬聖節), or (less commonly) "All Saints' Eve" (Wànshèngyè, 萬聖夜) or "Eve of All Saints' Day" (Wànshèngjié Qiányè, 萬聖節前夕), stemming from the term "All Hallows Eve" (hallow referring to the souls of holy saints). Chinese Christian churches hold religious celebrations. Non-religious celebrations are dominated by expatriate Americans or Canadians, but costume parties are also popular for Chinese young adults, especially in large cities. Hong Kong Disneyland and Ocean Park (Halloween Bash) host annual Halloween shows. Mainland China has been less influenced by Anglo traditions than Hong Kong and Halloween is generally considered "foreign". As Halloween has become more popular globally it has also become more popular in China, however, particularly amongst children attending private or international schools with many foreign teachers from North America.[31] Hong Kong Traditional "door-to-door" trick or treating is not commonly practiced in Hong Kong due to the vast majority of Hong Kong residents living in high-rise apartment blocks. However, in many buildings catering to expatriates, Halloween parties and limited trick or treating is arranged by the management. Instances of street-level trick or treating in Hong Kong occur in ultra-exclusive gated housing communities such as The Beverly Hills populated by Hong Kong's super-rich and in expatriate areas like Discovery Bay and the Red Hill Peninsula. For the general public, there are events at Tsim Sha Tsui's Avenue of the Stars that try to mimic the celebration.[32] In the Lan Kwai Fong area of Hong Kong, known as a major entertainment district for the international community, a Halloween celebration and parade has taken place for over 20 years, with many people dressing in costume and making their way around the streets to various drinking establishments.[33] Many international schools also celebrate Halloween with costumes, and some put an academic twist on the celebrations such as the "Book-o-ween" celebrations at Hong Kong International School where students dress as favorite literary characters. Japan A Halloween display in a local bank window, in Saitama, Japan Halloween arrived in Japan mainly as a result of American pop culture. In 2009 it was celebrated only by expats.[34] The wearing of elaborate costumes by young adults at night has since become popular in areas such as Amerikamura in Osaka and Shibuya in Tokyo, where, in October 2012, about 1700 people dressed in costumes to take part in the Halloween Festival.[35] Celebrations have become popular with young adults as a costume party and club event.[36] Trick-or-treating for Japanese children has taken hold in some areas. By the mid-2010s, Yakuza were giving snacks and sweets to children.[37] Philippines The period from 31 October through 2 November is a time for remembering dead family members and friends. Many Filipinos travel back to their hometowns for family gatherings of festive remembrance.[38] Trick-or-treating is gradually replacing the dying tradition of Pangangaluluwâ, a local analogue of the old English custom of souling. People in the provinces still observe Pangangaluluwâ by going in groups to every house and offering a song in exchange for money or food. The participants, usually children, would sing carols about the souls in Purgatory, with the abúloy (alms for the dead) used to pay for Masses for these souls. Along with the requested alms, householders sometimes gave the children suman (rice cakes). During the night, various small items, such as clothing, plants, etc., would "mysteriously" disappear, only to be discovered the next morning in the yard or in the middle of the street. In older times, it was believed that the spirits of ancestors and loved ones visited the living on this night, manifesting their presence by taking an item.[39] As the observation of Christmas traditions in the Philippines begins as early as September, it is a common sight to see Halloween decorations next to Christmas decorations in urban settings.[citation needed] Saudi Arabia Starting 2022, Saudi Arabia began to celebrate Halloween in the public in Riyadh under its Saudi Vision 2030.[40] Singapore Around mid-July Singapore Chinese celebrate "Zhong Yuan Jie / Yu Lan Jie" (Hungry Ghosts Festival), a time when it is believed that the spirits of the dead come back to visit their families.[41] In recent years, Halloween celebrations are becoming more popular, with influence from the west.[42] In 2012, there were over 19 major Halloween celebration events around Singapore.[43] SCAPE's Museum of Horrors held its fourth scare fest in 2014.[44] Universal Studios Singapore hosts "Halloween Horror Nights".[45] South Korea The popularity of the holiday among young people in South Korea comes from English academies and corporate marketing strategies, and was influenced by Halloween celebrations in Japan and America.[46] Despite not being a public holiday, it is celebrated in different areas around Seoul, especially Itaewon and Hondae.[47] Taiwan Children dressed up in Halloween costume in Songshan District, Taipei, Taiwan Traditionally, Taiwanese people celebrate "Zhong Yuan Pudu Festival", where spirits that do not have any surviving family members to pay respects to them, are able to roam the Earth during the seventh lunar month. It is known as Ghost Month.[48] While some have compared it to Halloween, it has no relations and the overall meaning is different. In recent years, mainly as a result of American pop culture, Halloween is becoming more widespread amongst young Taiwanese people. Halloween events are held in many areas across Taipei, such as Xinyi Special District and Shilin District where there are many international schools and expats.[49] Halloween parties are celebrated differently based on different age groups. One of the most popular Halloween event is the Tianmu Halloween Festival, which started in 2009 and is organised by the Taipei City Office of Commerce.[50] The 2-day annual festivity has attracted more than 240,000 visitors in 2019. During this festival, stores and businesses in Tianmu place pumpkin lanterns outside their stores to identify themselves as trick-or-treat destinations for children.[51] Australia and New Zealand Halloween display in Sydney, Australia Non-religious celebrations of Halloween modelled on North American festivities are growing increasingly popular in Australia despite not being traditionally part of the culture.[52] Some Australians criticise this intrusion into their culture.[53][54] Many dislike the commercialisation and American pop-culture influence.[54][55] Some supporters of the event place it alongside other cultural traditions such as Saint Patrick's Day.[56] Halloween historian and author of Halloween: Pagan Festival to Trick or Treat, Mark Oxbrow says while Halloween may have been popularised by depictions of it in US movies and TV shows, it is not a new entry into Australian culture.[57] His research shows Halloween was first celebrated in Australia in Castlemaine, Victoria, in 1858, which was 43 years before Federation. His research shows Halloween traditions were brought to the country by Scottish and Irish miners who settled in Victoria during the Gold Rush. Because of the polarised opinions about Halloween, growing numbers of people are decorating their letter boxes to indicate that children are welcome to come knocking. In the past decade, the popularity of Halloween in Australia has grown.[58] In 2020, the first magazine dedicated solely to celebrating Halloween in Australia was launched, called Hallozween,[59] and in 2021, sales of costumes, decorations and carving pumpkins soared to an all-time high[60] despite the effect of the global c limiting celebrations. In New Zealand, Halloween is not celebrated to the same extent as in North America, although in recent years non-religious celebrations have become more common.[61][62] Trick-or-treat has become increasingly popular with minors in New Zealand, despite being not a "British or Kiwi event" and the influence of American globalisation.[63] One criticism of Halloween in New Zealand is that it is overly commercialised - by The Warehouse, for example.[63] Europe A jack-o'-lantern in Finland Over the years, Halloween has become more popular in Europe and has been partially ousting some older customs like the Rübengeistern [de] (English: turnip ghosts, beet spirit), Martinisingen, and others.[64] France Halloween was introduced to most of France in the 1990s.[65] In Brittany, Halloween had been celebrated for centuries and is known as Kalan Goañv (Night of Spirits). During this time, it is believed that the spirits of the dead return to the world of the living lead by the Ankou, the collector of souls.[66] Also during this time, Bretons bake Kornigou, a pastry shaped like the antlers of a stag.[citation needed] Germany "Don't drink and fly" Halloween decoration in Germany Halloween was not generally observed in Germany prior to the 1990s, but has been increasing in popularity. It has been associated with the influence of United States culture, and "Trick or Treating" (German: Süßes sonst gibt's Saures) has been occurring in various German cities, especially in areas such as the Dahlem neighborhood in Berlin, which was part of the American zone during the Cold War. Today, Halloween in Germany brings in 200 million euros a year, through multiple industries.[67] Halloween is celebrated by both children and adults. Adults celebrate at themed costume parties and clubs, while children go trick or treating. Complaints of vandalism associated with Halloween "Tricks" are increasing, particularly from many elderly Germans unfamiliar with "Trick or Treating".[68] Greece In Greece, Halloween is not celebrated widely and it is a working day, with little public interest, since the early 2000s. Recently, it has somewhat increased in popularity as both a secular celebration; although Carnival is vastly more popular among Greeks. For very few, Halloween is[when?] considered the fourth most popular festival in the country after Christmas, Easter, and Carnival. Retail businesses, bars, nightclubs, and certain theme parks might organize Halloween parties. This boost in popularity has been attributed to the influence of western consumerism. Since it is a working day, Halloween is not celebrated on 31 October unless the date falls on a weekend, in which case it is celebrated by some during the last weekend before All Hallow's Eve, usually in the form of themed house parties and retail business decorations. Trick-or-treating is not widely popular because similar activities are already undertaken during Carnival. The slight rise in popularity of Halloween in Greece has led to some increase in its popularity throughout nearby countries in the Balkans and Cyprus. In the latter, there has been an increase in Greek-Cypriot retailers selling Halloween merchandise every year.[69] Ireland A plaster cast of a traditional Irish Halloween turnip (rutabaga) lantern on display in the Museum of Country Life, Ireland[70] On Halloween night, adults and children dress up as various monsters and creatures, light bonfires, and enjoy fireworks displays; Derry in Northern Ireland is home to the largest organized Halloween celebration on the island, in the form of a street carnival and fireworks display.[71] Snap-Apple Night, painted by Daniel Maclise in 1833, depicts apple bobbing and divination games at a Halloween party in Ireland Games are often played, such as bobbing for apples, in which apples, peanuts, other nuts and fruits, and some small coins are placed in a basin of water.[72] Everyone takes turns catching as many items possible using only their mouths. Another common game involves the hands-free eating of an apple hung on a string attached to the ceiling. Games of divination are also played at Halloween.[73] Colcannon is traditionally served on Halloween.[72] 31 October is the busiest day of the year for the Emergency Services.[74] Bangers and fireworks are illegal in the Republic of Ireland; however, they are commonly smuggled in from Northern Ireland where they are legal.[75] Bonfires are frequently built around Halloween.[76] Trick-or-treating is popular amongst children on 31 October and Halloween parties and events are commonplace. October Holiday occurs on the last Monday of October and may fall on Halloween. Its Irish names are Lá Saoire i Mí Dheireadh Fómhair or Lá Saoire Oíche Shamhna, the latter translating literally as 'Halloween holiday'. Italy A carved pumpkin in Sardinia In Italy, All Saints' Day is a public holiday. On 2 November, Tutti i Morti or All Souls' Day, families remember loved ones who have died. These are still the main holidays.[77] In some Italian tradition, children would awake on the morning of All Saints or All Souls to find small gifts from their deceased ancestors. In Sardinia, Concas de Mortu (Head of the deads), carved pumpkins that look like skulls, with candles inside are displayed.[78][79][80] Halloween is, however, gaining in popularity, and involves costume parties for young adults.[81] The traditions to carve pumpkins in a skull figure, lighting candles inside, or to beg for small gifts for the deads e.g. sweets or nuts, also belong to North Italy.[82] In Veneto these carved pumpkins were called lumère (lanterns) or suche dei morti (deads' pumpkins).[83] Poland Since the fall of Communism in 1989, Halloween has become increasingly popular in Poland. Particularly, it is celebrated among younger people. The influx of Western tourists and expats throughout the 1990s introduced the costume party aspect of Hallowe'en celebrations, particularly in clubs and at private house parties. Door-to-door trick or treating is not common. Pumpkin carving is becoming more evident, following a strong North American version of the tradition. Romania Romanians observe the Feast of St. Andrew, patron saint of Romania, on 30 November. On St. Andrew's Eve ghosts are said to be about. A number of customs related to divination, in other places connected to Halloween, are associated with this night.[84] However, with the popularity of Dracula in western Europe, around Halloween the Romanian tourist industry promotes trips to locations connected to the historical Vlad Tepeș and the more fanciful Dracula of Bram Stoker. One of the most successful Halloween Parties in Transylvania takes place in Sighișoara, the citadel where Vlad the Impaler was born. This party include magician shows, ballet show and The Ritual Killing of a Living Dead[85] The biggest Halloween party in Transylvania take place at Bran Castle, aka Dracula's Castle from Transylvania.[86] Both the Catholic and Orthodox Churches in Romania discourage Halloween celebrations, advising their parishioners to focus rather on the "Day of the Dead" on 1 November, when special religious observances are held for the souls of the deceased.[87] Opposition by religious and nationalist groups, including calls to ban costumes and decorations in schools in 2015, have been met with criticism.[88][89][90] Halloween parties are popular in bars and nightclubs.[91] Russia In Russia, most Christians are Orthodox, and in the Orthodox Church, Halloween is on the Saturday after Pentecost, and therefore 4 to 5 months before western Halloween. Celebration of western Halloween began in the 1990s around the downfall of the Soviet regime, when costume and ghoulish parties spread in night clubs throughout Russia. Halloween is generally celebrated by younger generations and is not widely celebrated in civic society (e.g. theaters or libraries). In fact, Halloween is among the Western celebrations that the Russian government and politicians—which have grown increasingly anti-Western in the early 2010s—are trying to eliminate from public celebration.[92][93][94] Spain In Spain, celebrations involve eating castanyes (roasted chestnuts), panellets (special almond balls covered in pine nuts), moniatos (roast or baked sweet potato), Ossos de Sant cake and preserved fruit (candied or glazed fruit). Moscatell (Muscat) is drunk from porrons.[95] Around the time of this celebration, it is common for street vendors to sell hot toasted chestnuts wrapped in newspaper. In many places, confectioners often organise raffles of chestnuts and preserved fruit. The tradition of eating these foods comes from the fact that during All Saints' night, on the eve of All Souls' Day in the Christian tradition, bell ringers would ring bells in commemoration of the dead into the early morning. Friends and relatives would help with this task, and everyone would eat these foods for sustenance.[96] Other versions of the story state that the Castanyada originates at the end of the 18th century and comes from the old funeral meals, where other foods, such as vegetables and dried fruit were not served. The meal had the symbolic significance of a communion with the souls of the departed: while the chestnuts were roasting, prayers would be said for the person who had just died.[97] The festival is usually depicted with the figure of a castanyera: an old lady, dressed in peasant's clothing and wearing a headscarf, sitting behind a table, roasting chestnuts for street sale. In recent years, the Castanyada has become a revetlla of All Saints and is celebrated in the home and community. It is the first of the four main school festivals, alongside Christmas, Carnestoltes and St George's Day, without reference to ritual or commemoration of the dead.[98] Galicia is known two have the second largest Halloween or Samain festivals in Europe and during this time, a drink called Queimada is often served. Sweden On All Hallow's Eve, a Requiem Mass is widely attended every year at Uppsala Cathedral, part of the Lutheran Church of Sweden.[99] Throughout the period of Allhallowtide, starting with All Hallow's Eve, Swedish families visit churchyards and adorn the graves of their family members with lit candles and wreaths fashioned from pine branches.[99] Among children, the practice of dressing in costume and collecting candy gained popularity beginning around 2005.[100] The American traditions of Halloween have however been met with skepticism among the older generations, in part due to conflicting with the Swedish traditions on All Hallow's Eve and in part due to their commercialism.[101] In Sweden, All Saint's Day/ All Hallow's Eve is observed on the Saturday occurring between October 31 and November 6, whereas Halloween is observed on October 31, every year. Switzerland In Switzerland, Halloween, after first becoming popular in 1999, is on the wane, and is most popular with young adults who attend parties. Switzerland already has a "festival overload" and even though Swiss people like to dress up for any occasion, they do prefer a traditional element, such as in the Fasnacht tradition of chasing away winter using noise and masks.[102][103] United Kingdom and Crown dependencies England See also: Mischief Night and Allantide In the past, on All Souls' Eve families would stay up late, and little "soul cakes" were eaten. At the stroke of midnight, there was solemn silence among households, which had candles burning in every room to guide the souls back to visit their earthly homes and a glass of wine on the table to refresh them. The tradition of giving soul cakes that originated in Great Britain and Ireland was known as souling, often seen as the origin of modern trick or treating in North America, and souling continued in parts of England as late as the 1930s, with children going from door to door singing songs and saying prayers for the dead in return for cakes or money.[104] Trick or treating and other Halloween celebrations are extremely popular, with shops decorated with witches and pumpkins, and young people attending costume parties.[105] Scotland The name Halloween is first attested in the 16th century as a Scottish shortening of the fuller All-Hallow-Even, that is, the night before All Hallows' Day.[106] Dumfries poet John Mayne's 1780 poem made note of pranks at Halloween "What fearfu' pranks ensue!". Scottish poet Robert Burns was influenced by Mayne's composition, and portrayed some of the customs in his poem Halloween (1785).[107] According to Burns, Halloween is "thought to be a night when witches, devils, and other mischief-making beings are all abroad on their baneful midnight errands".[108] Among the earliest record of Guising at Halloween in Scotland is in 1895, where masqueraders in disguise carrying lanterns made out of scooped out turnips, visit homes to be rewarded with cakes, fruit and money.[109] If children approached the door of a house, they were given offerings of food. The children's practice of "guising", going from door to door in costumes for food or coins, is a traditional Halloween custom in Scotland.[3] These days children who knock on their neighbours doors have to sing a song or tell stories for a gift of sweets or money.[110] A traditional Halloween game includes apple "dooking",[111] or "dunking" or (i.e., retrieving one from a bucket of water using only one's mouth), and attempting to eat, while blindfolded, a treacle/jam-coated scone hanging on a piece of string. Traditional customs and lore include divination practices, ways of trying to predict the future. A traditional Scottish form of divining one's future spouse is to carve an apple in one long strip, then toss the peel over one's shoulder. The peel is believed to land in the shape of the first letter of the future spouse's name.[112] In Kilmarnock, Halloween is also celebrated on the last Friday of the month, and is known colloquially as "Killieween".[113] Isle of Man See also: Hop-tu-Naa Halloween is a popular traditional occasion on the Isle of Man, where it is known as Hop-tu-Naa. Elsewhere The children of the largest town in Bonaire gather together on Halloween day. Saint Helena In Saint Helena, Halloween is actively celebrated, largely along the American model, with ghosts, skeletons, devils, vampires, witches and the like. Imitation pumpkins are used instead of real pumpkins because the pumpkin harvesting season in Saint Helena's hemisphere is not near Halloween. Trick-or-treating is widespread. Party venues provide entertainment for adults." (wikipedia.org) "Trick-or-treating is a traditional Halloween custom for children and adults in some countries. During the evening of Halloween, on October 31, people in costumes travel from house to house, asking for treats with the phrase "trick or treat". The "treat" is some form of confectionery, usually candy/sweets, although in some cultures money is given instead. The "trick" refers to a threat, usually idle, to perform mischief on the resident(s) or their property if no treat is given. Some people signal that they are willing to hand out treats by putting up Halloween decorations outside their doors; houses may also leave their porch lights on as a universal indicator that they have candy; some simply leave treats available on their porches for the children to take freely, on the honor system. The history of trick-or-treating traces back to Scotland and Ireland, where the tradition of guising, going house to house at Halloween and putting on a small performance to be rewarded with food or treats, goes back at least as far as the 16th century, as does the tradition of people wearing costumes at Halloween. There are many accounts from 19th-century Scotland and Ireland of people going house to house in costume at Halloween, reciting verses in exchange for food, and sometimes warning of misfortune if they were not welcomed.[1][2] In North America, the earliest known occurrence of guising – children going from house to house for food or money while disguised in costume[2] – is from 1911, when children were recorded as having done this in the province of Ontario, Canada.[3] The interjection "trick or treat!" was then first recorded in the same Canadian province of Ontario in 1917. While going house to house in costume has long been popular among the Scots and Irish, it is only in the 2000s that saying "trick or treat" has become common in Scotland and Ireland.[4] Prior to this, children in Ireland would commonly say "help the Halloween party" at the doors of homeowners.[4] The activity is prevalent in the Anglospheric countries of the United Kingdom, Ireland, the United States, Canada, and Australia. It also has extended into Mexico. In northwestern and central Mexico, the practice is called calaverita (Spanish diminutive for calavera, "skull" in English), and instead of "trick or treat", the children ask, "¿Me da mi calaverita?" ("[Can you] give me my little skull?"), where a calaverita is a small skull made of sugar or chocolate. History Ancient precursors Traditions similar to the modern custom of trick-or-treating extend all the way back to classical antiquity, although it is extremely unlikely that any of them are directly related to the modern custom. The ancient Greek writer Athenaeus of Naucratis records in his book The Deipnosophists that, in ancient times, the Greek island of Rhodes had a custom in which children would go from door-to-door dressed as swallows, singing a song, which demanded the owners of the house to give them food and threatened to cause mischief if the owners of the house refused.[5][6][7] This tradition was claimed to have been started by the Rhodian lawgiver Cleobulus.[8] Souling Since the Middle Ages, a tradition of mumming on a certain holiday has existed in parts of Britain and Ireland. It involved going door-to-door in costume, performing short scenes or parts of plays in exchange for food or drink. The custom of trick-or-treating on Halloween may come from the belief that supernatural beings, or the souls of the dead, roamed the earth at this time and needed to be appeased. "A soul-cake, a soul-cake, have mercy on all Christian souls for a soul-cake." — a popular English souling rhyme[9] It may otherwise have originated in a Celtic festival, Samhain, held on 31 October–1 November, to mark the beginning of winter, in Ireland, Scotland and the Isle of Man, and Calan Gaeaf in Wales, Cornwall, and Brittany. The festival is believed to have pre-Christian roots. In the 9th century, the Catholic Church made 1 November All Saints' Day. Among Celtic-speaking peoples, it was seen as a liminal time, when the spirits or fairies (the Aos Sí), and the souls of the dead, came into our world and were appeased with offerings of food and drink. Similar beliefs and customs were found in other parts of Europe. It is suggested that trick-or-treating evolved from a tradition whereby people impersonated the spirits, or the souls of the dead, and received offerings on their behalf. S. V. Peddle suggests they "personify the old spirits of the winter, who demanded reward in exchange for good fortune".[10] Impersonating these spirits or souls was also believed to protect oneself from them.[11] Starting as far back as the 15th century, among Christians, there had been a custom of sharing soul-cakes at Allhallowtide (October 31 through November 2).[12][13] People would visit houses and take soul-cakes, either as representatives of the dead, or in return for praying for their souls.[14] Later, people went "from parish to parish at Halloween, begging soul-cakes by singing under the windows some such verse as this: 'Soul, souls, for a soul-cake; Pray you good mistress, a soul-cake!'"[15] They typically asked for "mercy on all Christian souls for a soul-cake".[16] It was known as 'Souling' and was recorded in parts of Britain, Flanders, southern Germany, and Austria.[17] Shakespeare mentions the practice in his comedy The Two Gentlemen of Verona (1593), when Speed accuses his master of "puling [whimpering or whining] like a beggar at Hallowmas".[18] In western England, mostly in the counties bordering Wales, souling was common.[13] According to one 19th century English writer "parties of children, dressed up in fantastic costume […] went round to the farm houses and cottages, singing a song, and begging for cakes (spoken of as "soal-cakes"), apples, money, or anything that the goodwives would give them".[19] Guising "Guising" redirects here. For other uses, see Guising (disambiguation). Halloween shop in Derry, Northern Ireland. Halloween masks are called ‘false faces’ in Ireland and Scotland. In Scotland and Ireland, "guising" – children going from door to door in disguise – is traditional, and a gift in the form of food, coins or "apples or nuts for the Halloween party" (and in more recent times, chocolate) is given out to the children.[4][20][21] The tradition is called "guising" because of the disguises or costumes worn by the children.[2][22] In the West Mid Scots dialect, guising is known as "galoshans".[23] In Scotland, youths went house to house in white with masked, painted or blackened faces, reciting rhymes and often threatening to do mischief if they were not welcomed.[24][25] Guising has been recorded in Scotland since the 16th century, often at New Year. The Kirk Session records of Elgin name men and women who danced at New Year 1623. Six men, described as guisers or "gwysseris" performed a sword dance wearing masks and visors covering their faces in the churchyard and in the courtyard of a house. They were each fined 40 shillings.[26] A record of guising at Halloween in Scotland in 1895 describes masqueraders in disguise carrying lanterns made out of scooped out turnips, visit homes to be rewarded with cakes, fruit, and money.[27] In Ireland, children in costumes would commonly say "Help the Halloween Party" at the doors of homeowners.[4][28] Halloween masks are referred to as "false faces" in Ireland and Scotland.[29][30] A writer using Scots language recorded guisers in Ayr, Scotland in 1890:     I had mind it was Halloween . . . the wee callans (boys) were at it already, rinning aboot wi’ their fause-faces (false faces) on and their bits o’ turnip lanthrons (lanterns) in their haun (hand).[30] Guising also involved going to wealthy homes, and in the 1920s, boys went guising at Halloween up to the affluent Thorntonhall, South Lanarkshire.[31] An account of guising in the 1950s in Ardrossan, North Ayrshire, records a child receiving 12 shillings and sixpence, having knocked on doors throughout the neighbourhood and performed.[32] Growing up in Derry, Northern Ireland in the 1960s, The Guardian journalist Michael Bradley recalls children asking, “Any nuts or apples?”.[33] In Scotland and Ireland, the children are only supposed to receive treats if they perform a party trick for the households they go to. This normally takes the form of singing a song or reciting a joke or a funny poem which the child has memorised before setting out.[32][20] While going from door to door in disguise has remained popular among Scots and Irish at Halloween, the North American saying "trick-or-treat" has become common in the 2000s.[4][28] Spread to North America Girl in a Halloween costume in 1928 in Ontario, Canada, the same province where the Scottish Halloween custom of "guising" is first recorded in North America The earliest known occurrence of the practice of guising at Halloween in North America is from 1911, when a newspaper in Kingston, Ontario, Canada reported on children going "guising" around the neighborhood.[3] American historian and author Ruth Edna Kelley of Massachusetts wrote the first book length history of the holiday in the US; The Book of Hallowe'en (1919), and references souling in the chapter "Hallowe'en in America"; "The taste in Hallowe'en festivities now is to study old traditions, and hold a Scotch party, using Burn's poem Hallowe'en as a guide; or to go a-souling as the English used. In short, no custom that was once honored at Hallowe'en is out of fashion now."[34] Kelley lived in Lynn, Massachusetts, a town with 4,500 Irish immigrants, 1,900 English immigrants, and 700 Scottish immigrants in 1920.[35] In her book, Kelley touches on customs that arrived from across the Atlantic; "Americans have fostered them, and are making this an occasion something like what it must have been in its best days overseas. All Hallowe'en customs in the United States are borrowed directly or adapted from those of other countries".[36] While the first reference to "guising" in North America occurs in 1911, another reference to ritual begging on Halloween appears, place unknown, in 1915, with a third reference in Chicago in 1920.[37] The emergence of "Trick or treat!" The interjection "Trick or treat!" — a request for sweets or candy, originally and sometimes still with the implication that anyone who is asked and who does not provide sweets or other treats will be subjected to a prank or practical joke — seems to have arisen in central Canada, before spreading into the northern and western United States in the 1930s and across the rest of the United States through the 1940s and early 1950s.[38] Initially it was often found in variant forms, such as "tricks or treats," which was used in the earliest known case, a 1917 report in The Sault Daily Star in Sault Ste. Marie, Ontario:[39]     Almost everywhere you went last night, particularly in the early part of the evening, you would meet gangs of youngsters out to celebrate. Some of them would have adopted various forms of "camouflage" such as masks, or would appear in long trousers and big hats or with long skirts. But others again didn't. . . . "Tricks or treats" you could hear the gangs call out, and if the householder passed out the "coin" for the "treats" his establishment would be immune from attack until another gang came along that knew not of or had no part in the agreement.[40] As shown by word sleuth Barry Popik,[41] who also found the first use from 1917,[39] variant forms continued, with "trick or a treat" found in Chatsworth, Ontario in 1921,[42] "treat up or tricks" and "treat or tricks" found in Edmonton, Alberta in 1922,[43] and "treat or trick" in Penhold, Alberta in 1924.[44] The now canonical form of "trick or treat" was first seen in 1917 in Chatsworth, only one day after the Sault Ste. Marie use,[45] but "tricks or treats" was still in use in the 1966 television special, It's the Great Pumpkin, Charlie Brown.[41] The thousands of Halloween postcards produced between the start of the 20th century and the 1920s commonly show children but do not depict trick-or-treating.[46] The editor of a collection of over 3,000 vintage Halloween postcards writes, "There are cards which mention the custom [of trick-or-treating] or show children in costumes at the doors, but as far as we can tell they were printed later than the 1920s and more than likely even the 1930s. Tricksters of various sorts are shown on the early postcards, but not the means of appeasing them".[47] Trick-or-treating does not seem to have become a widespread practice until the 1930s, with the first U.S. appearance of the term in 1932,[48] and the first use in a national publication occurring in 1939.[49] Behavior similar to trick-or-treating was more commonly associated with Thanksgiving from 1870 (shortly after that holiday's formalization) until the 1930s. In New York City, a Thanksgiving ritual known as Ragamuffin Day involved children dressing up as beggars and asking for treats, which later evolved into dressing up in more diverse costumes.[50][51] Increasing hostility toward the practice in the 1930s eventually led to the begging aspects being dropped, and by the 1950s, the tradition as a whole had ceased. Increased popularity Almost all pre-1940 uses of the term "trick-or-treat" are from the United States and Canada. Trick-or-treating spread throughout the United States, stalled only by World War II sugar rationing that began in April, 1942 and lasted until June, 1947.[52][53] Magazine advertisement in 1962 Early national attention to trick-or-treating was given in October, 1947 issues of the children's magazines Jack and Jill and Children's Activities,[54] and by Halloween episodes of the network radio programs The Baby Snooks Show in 1946 and The Jack Benny Show and The Adventures of Ozzie and Harriet in 1948.[55] Trick-or-treating was depicted in the Peanuts comic strip in 1951.[56] The custom had become firmly established in popular culture by 1952, when Walt Disney portrayed it in the cartoon Trick or Treat, and Ozzie and Harriet were besieged by trick-or-treaters on an episode of their television show.[57] In 1953 UNICEF first conducted a national campaign for children to raise funds for the charity while trick-or-treating.[58] Although some popular histories of Halloween have characterized trick-or-treating as an adult invention to re-channel Halloween activities away from Mischief Night vandalism, there are very few records supporting this. Des Moines, Iowa is the only area known to have a record of trick-or-treating being used to deter crime.[59] Elsewhere, adults, as reported in newspapers from the mid-1930s to the mid-1950s, typically saw it as a form of extortion, with reactions ranging from bemused indulgence to anger.[60] Likewise, as portrayed on radio shows, children would have to explain what trick-or-treating was to puzzled adults, and not the other way around. Sometimes even the children protested: for Halloween 1948, members of the Madison Square Boys Club in New York City carried a parade banner that read "American Boys Don't Beg."[61] The National Confectioners Association reported in 2005 that 80 percent of adults in the United States planned to give out confectionery to trick-or-treaters,[62] and that 93 percent of children, teenagers, and young adults planned to go trick-or-treating or participating in other Halloween activities.[63] Phrase introduction to the UK and Ireland Despite the concept of trick-or-treating originating in Britain and Ireland in the form of souling and guising, the use of the term "trick or treat" at the doors of homeowners was not common until the 1980s, with its popularisation in part through the release of the film E.T.[64] Guising requires those going door-to-door to perform a song or poem without any jocular threat,[32] and according to one BBC journalist, in the 1980s, "trick or treat" was still often viewed as an exotic and not particularly welcome import, with the BBC referring to it as "the Japanese knotweed of festivals" and "making demands with menaces".[65] In Ireland before the phrase "trick or treat" became common in the 2000s, children would say "Help the Halloween Party".[4] Very often, the phrase "trick or treat" is simply said and the revellers are given sweets, with the choice of a trick or a treat having been discarded. Etiquette Two children trick-or-treating on Halloween in Arkansas, United States Trick-or-treating typically begins at dusk on October 31. Some municipalities choose other dates.[66][67][68][69][70][71] Homeowners wishing to participate sometimes decorate their homes with artificial spider webs, plastic skeletons and jack-o-lanterns. Conversely, those who do not wish to participate may turn off outside lights for the evening or lock relevant gates and fences to keep people from coming onto their property. In most areas where trick-or-treating is practiced, it is considered an activity for children. Some jurisdictions in the United States forbid the activity for anyone over the age of 12.[72] Dressing up is common at all ages; adults will often dress up to accompany their children, and young adults may dress up to go out and ask for gifts for a charity. Local variants U.S. and Canada Children of the St. Louis, Missouri, area are expected to perform a joke, usually a simple Halloween-themed pun or riddle, before receiving any candy; this "trick" earns the "treat".[73] Children in Des Moines, Iowa also tell jokes or otherwise perform before receiving their treat. In some parts of Canada, children sometimes say "Halloween apples" instead of "trick or treat". This probably originated when the toffee apple was a popular type of candy. Apple-giving in much of Canada, however, has been taboo since the 1960s when stories (of almost certainly questionable authenticity) appeared of razors hidden inside Halloween apples; parents began to check over their children's fruit for safety before allowing them to eat it. In Quebec, children also go door to door on Halloween. However, in French-speaking neighbourhoods, instead of "Trick or treat", they will simply say "Halloween", though it traditionally used to be "La charité, s'il-vous-plaît" ("Charity, please").[74] Trunk-or-treat Trunk-or-treating event held at St. John Lutheran Church & Early Learning Center in Darien, Illinois Some organizations around the United States and Canada sponsor a "trunk-or-treat" on Halloween night (or, on occasion, a day immediately preceding Halloween, or a few days from it, on a weekend, depending on what is convenient). Trunk-or-treating is done from parked car to parked car in a local parking lot, often at a school or church. The activity makes use of the open trunks of the cars, which display candy, and often games and decorations. Some parents regard trunk-or-treating as a safer alternative to trick-or-treating,[75] while other parents see it as an easier alternative to walking the neighborhood with their children. This annual event began in the mid-1990s as a "fall festival" for an alternative to trick-or-treating, but became "trunk-or-treat" two decades later. Some have called for more city or community group-sponsored trunk-or-treats, so they can be more inclusive.[76] By 2006 these had become increasingly popular.[77] Portugal and Iberian Peninsule In Portugal, children go from house to house in All Saints Day and All Souls Day, carrying pumpkin carved lanterns called coca,[78] asking everyone they see for Pão-por-Deus singing rhymes where they remind people why they are begging, saying "...It is for me and for you, and to give to the deceased who are dead and buried"[79] or "It is to share with your deceased"[80] In the Azores the bread given to the children takes the shape of the top of a skull.[81] The tradition of pão-por-Deus was already recorded in the 15th century.[82] In Galicia, particularly in the island of A Illa de Arousa, a similar tradition exists where children ask for alms (usually bread, sweets, fruits, chestnuts, money or small toys) with the phrase "unha esmoliña polos defuntiños que van alá" ("a little charity for the little deceased who are there").[83] Scandinavia In Sweden, children dress up as witches and monsters when they go trick-or-treating on Maundy Thursday (the Thursday before Easter) while Danish children dress up in various attires and go trick-or-treating on Fastelavn (or the next day, Shrove Monday). In Norway, the practice is quite common among children, who come dressed up to people's doors asking for, mainly, candy. The Easter witch tradition is done on Palm Sunday in Finland (virvonta). Europe In parts of Flanders, some parts of the Netherlands, and most areas of Germany, Switzerland, and Austria, children go to houses with home-made beet lanterns or with paper lanterns (which can hold a candle or electronic light), singing songs about St. Martin on St. Martin's Day (the 11th of November), in return for treats.[84] The equivalent of "trick-or-treat" in German language is "Süßes oder Saures", asking for sweeties or threatening something less pleasant. In Northern Germany and Southern Denmark, children dress up in costumes and go trick-or-treating on New Year's Eve in a tradition called "Rummelpott [de]".[85] Trick-or-treat for charity UNICEF started a program in 1950 called Trick-or-Treat for UNICEF in which trick-or-treaters ask people to give money for the organization, usually instead of collecting candy. Participating trick-or-treaters say when they knock at doors "Trick-or-treat for UNICEF!"[86] This program started as an alternative to candy. The organization has long produced disposable collection boxes that state on the back what the money can be used for in developing countries. In Canada, students from the local high schools, colleges, and universities dress up to collect food donations for the local Food Banks as a form of trick-or-treating. This is sometimes called "Trick-or-Eat"." (wikipedia.org) "A skeleton is the structural frame that supports the body of most animals. There are several types of skeletons, including the exoskeleton, which is a rigid outer shell that holds up an organism's shape; the endoskeleton, a rigid internal frame to which the organs and soft tissues attach; and the hydroskeleton, a flexible internal structure supported by the hydrostatic pressure of body fluids. Vertebrates are animals with an endoskeleton centered around an axial vertebral column, and their skeletons are typically composed of bones and cartilages. Invertebrates are other animals that lack a vertebral column, and their skeletons vary, including hard-shelled exoskeleton (arthropods and most molluscs), plated internal shells (e.g. cuttlebones in some cephalopods) or rods (e.g. ossicles in echinoderms), hydrostatically supported body cavities (most), and spicules (sponges). Cartilage is a rigid connective tissue that is found in the skeletal systems of vertebrates and invertebrates. Etymology The term skeleton comes from Ancient Greek σκελετός (skeletós) 'dried up'.[1] Sceleton is an archaic form of the word.[2] Classification Skeletons can be defined by several attributes. Solid skeletons consist of hard substances, such as bone, cartilage, or cuticle. These can be further divided by location; internal skeletons are endoskeletons, and external skeletons are exoskeletons. Skeletons may also be defined by rigidity, where pliant skeletons are more elastic than rigid skeletons.[3] Fluid or hydrostatic skeletons do not have hard structure like solid skeletons, instead functioning via pressurized fluids. Hydrostatic skeletons are always internal....Humans Main article: Human skeleton Study of Skeletons, c. 1510, by Leonardo da Vinci The skeleton consists of both fused and individual bones supported and supplemented by ligaments, tendons, muscles and cartilage. It serves as a scaffold which supports organs, anchors muscles, and protects organs such as the brain, lungs, heart and spinal cord.[21] The biggest bone in the body is the femur in the upper leg, and the smallest is the stapes bone in the middle ear. In an adult, the skeleton comprises around 13.1% of the total body weight,[22] and half of this weight is water. Fused bones include those of the pelvis and the cranium. Not all bones are interconnected directly: There are three bones in each middle ear called the ossicles that articulate only with each other. The hyoid bone, which is located in the neck and serves as the point of attachment for the tongue, does not articulate with any other bones in the body, being supported by muscles and ligaments. There are 206 bones in the adult human skeleton, although this number depends on whether the pelvic bones (the hip bones on each side) are counted as one or three bones on each side (ilium, ischium, and pubis), whether the coccyx or tail bone is counted as one or four separate bones, and does not count the variable wormian bones between skull sutures. Similarly, the sacrum is usually counted as a single bone, rather than five fused vertebrae. There is also a variable number of small sesamoid bones, commonly found in tendons. The patella or kneecap on each side is an example of a larger sesamoid bone. The patellae are counted in the total, as they are constant. The number of bones varies between individuals and with age – newborn babies have over 270 bones some of which fuse together.[citation needed] These bones are organized into a longitudinal axis, the axial skeleton, to which the appendicular skeleton is attached.[23] The human skeleton takes 20 years before it is fully developed, and the bones contain marrow, which produces blood cells. There exist several general differences between the male and female skeletons. The male skeleton, for example, is generally larger and heavier than the female skeleton. In the female skeleton, the bones of the skull are generally less angular. The female skeleton also has wider and shorter breastbone and slimmer wrists. There exist significant differences between the male and female pelvis which are related to the female's pregnancy and childbirth capabilities. The female pelvis is wider and shallower than the male pelvis. Female pelvises also have an enlarged pelvic outlet and a wider and more circular pelvic inlet. The angle between the pubic bones is known to be sharper in males, which results in a more circular, narrower, and near heart-shaped pelvis." (wikipedia.org) "Structure Humans For details and the constituent bones, see Neurocranium and Facial skeleton. Skull in situ Anatomy of a flat bone – the periosteum of the neurocranium is known as the pericranium Human skull from the front Side bones of skull The human skull is the bone structure that forms the head in the human skeleton. It supports the structures of the face and forms a cavity for the brain. Like the skulls of other vertebrates, it protects the brain from injury.[5] The skull consists of three parts, of different embryological origin—the neurocranium, the sutures, and the facial skeleton (also called the membraneous viscerocranium). The neurocranium (or braincase) forms the protective cranial cavity that surrounds and houses the brain and brainstem.[6] The upper areas of the cranial bones form the calvaria (skullcap). The membranous viscerocranium includes the mandible. The sutures are fairly rigid joints between bones of the neurocranium. The facial skeleton is formed by the bones supporting the face. Bones Except for the mandible, all of the bones of the skull are joined by sutures—synarthrodial (immovable) joints formed by bony ossification, with Sharpey's fibres permitting some flexibility. Sometimes there can be extra bone pieces within the suture known as wormian bones or sutural bones. Most commonly these are found in the course of the lambdoid suture. The human skull is generally considered to consist of twenty-two bones—eight cranial bones and fourteen facial skeleton bones. In the neurocranium these are the occipital bone, two temporal bones, two parietal bones, the sphenoid, ethmoid and frontal bones. The bones of the facial skeleton (14) are the vomer, two inferior nasal conchae, two nasal bones, two maxilla, the mandible, two palatine bones, two zygomatic bones, and two lacrimal bones. Some sources count a paired bone as one, or the maxilla as having two bones (as its parts); some sources include the hyoid bone or the three ossicles of the middle ear but the overall general consensus of the number of bones in the human skull is the stated twenty-two. Some of these bones—the occipital, parietal, frontal, in the neurocranium, and the nasal, lacrimal, and vomer, in the facial skeleton are flat bones. Cavities and foramina CT scan of a human skull in 3D The skull also contains sinuses, air-filled cavities known as paranasal sinuses, and numerous foramina. The sinuses are lined with respiratory epithelium. Their known functions are the lessening of the weight of the skull, the aiding of resonance to the voice and the warming and moistening of the air drawn into the nasal cavity. The foramina are openings in the skull. The largest of these is the foramen magnum that allows the passage of the spinal cord as well as nerves and blood vessels. Processes The many processes of the skull include the mastoid process and the zygomatic processes." (wikipedia.org) "Skull symbolism is the attachment of symbolic meaning to the human skull. The most common symbolic use of the skull is as a representation of death. Humans can often recognize the buried fragments of an only partially revealed cranium even when other bones may look like shards of stone. The human brain has a specific region for recognizing faces,[1] and is so attuned to finding them that it can see faces in a few dots and lines or punctuation marks; the human brain cannot separate the image of the human skull from the familiar human face. Because of this, both the death and the now-past life of the skull are symbolized. Hindu temples and depiction of some Hindu deities have displayed association with skulls. Moreover, a human skull with its large eye sockets displays a degree of neoteny, which humans often find visually appealing—yet a skull is also obviously dead, and to some can even seem to look sad due to the downward facing slope on the ends of the eye sockets. A skull with the lower jaw intact may also appear to be grinning or laughing due to the exposed teeth. As such, human skulls often have a greater visual appeal than the other bones of the human skeleton, and can fascinate even as they repel. Societies predominantly associate skulls with death and evil. Unicode reserves character U+1F480 (💀) for a human skull pictogram. Examples Throughout the centuries skulls symbolized either warnings of various threats or as reminder of the vanity of earthly pleasures in contrast with our own mortality. Nevertheless, the skull seems to be omnipresent in the first decade of the twenty-first century, appearing on jeweler, bags, clothing and in the shape of various decorative items. However, the increasing use of the skull as a visual symbol in popular culture reduces its original meaning as well as its traditional connotation.[2][3] Literature One of the best-known examples of skull symbolism occurs in Shakespeare's Hamlet, where the title character recognizes the skull of an old friend: "Alas, poor Yorick! I knew him, Horatio; a fellow of infinite jest..." Hamlet is inspired to utter a bitter soliloquy of despair and rough ironic humor. Compare Hamlet's words "Here hung those lips that I have kissed I know not how oft" to Talmudic sources: "...Rabi Ishmael [the High Priest]... put [the severed head of a martyr] in his lap... and cried: oh sacred mouth!...who buried you in ashes...!". The skull was a symbol of melancholy for Shakespeare's contemporaries.[4] An old Yoruba folktale[5] tells of a man who encountered a skull mounted on a post by the wayside. To his astonishment, the skull spoke. The man asked the skull why it was mounted there. The skull said that it was mounted there for talking. The man then went to the king, and told the king of the marvel he had found, a talking skull. The king and the man returned to the place where the skull was mounted; the skull remained silent. The king then commanded that the man be beheaded, and ordered that his head be mounted in place of the skull. The skull speaks in the catacombs of the Capuchin brothers beneath the church of Santa Maria della Concezione in Rome,[6] where disassembled bones and teeth and skulls of the departed Capuchins have been rearranged to form a rich Baroque architecture of the human condition, in a series of anterooms and subterranean chapels with the inscription, set in bones:     Noi eravamo quello che voi siete, e quello che noi siamo voi sarete.     "We were what you are; and what we are, you will be." Art The skull of Adam at the foot of the Cross: detail from a Crucifixion by Fra Angelico, 1435 The Serpent crawling through the eyes of a skull is a familiar image that survives in contemporary Goth subculture. The serpent is a chthonic god of knowledge and of immortality, because he sloughs off his skin. The serpent guards the Tree in the Greek Garden of the Hesperides and, later, a Tree in the Garden of Eden. The serpent in the skull is always making its way through the socket that was the eye: knowledge persists beyond death, the emblem says, and the serpent has the secret. The late medieval and Early Renaissance Northern and Italian painters place the skull where it lies at the foot of the Cross at Golgotha (Aramaic for the place of the skull). But for them it has become quite specifically the skull of Adam. Skull on table Vanitas, by Pieter Claesz, painted in 1630 In Elizabethan England, the Death's-Head Skull, usually a depiction without the lower jawbone, was emblematic of bawds, rakes, sexual adventurers and prostitutes; the term Death's-Head was actually parlance for these rakes, and most of them wore half-skull rings to advertise their station, either professionally or otherwise. The original Rings were wide silver objects, with a half-skull decoration not much wider than the rest of the band; This allowed it to be rotated around the finger to hide the skull in polite company, and to reposition it in the presence of likely conquests.[citation needed] Venetian painters of the 16th century elaborated moral allegories for their patrons, and memento mori was a common theme. The theme carried by an inscription on a rustic tomb, "Et in Arcadia ego"—"I too [am] in Arcadia", if it is Death that is speaking—is made famous by two paintings by Nicolas Poussin, but the motto made its pictorial debut in Guercino's version, 1618–22 (in the Galleria Barberini, Rome): in it, two awestruck young shepherds come upon an inscribed plinth, in which the inscription ET IN ARCADIA EGO gains force from the prominent presence of a wormy skull in the foreground. lady at round mirror and dressing table resembling a skull "All is Vanity" by C. Allan Gilbert All is Vanity by C. Allan Gilbert, 1873–1929 In C. Allan Gilbert's much-reproduced lithograph of a lovely Gibson Girl seated at her fashionable vanity table, an observer can witness its transformation into an alternate image. A ghostly echo of the worldly Magdalene's repentance motif lurks behind this turn-of-the-20th century icon. The skull becomes an icon itself when its painted representation becomes a substitute for the real thing. Simon Schama chronicled the ambivalence of the Dutch to their own worldly success during the Dutch Golden Age of the first half of the 17th century in The Embarrassment of Riches. The possibly frivolous and merely decorative nature of the still life genre was avoided by Pieter Claesz in his Vanitas: Skull, opened case-watch, overturned emptied wineglasses, snuffed candle, book: "Lo, the wine of life runs out, the spirit is snuffed, oh Man, for all your learning, time yet runs on: Vanity!" The visual cues of the hurry and violence of life are contrasted with eternity in this somber, still and utterly silent painting. Symbolism of Fortuna's wheel divine justice and Skull mortality in a Pompeiian mosaic Symbolism of chance (Fortuna's wheel) divine justice (right angle and plumb-bob) and mortality in a Pompeiian mosaic The skull speaks. It says "Et in Arcadia ego" or simply "Vanitas." In a first-century mosaic tabletop from a Pompeiian triclinium (now in Naples), the skull is crowned with a carpenter's square and plumb-bob, which dangles before its empty eyesockets (Death as the great leveler), while below is an image of the ephemeral and changeable nature of life: a butterfly atop a wheel—a table for a philosopher's symposium. Similarly, a skull might be seen crowned by a chaplet of dried roses, a carpe diem, though rarely as bedecked as Mexican printmaker José Guadalupe Posada's Catrina. In Mesoamerican architecture, stacks of skulls (real or sculpted) represented the result of human sacrifices. Pirates The pirate death's-head epitomizes the pirates' ruthlessness and despair; their usage of death imagery might be paralleled with their occupation challenging the natural order of things.[7] "Pirates also affirmed their unity symbolically", Marcus Rediker asserts, remarking the skeleton or skull symbol with bleeding heart and hourglass on the black pirate ensign, and asserting "it triad of interlocking symbols—death, violence, limited time—simultaneously pointed to meaningful parts of the seaman's experience, and eloquently bespoke the pirates' own consciousness of themselves as preyed upon in turn. Pirates seized the symbol of mortality from ship captains who used the skull 'as a marginal sign in their logs to indicate the record of a death'"[8] Religion The Mexican death goddess or folk saint known as Santa Muerte is portrayed with a skull instead of a normal head.[9] Skull art is found in depictions of some Hindu Gods. Shiva has been depicted as carrying skull.[10] Goddess Chamunda is described as wearing a garland of severed heads or skulls (Mundamala). Kedareshwara Temple, Hoysaleswara Temple, Chennakeshava Temple, Lakshminarayana Temple are some of the Hindu temples that include sculptures of skulls and Goddess Chamunda.[11] The temple of Kali is veneered with skulls, but the goddess Kali offers life through the welter of blood. In Vajrayana Buddhist iconography, skull symbolism is often used in depictions of wrathful deities and of dakinis. In some Korean life replacement narratives, a person discovers an abandoned skull and worships it. The skull later gives advice on how to cheat the gods of death and prevent an early death. An example of the OSS "Black Propaganda" Humor: at left an Adolf Hitler profile on a "German Reich" stamp; at right the OSS-forged Hitler face version, turned into a death's head on a "Fallen Reich" stamp Political symbol A skull was worn as a trophy on the belt of the Lombard king Alboin, it was a constant grim triumph over his old enemy, and he drank from it. In the same way a skull is a warning when it decorates the palisade of a city, or deteriorates on a pike at a Traitor's Gate. The Skull Tower, with the embedded skulls of Serbian rebels, was built in 1809 on the highway near Niš, Serbia, as a stark political warning from the Ottoman government. In this case the skulls are the statement: that the current owner had the power to kill the former. "Drinking out of a skull the blood of slain (sacrificial) enemies is mentioned by Ammianus and Livy,[12] and Solinus describes the Irish custom of bathing the face in the blood of the slain and drinking it."[13] The rafters of a traditional Jívaro medicine house in Peru, or in New Guinea.[14] When the skull appears in Nazi SS insignia, the death's-head (Totenkopf) represents loyalty unto death. Humans typically note the skull and crossbones sign as the almost universal symbol for. Holidays Skulls and skeletons are the main symbol of the Day of the Dead, a Mexican holiday. Skull-shaped decorations called calaveras are a common sight during the festivities. Skull on a gravestone edge, at Durisdeer Skull on a gravestone edge, Durisdeer Other uses When tattooed on the forearm its apotropaic power is thought to help an outlaw biker cheat death.[15] The skull and crossbones signify "Poison" when they appear on a glass bottle containing a white powder, or any container in general. The skull that is often engraved or carved on the head of early New England tombstones might be merely a symbol of mortality, but the skull is also often backed by an angelic pair of wings, lofting mortality beyond its own death....Skulls and memento mori, as for example the diamond-studded skull For the Love of God by Damien Hirst,[16] have become a popular trend in pop culture....Skulls have been also found on clothing items for men, women and children.[2] Some sources credited Alexander McQueen for introducing skulls as a fashion trend with stylized skulls, starting with skull-decorated bags and scarves. The trend is extant by the early 2010s." (wikipedia.org) "Memento mori (Latin for 'remember that you [have to] die'[2]) is an artistic or symbolic trope acting as a reminder of the inevitability of death.[2] The concept has its roots in the philosophers of classical antiquity and Christianity, and appeared in funerary art and architecture from the medieval period onwards. The most common motif is a skull, often accompanied by one or more bones. Often this alone is enough to evoke the trope, but other motifs such as a coffin, hourglass and wilting flowers signify the impermanence of human mundane life. Often these function within a work whose main subject is something else, such as a portrait, but the vanitas is an artistic genre where the theme of death is the main subject. The Danse Macabre and Death personified with a scythe as the Grim Reaper are even more direct evocations of the trope. Pronunciation and translation In English, the phrase is typically pronounced /məˈmɛntoʊ ˈmɔːri/, mə-MEN-toh MOR-ee. It is reconstructed as ideally pronounced as something like [mɛˈmɛntoː ˈmɔriː] if spoken by an ancient Roman around the beginning of the AD era.[citation needed] Memento is the 2nd person singular active future imperative of meminī, 'to remember, to bear in mind', usually serving as a warning: "remember!" Morī is the present infinitive of the deponent verb morior 'to die'.[3] Thus, the phrase literally translates as “thou shalt remember to die” but may be loosely rendered as "remember death" or "remember that you die".[4] History of the concept In classical antiquity The philosopher Democritus trained himself by going into solitude and frequenting tombs.[5] Plato's Phaedo, where the death of Socrates is recounted, introduces the idea that the proper practice of philosophy is "about nothing else but dying and being dead".[6] The Stoics of classical antiquity were particularly prominent in their use of this discipline, and Seneca's letters are full of injunctions to meditate on death.[7] The Stoic Epictetus told his students that when kissing their child, brother, or friend, they should remind themselves that they are mortal, curbing their pleasure, as do "those who stand behind men in their triumphs and remind them that they are mortal".[8] The Stoic Marcus Aurelius invited the reader (himself) to "consider how ephemeral and mean all mortal things are" in his Meditations.[9][10] In some accounts of the Roman triumph, a companion or public slave would stand behind or near the triumphant general during the procession and remind him from time to time of his own mortality or prompt him to "look behind".[11] A version of this warning is often rendered into English as "Remember, Caesar, thou art mortal", for example in Fahrenheit 451. In Judaism Several passages in the Old Testament urge a remembrance of death. In Psalm 90, Moses prays that God would teach his people "to number our days that we may get a heart of wisdom" (Ps. 90:12). In Ecclesiastes, the Preacher insists that "It is better to go to the house of mourning than to go to the house of feasting, for this is the end of all mankind, and the living will lay it to heart" (Eccl. 7:2). In Isaiah, the lifespan of human beings is compared to the short lifespan of grass: "The grass withers, the flower fades when the breath of the LORD blows on it; surely the people are grass" (Is. 40:7). In early Christianity The expression memento mori developed with the growth of Christianity, which emphasized Heaven, Hell, Hades and salvation of the soul in the afterlife.[12] The 2nd-century Christian writer Tertullian claimed in his Apologeticus, that during a triumphal procession, a victorious general had someone standing behind him, holding a crown over his head and whispering: "Respice post te. Hominem te esse memento. Memento mori." ("Look after yourself. Remember you're a man. Remember you will die."). Though in modern times this has become a standard trope, in fact no other ancient authors confirm this, and it may have been Christian moralizing on Tertullians part rather than an accurate historical report.[13] In Europe from the medieval era to the Victorian era Dance of Death (replica of 15th-century fresco; National Gallery of Slovenia); No matter one's station in life, the Dance of Death unites all. Christian Theology The thought was then utilized in Christianity, whose strong emphasis on divine judgment, heaven, hell, and the salvation of the soul brought death to the forefront of consciousness.[14] In the Christian context, the memento mori acquires a moralizing purpose quite opposed to the nunc est bibendum (now is the time to drink) theme of classical antiquity. To the Christian, the prospect of death serves to emphasize the emptiness and fleetingness of earthly pleasures, luxuries, and achievements, and thus also as an invitation to focus one's thoughts on the prospect of the afterlife. A Biblical injunction often associated with the memento mori in this context is In omnibus operibus tuis memorare novissima tua, et in aeternum non peccabis (the Vulgate's Latin rendering of Ecclesiasticus 7:40, "in all thy works be mindful of thy last end and thou wilt never sin.") This finds ritual expression in the rites of Ash Wednesday, when ashes are placed upon the worshipers' heads with the words, "Remember Man that you are dust and unto dust, you shall return." Memento mori has been an important part of ascetic disciplines as a means of perfecting the character by cultivating detachment and other virtues, and by turning the attention towards the immortality of the soul and the afterlife.[15] Architecture Unshrouded skeleton on Diana Warburton's tomb (dated 1693) in St John the Baptist Church, Chester The most obvious places to look for memento mori meditations are in funeral art and architecture. Perhaps the most striking to contemporary minds is the transi or cadaver tomb, a tomb that depicts the decayed corpse of the deceased. This became a fashion in the tombs of the wealthy in the fifteenth century, and surviving examples still offer a stark reminder of the vanity of earthly riches. Later, Puritan tomb stones in the colonial United States frequently depicted winged skulls, skeletons, or angels snuffing out candles. These are among the numerous themes associated with skull imagery. Another example of memento mori is provided by the chapels of bones, such as the Capela dos Ossos in Évora or the Capuchin Crypt in Rome. These are chapels where the walls are totally or partially covered by human remains, mostly bones. The entrance to the Capela dos Ossos has the following sentence: "We bones, lying here bare, await yours." Visual art Philippe de Champaigne's Vanitas (c. 1671) is reduced to three essentials: Life, Death, and Time Timepieces have been used to illustrate that the time of the living on Earth grows shorter with each passing minute. Public clocks would be decorated with mottos such as ultima forsan ("perhaps the last" [hour]) or vulnerant omnes, ultima necat ("they all wound, and the last kills"). Clocks have carried the motto tempus fugit, "time flees". Old striking clocks often sported automata who would appear and strike the hour; some of the celebrated automaton clocks from Augsburg, Germany, had Death striking the hour. Private people carried smaller reminders of their own mortality. Mary, Queen of Scots owned a large watch carved in the form of a silver skull, embellished with the lines of Horace, "Pale death knocks with the same tempo upon the huts of the poor and the towers of Kings." In the late 16th and through the 17th century, memento mori jewelry was popular. Items included mourning rings,[16] pendants, lockets, and brooches.[17] These pieces depicted tiny motifs of skulls, bones, and coffins, in addition to messages and names of the departed, picked out in precious metals and enamel.[17][18] During the same period there emerged the artistic genre known as vanitas, Latin for "emptiness" or "vanity". Especially popular in Holland and then spreading to other European nations, vanitas paintings typically represented assemblages of numerous symbolic objects such as human skulls, guttering candles, wilting flowers, soap bubbles, butterflies, and hourglasses. In combination, vanitas assemblies conveyed the impermanence of human endeavours and of the decay that is inevitable with the passage of time. See also the themes associated with the image of the skull. The 2007 screenprint by the street-artist Banksy "Grin Reaper" features the Grim Reaper with acid-house smiley face sitting on a clock desmonstrating death awaiting us all.[19] Literature Memento mori is also an important literary theme. Well-known literary meditations on death in English prose include Sir Thomas Browne's Hydriotaphia, Urn Burial and Jeremy Taylor's Holy Living and Holy Dying. These works were part of a Jacobean cult of melancholia that marked the end of the Elizabethan era. In the late eighteenth century, literary elegies were a common genre; Thomas Gray's Elegy Written in a Country Churchyard and Edward Young's Night Thoughts are typical members of the genre. In the European devotional literature of the Renaissance, the Ars Moriendi, memento mori had moral value by reminding individuals of their mortality.[20] Music Apart from the genre of requiem and funeral music, there is also a rich tradition of memento mori in the Early Music of Europe. Especially those facing the ever-present death during the recurring bubonic plague pandemics from the 1340s onward tried to toughen themselves by anticipating the inevitable in chants, from the simple Geisslerlieder of the Flagellant movement to the more refined cloistral or courtly songs. The lyrics often looked at life as a necessary and god-given vale of tears with death as a ransom, and they reminded people to lead sinless lives to stand a chance at Judgment Day. The following two Latin stanzas (with their English translations) are typical of memento mori in medieval music; they are from the virelai Ad Mortem Festinamus of the Llibre Vermell de Montserrat from 1399: Vita brevis breviter in brevi finietur, Mors venit velociter quae neminem veretur, Omnia mors perimit et nulli miseretur. Ad mortem festinamus peccare desistamus. Ni conversus fueris et sicut puer factus Et vitam mutaveris in meliores actus, Intrare non poteris regnum Dei beatus. Ad mortem festinamus peccare desistamus.     Life is short, and shortly it will end; Death comes quickly and respects no one, Death destroys everything and takes pity on no one. To death we are hastening, let us refrain from sinning. If you do not turn back and become like a child, And change your life for the better, You will not be able to enter, blessed, the Kingdom of God. To death we are hastening, let us refrain from sinning. Danse macabre The danse macabre is another well-known example of the memento mori theme, with its dancing depiction of the Grim Reaper carrying off rich and poor alike. This and similar depictions of Death decorated many European churches....The salutation of the Hermits of St. Paul of France Memento mori was the salutation used by the Hermits of St. Paul of France (1620–1633), also known as the Brothers of Death.[21] It is sometimes claimed that the Trappists use this salutation, but this is not true.[22] In Puritan America Thomas Smith's Self-Portrait Colonial American art saw a large number of memento mori images due to Puritan influence. The Puritan community in 17th-century North America looked down upon art because they believed that it drew the faithful away from God and, if away from God, then it could only lead to the devil. However, portraits were considered historical records and, as such, they were allowed. Thomas Smith, a 17th-century Puritan, fought in many naval battles and also painted. In his self-portrait, we see these pursuits represented alongside a typical Puritan memento mori with a skull, suggesting his awareness of imminent death. The poem underneath the skull emphasizes Thomas Smith's acceptance of death and of turning away from the world of the living:     Why why should I the World be minding, Therein a World of Evils Finding. Then Farwell World: Farwell thy jarres, thy Joies thy Toies thy Wiles thy Warrs. Truth Sounds Retreat: I am not sorye. The Eternall Drawes to him my heart, By Faith (which can thy Force Subvert) To Crowne me (after Grace) with Glory. Mexico's Day of the Dead Posada's 1910 La Calavera Catrina Main article: Day of the Dead Much memento mori art is associated with the Mexican festival Day of the Dead, including skull-shaped candies and bread loaves adorned with bread "bones". This theme was also famously expressed in the works of the Mexican engraver José Guadalupe Posada, in which people from various walks of life are depicted as skeletons. Another manifestation of memento mori is found in the Mexican "Calavera", a literary composition in verse form normally written in honour of a person who is still alive, but written as if that person were dead. These compositions have a comedic tone and are often offered from one friend to another during Day of the Dead.[23] Contemporary culture Roman Krznaric suggests Memento Mori is an important topic to bring back into our thoughts and belief system; "Philosophers have come up with lots of what I call 'death tasters' – thought experiments for seizing the day." These thought experiments are powerful to get us re-oriented back to death into current awareness and living with spontaneity. Albert Camus stated "Come to terms with death, thereafter anything is possible." Jean-Paul Sartre expressed that life is given to us early, and is shortened at the end, all the while taken away at every step of the way, emphasizing that the end is only the beginning every day.[24] Similar concepts across cultures In Buddhism The Buddhist practice maraṇasati meditates on death. The word is a Pāli compound of maraṇa 'death' (an Indo-European cognate of Latin mori) and sati 'awareness', so very close to memento mori. It is first used in early Buddhist texts, the suttapiṭaka of the Pāli Canon, with parallels in the āgamas of the "Northern" Schools. In Japanese Zen and samurai culture In Japan, the influence of Zen Buddhist contemplation of death on indigenous culture can be gauged by the following quotation from the classic treatise on samurai ethics, Hagakure:[25]     The Way of the Samurai is, morning after morning, the practice of death, considering whether it will be here or be there, imagining the most sightly way of dying, and putting one's mind firmly in death. Although this may be a most difficult thing, if one will do it, it can be done. There is nothing that one should suppose cannot be done.[26] In the annual appreciation of cherry blossom and fall colors, hanami and momijigari, it was philosophized that things are most splendid at the moment before their fall, and to aim to live and die in a similar fashion.[citation needed] In Tibetan Buddhism Tibetan Citipati mask depicting Mahākāla. The skull mask of Citipati is a reminder of the impermanence of life and the eternal cycle of life and death. In Tibetan Buddhism, there is a mind training practice known as Lojong. The initial stages of the classic Lojong begin with 'The Four Thoughts that Turn the Mind', or, more literally, 'Four Contemplations to Cause a Revolution in the Mind'.[citation needed] The second of these four is the contemplation on impermanence and death. In particular, one contemplates that;     All compounded things are impermanent.     The human body is a compounded thing.     Therefore, death of the body is certain.     The time of death is uncertain and beyond our control. There are a number of classic verse formulations of these contemplations meant for daily reflection to overcome our strong habitual tendency to live as though we will certainly not die today. Lalitavistara Sutra The following is from the Lalitavistara Sūtra, a major work in the classical Sanskrit canon: ज्वलितं त्रिभवं जरव्याधिदुखैः मरणाग्निप्रदीप्तमनाथमिदम्। भवनि शरणे सद मूढ जगत् भ्रमती भ्रमरो यथ कुम्भगतो॥ अध्रुवं त्रिभवं शरदभ्रनिभं नटरङ्गसमा जगिर् ऊर्मिच्युती। गिरिनद्यसमं लघुशीघ्रजवं व्रजतायु जगे यथ विद्यु नभे॥     Beings are ablaze with the sufferings of sickness and old age, And with no defence against the conflagration of Death The bewildered, seeking refuge in worldly existence Spin round and round, like bees trapped in a jar. The three worlds are fleeting like autumn clouds. Like a staged performance, beings come and go. In tumultuous waves, rushing by, like rapids over a cliff. Like lightning, wanderers in samsara burst into existence, and are gone in a flash.[27] The Udānavarga A very well known verse in the Pali, Sanskrit and Tibetan canons states [this is from the Sanskrit version, the Udānavarga: सर्वे क्षयान्ता निचयाः पतनान्ताः समुच्छ्रयाः | सम्योगा विप्रयोगान्ता मरणान्तं हि जीवितम् |1,22|     All that is acquired will be lost What rises will fall Where there is meeting there will be separation What is born will surely die.[28] Shantideva, Bodhicaryavatara Shantideva, in the Bodhisattvacaryāvatāra 'Bodhisattva's Way of Life' reflects at length: कृताकृतापरीक्षोऽयं मृत्युर्विश्रम्भघातकः। स्वस्थास्वस्थैरविश्वास्य आकमिस्मकमहाशनि:॥ २/३४॥ अप्रिया न भविष्यन्ति प्रियो मे न भविष्यति। अहं च न भविष्यामि सर्वं च न भविष्यति॥ २/३७॥ तत्तत्स्मरणताम याति यद्यद्वस्त्वनुभयते। स्वप्नानुभूतवत्सर्वं गतं न पूनरीक्ष्यते॥ २/३६॥ रात्रिन्दिवमविश्राममायुषो वर्धते व्ययः। आयस्य चागमो नास्ति न मरिष्यामि किं न्वहम्॥ २/४० यमदूतैर्गृहीतस्य कुतो बन्धुः कुतः सुह्रत्। पुण्यमेकं तदा त्राणं मया तच्च न सेवितम्॥ २/४१॥     Death does not differentiate between tasks done and undone. This traitor is not to be trusted by the healthy or the ill, for it is like an unexpected, great thunderbolt. BCA 2.33 My enemies will not remain, nor will my friends remain. I shall not remain. Nothing will remain. BCA 2:35 Whatever is experienced will fade to a memory. Like an experience in a dream, everything that has passed will not be seen again. BCA 2:36 Day and night, a life span unceasingly diminishes, and there is no adding onto it. Shall I not die then? BCA 2:39 For a person seized by the messengers of Death, what good is a relative and what good is a friend? At that time, merit alone is a protection, and I have not applied myself to it. BCA 2:41 In more modern Tibetan Buddhist works In a practice text written by the 19th century Tibetan master Dudjom Lingpa for serious meditators, he formulates the second contemplation in this way:[29][30]     On this occasion when you have such a bounty of opportunities in terms of your body, environment, friends, spiritual mentors, time, and practical instructions, without procrastinating until tomorrow and the next day, arouse a sense of urgency, as if a spark landed on your body or a grain of sand fell in your eye. If you have not swiftly applied yourself to practice, examine the births and deaths of other beings and reflect again and again on the unpredictability of your lifespan and the time of your death, and on the uncertainty of your own situation. Meditate on this until you have definitively integrated it with your mind... The appearances of this life, including your surroundings and friends, are like last night's dream, and this life passes more swiftly than a flash of lightning in the sky. There is no end to this meaningless work. What a joke to prepare to live forever! Wherever you are born in the heights or depths of saṃsāra, the great noose of suffering will hold you tight. Acquiring freedom for yourself is as rare as a star in the daytime, so how is it possible to practice and achieve liberation? The root of all mind training and practical instructions is planted by knowing the nature of existence. There is no other way. I, an old vagabond, have shaken my beggar's satchel, and this is what came out. The contemporary Tibetan master, Yangthang Rinpoche, in his short text 'Summary of the View, Meditation, and Conduct':[31] །ཁྱེད་རྙེད་དཀའ་བ་མི་ཡི་ལུས་རྟེན་རྙེད། །སྐྱེ་དཀའ་བའི་ངེས་འབྱུང་གི་བསམ་པ་སྐྱེས། །མཇལ་དཀའ་བའི་མཚན་ལྡན་གྱི་བླ་མ་མཇལ། །འཕྲད་དཀའ་བ་དམ་པའི་ཆོས་དང་འཕྲད། འདི་འདྲ་བའི་ལུས་རྟེན་བཟང་པོ་འདི། །ཐོབ་དཀའ་བའི་ཚུལ་ལ་ཡང་ཡང་སོམ། རྙེད་པ་འདི་དོན་ཡོད་མ་བྱས་ན། །འདི་མི་རྟག་རླུང་གསེབ་མར་མེ་འདྲ། ཡུན་རིང་པོའི་བློ་གཏད་འདི་ལ་མེད། །ཤི་བར་དོར་གྲོལ་བའི་གདེངས་མེད་ན། །ཚེ་ཕྱི་མའི་སྡུག་བསྔལ་ཨ་རེ་འཇིགས། །མཐའ་མེད་པའི་འཁོར་བར་འཁྱམས་དགོས་ཚེ། །འདིའི་རང་བཞིན་བསམ་ན་སེམས་རེ་སྐྱོ། །ཚེ་འདི་ལ་བློ་གདེངས་ཐོབ་པ་ཞིག །ཅི་ནས་ཀྱང་མཛད་རྒྱུ་བཀའ་དྲིན་ཆེ། །འདི་བདག་གིས་ཁྱོད་ལ་རེ་བ་ཡིན།     You have obtained a human life, which is difficult to find, Have aroused an intention of a spirit of emergence, which is difficult to arouse, Have met a qualified guru, who is difficult to meet, And you have encountered the sublime Dharma, which is difficult to encounter. Reflect again and again on the difficulty Of obtaining such a fine human life. If you do not make this meaningful, It will be like a butter lamp in the wind of impermanence. Do not count on this lasting a long time. The Tibetan Canon also includes copious materials on the meditative preparation for the death process and intermediate period bardo between death and rebirth. Amongst them are the famous "Tibetan Book of the Dead", in Tibetan Bardo Thodol, the "Natural Liberation through Hearing in the Bardo". In Islam The "remembrance of death" (Arabic: تذكرة الموت, Tadhkirat al-Mawt; deriving from تذكرة, tadhkirah, Arabic for memorandum or admonition), has been a major topic of Islamic spirituality since the time of the Islamic prophet Muhammad in Medina. It is grounded in the Qur'an, where there are recurring injunctions to pay heed to the fate of previous generations.[32] The hadith literature, which preserves the teachings of Muhammad, records advice for believers to "remember often death, the destroyer of pleasures."[33] Some Sufis have been called "ahl al-qubur," the "people of the graves," because of their practice of frequenting graveyards to ponder on mortality and the vanity of life, based on the teaching of Muhammad to visit graves.[34] Al-Ghazali devotes to this topic the last book of his "The Revival of the Religious Sciences".[35] Iceland The Hávamál ("Sayings of the High One"), a 13th-century Icelandic compilation poetically attributed to the god Odin, includes two sections – the Gestaþáttr and the Loddfáfnismál – offering many gnomic proverbs expressing the memento mori philosophy, most famously Gestaþáttr number 77: Deyr fé, deyja frændur, deyr sjálfur ið sama; ek veit einn at aldri deyr, dómr um dauðan hvern.     Animals die, friends die, and thyself, too, shall die; but one thing I know that never dies the tales of the one who died." (wikipedia.org) "Cosplay, a portmanteau of "costume play", is an activity and performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character.[1] Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject. Favorite sources include anime, cartoons, comic books, manga, television series, rock music performances, video games and in some cases original characters . The term is composed of the two aforementioned counterparts – costume and role play. Cosplay grew out of the practice of fan costuming at science fiction conventions, beginning with Morojo's "futuristicostumes" created for the 1st World Science Fiction Convention held in New York City in 1939.[2] The Japanese term "cosplay" (コスプレ, kosupure) was coined in 1984. A rapid growth in the number of people cosplaying as a hobby since the 1990s has made the phenomenon a significant aspect of popular culture in Japan, as well as in other parts of East Asia and in the Western world. Cosplay events are common features of fan conventions, and today there are many dedicated conventions and competitions, as well as social networks, websites, and other forms of media centered on cosplay activities. Cosplay is very popular among all genders, and it is not unusual to see crossplay, also referred to as gender-bending. Etymology The term "cosplay" is a Japanese portmanteau of the English terms costume and play.[1] The term was coined by Nobuyuki Takahashi [ja] of Studio Hard[3] after he attended the 1984 World Science Fiction Convention (Worldcon) in Los Angeles[4] and saw costumed fans, which he later wrote about in an article for the Japanese magazine My Anime [ja].[3] Takahashi decided to coin a new word rather than use the existing translation of the English term "masquerade" because that translates into Japanese as "an aristocratic costume", which did not match his experience of the Worldcon.[5][6] The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound: 'costume' becomes kosu (コス) and 'play' becomes pure (プレ). History Pre-20th century Main articles: Masquerade ball, Halloween, and Costume party Masquerade balls were a feature of the Carnival season in the 15th century, and involved increasingly elaborate allegorical Royal Entries, pageants, and triumphal processions celebrating marriages and other dynastic events of late medieval court life. They were extended into costumed public festivities in Italy during the 16th century Renaissance, generally elaborate dances held for members of the upper classes, which were particularly popular in Venice. In April 1877, Jules Verne sent out almost 700 invitations for an elaborate costume ball, where several of the guests showed up dressed as characters from Verne's novels.[7] Costume parties (American English) or fancy dress parties (British English) were popular from the 19th century onwards. Costuming guides of the period, such as Samuel Miller's Male Character Costumes (1884)[8] or Ardern Holt's Fancy Dresses Described (1887),[9] feature mostly generic costumes, whether that be period costumes, national costumes, objects or abstract concepts such as "Autumn" or "Night". Most specific costumes described therein are for historical figures although some are sourced from fiction, like The Three Musketeers or Shakespeare characters. By March 1891, a literal call by one Herbert Tibbits for what would today be described as "cosplayers" was advertised for an event held from 5–10 March that year at the Royal Albert Hall in London, for the so-named Vril-Ya Bazaar and Fete based on a science fiction novel and its characters, published two decades earlier.[10] Fan costuming A Mr. Skygack – an early modern costuming or cosplay outfit, Washington state, 1912[11][12][13] A.D. Condo's science fiction comic strip character Mr. Skygack, from Mars (a Martian ethnographer who comically misunderstands many Earthly affairs) is arguably the first fictional character that people emulated by wearing costumes, as in 1908 Mr. and Mrs. William Fell of Cincinnati, Ohio, are reported to have attended a masquerade at a skating rink wearing Mr. Skygack and Miss Dillpickles costumes. Later, in 1910, an unnamed woman won first prize at masquerade ball in Tacoma, Washington, wearing another Skygack costume.[14][15] The first people to wear costumes to attend a convention were science fiction fans Forrest J Ackerman and Myrtle R. Douglas, known in fandom as Morojo. They attended the 1939 1st World Science Fiction Convention (Nycon or 1st Worldcon) in the Caravan Hall, New York, US dressed in "futuristicostumes", including green cape and breeches, based on the pulp magazine artwork of Frank R. Paul and the 1936 film Things to Come, designed and created by Douglas.[15][16][17] Forrest J Ackerman and Morojo at the 1st World Science Fiction Convention in "futuricostumes" designed and sewed by Morojo Ackerman later stated that he thought everyone was supposed to wear a costume at a science fiction convention, although only he and Douglas did.[18] Fan costuming caught on, however, and the 2nd Worldcon (1940) had both an unofficial masquerade held in Douglas' room and an official masquerade as part of the programme.[4][19][20] David Kyle won the masquerade wearing a Ming the Merciless costume created by Leslie Perri, while Robert A. W. Lowndes received second place with a Bar Senestro costume (from the novel The Blind Spot by Austin Hall and Homer Eon Flint).[19] Other costumed attendees included guest of honor E. E. Smith as Northwest Smith (from C. L. Moore's series of short stories) and both Ackerman and Douglas wearing their futuristicostumes again.[18][19][21] Masquerades and costume balls continued to be part of World Science Fiction Convention tradition thereafter.[20] Early Worldcon masquerade balls featured a band, dancing, food and drinks. Contestants either walked across a stage or a cleared area of the dance floor.[20] Ackerman wore a "Hunchbackerman of Notre Dame" costume to the 3rd Worldcon (1941), which included a mask designed and created by Ray Harryhausen, but soon stopped wearing costumes to conventions.[18] Douglas wore an Akka costume (from A. Merritt's novel The Moon Pool), the mask again made by Harryhausen, to the 3rd Worldcon and a Snake Mother costume (another Merritt costume, from The Snake Mother) to the 4th Worldcon (1946).[22] Terminology was yet unsettled; the 1944 edition of Jack Speer's Fancyclopedia used the term costume party.[23] Photograph of five people standing together in costume Costuming at the 1982 San Diego Comic-Con Rules governing costumes became established in response to specific costumes and costuming trends. The first nude contestant at a Worldcon masquerade was in 1952; but the height of this trend was in the 1970s and early 1980s, with a few every year.[20] This eventually led to "No Costume is No Costume" rule, which banned full nudity, although partial nudity was still allowed as long as it was a legitimate representation of the character.[15] Mike Resnick describes the best of the nude costumes as Kris Lundi wearing a harpy costume to the 32nd Worldcon (1974) (she received an honorable mention in the competition).[20][24][25] Another costume that instigated a rule change was an attendee at the 20th Worldcon (1962) whose blaster prop fired a jet of real flame; which led to fire being banned.[20] At the 30th WorldCon (1972), artist Scott Shaw wore a costume composed largely of peanut butter to represent his own underground comix character called "The Turd". The peanut butter rubbed off, doing damage to soft furnishings and other peoples' costumes, and then began to go rancid under the heat of the lighting. Food, odious, and messy substances were banned as costume elements after that event.[20][26][27][28] Costuming spread with the science fiction conventions and the interaction of fandom. The earliest known instance of costuming at a convention in the United Kingdom was at the London Science Fiction Convention (1953) but this was only as part of a play. However, members of the Liverpool Science Fantasy Society attended the 1st Cytricon (1955), in Kettering, wearing costumes and continued to do so in subsequent years.[29] The 15th Worldcon (1957) brought the first official convention masquerade to the UK.[29] The 1960 Eastercon in London may have been the first British-based convention to hold an official fancy dress party as part of its programme.[30] The joint winners were Ethel Lindsay and Ina Shorrock as two of the titular witches from the novel The Witches of Karres by James H. Schmitz.[31] Star Trek conventions began in 1969 and major conventions began in 1972 and they have featured cosplay throughout.[32] In Japan, costuming at conventions was a fan activity from at least the 1970s, especially after the launch of the Comiket convention in December 1975.[15] Costuming at this time was known as kasō (仮装).[15] The first documented case of costuming at a fan event in Japan was at Ashinocon (1978), in Hakone, at which future science fiction critic Mari Kotani wore a costume based on the cover art for Edgar Rice Burroughs' novel A Fighting Man of Mars.[Notes 1][33][34] In an interview Kotani states that there were about twenty costumed attendees at the convention's costume party—made up of members of her Triton of the Sea fan club and Kansai Entertainers (関西芸人, Kansai Geinin), antecedent of the Gainax anime studio—with most attendees in ordinary clothing.[33] One of the Kansai group, an unnamed friend of Yasuhiro Takeda, wore an impromptu Tusken Raider costume (from the film Star Wars) made from one of the host-hotel's rolls of toilet paper.[35] Costume contests became a permanent part of the Nihon SF Taikai conventions from Tokon VII in 1980. Possibly the first costume contest held at a comic book convention was at the 1st Academy Con held at Broadway Central Hotel in New York in August 1965.[36] Roy Thomas, future editor-in-chief of Marvel Comics but then just transitioning from a fanzine editor to a professional comic book writer, attended in a Plastic Man costume.[36] The first Masquerade Ball held at San Diego Comic-Con was in 1974 during the convention's 6th event. Voice actress June Foray was the master of ceremonies.[37] Future scream queen Brinke Stevens won first place wearing a Vampirella costume.[38][39] Forrest J Ackerman, the creator of Vampirella, was in attendance and posed with Stevens for photographs. They became friends and, according to Stevens "Forry and his wife, Wendayne, soon became like my god parents."[40] Photographer Dan Golden saw a photograph of Stevens in the Vampirella costume while visiting Ackerman's house, leading to him hiring her for a non-speaking role in her first student film, Zyzak is King (1980), and later photographing her for the cover of the first issue of Femme Fatales (1992).[40] Stevens attributes these events to launching her acting career.[40] As early as a year after the 1975 release of The Rocky Horror Picture Show, audience members began dressing as characters from the movie and role-playing (although the initial incentive for dressing-up was free admission) in often highly accurate costumes.[41][42] Costume-Con, a conference dedicated to costuming, was first held in January 1983.[43][44] The International Costumers Guild, Inc., originally known as the Greater Columbia Fantasy Costumer's Guild, was launched after the 3rd Costume-Con (1985) as a parent organization and to support costuming.[43] Cosplay Madoka Kaname and Kyubey from Puella Magi Madoka Magica during Tracon 2013 event at the Tampere Hall in Tampere, Finland Costuming had been a fan activity in Japan from the 1970s, and it became much more popular in the wake of Takahashi's report. The new term did not catch on immediately, however. It was a year or two after the article was published before it was in common use among fans at conventions.[15] It was in the 1990s, after exposure on television and in magazines, that the term and practice of cosplaying became common knowledge in Japan.[15] The first cosplay cafés appeared in the Akihabara area of Tokyo in the late 1990s.[4][45] A temporary maid café was set up at the Tokyo Character Collection event in August 1998 to promote the video game Welcome to Pia Carrot 2 (1997).[45] An occasional Pia Carrot Restaurant was held at the shop Gamers in Akihabara in the years up to 2000.[45] Being linked to specific intellectual properties limited the lifespan of these cafés, which was solved by using generic maids, leading to the first permanent establishment, Cure Maid Café, which opened in March 2001.[45] The first World Cosplay Summit was held on 12 October 2003 at the Rose Court Hotel in Nagoya, Japan, with five cosplayers invited from Germany, France and Italy. There was no contest until 2005, when the World Cosplay Championship began. The first winners were the Italian team of Giorgia Vecchini, Francesca Dani and Emilia Fata Livia. Worldcon masquerade attendance peaked in the 1980s and started to fall thereafter. This trend was reversed when the concept of cosplay was re-imported from Japan. " (wikipedia.org) "Symbols of death are the motifs, images and concepts associated with death throughout different cultures, religions and societies. Images Image of the Grim Reaper on the tailfin of a U.S. Navy F-14D Tomcat of Flight Squadron, VF-101, nicknamed the "Grim Reapers." Traditional Jolly Roger, the flag of "Black Sam" Bellamy and other pirates of the 18th century, displaying a skull and crossbones. Various images are used traditionally to symbolize death; these rank from blunt depictions of cadavers and their parts to more allusive suggestions that time is fleeting and all men are mortals. The human skull is an obvious and frequent symbol of death, found in many cultures and religious traditions.[1] Human skeletons and sometimes non-human animal skeletons and skulls can also be used as blunt images of death; the traditional figures of the Grim Reaper – a black-hooded skeleton with a scythe – is one use of such symbolism.[2] Within the Grim Reaper itself, the skeleton represents the decayed body whereas the robe symbolizes those worn by religious people conducting funeral services.[2] The skull and crossbones motif (☠) has been used among Europeans as a symbol of both piracy and poison.[3] The skull is also important as it remains the only "recognizable" aspect of a person once they have died.[3] Decayed cadavers can also be used to depict death; in medieval Europe, they were often featured in artistic depictions of the danse macabre, or in cadaver tombs which depicted the living and decomposed body of the person entombed. Coffins also serve as blunt reminders of mortality.[4] Europeans were also seen to use coffins and cemeteries to symbolize the wealth and status of the person who has died, serving as a reminder to the living and the deceased as well.[4] Less blunt symbols of death frequently allude to the passage of time and the fragility of life, and can be described as memento mori;[5] that is, an artistic or symbolic reminder of the inevitability of death. Clocks, hourglasses, sundials, and other timepieces both call to mind that time is passing.[3] Similarly, a candle both marks the passage of time, and bears witness that it will eventually burn itself out as well as a symbol of hope of salvation.[3] These sorts of symbols were often incorporated into vanitas paintings, a variety of early still life. Certain animals such as crows, cats, owls, moths, vultures and bats are associated with death; some because they feed on carrion, others because they are nocturnal.[3] Along with death, vultures can also represent transformation and renewal.[3] Religious symbols Veve of Maman Brigitte, the loa of death in Haitian Vodou. Religious symbols of death and depictions of the afterlife will vary with the religion practiced by the people who use them. Tombs, tombstones, and other items of funeral architecture are obvious candidates for symbols of death.[3] In ancient Egypt, the gods Osiris and Ptah were typically depicted as mummies; these gods governed the Egyptian afterlife. In Christianity, the Christian cross is frequently used on graves, and is meant to call to mind the crucifixion of Jesus.[3] Some Christians also erect temporary crosses along public highways as memorials for those who died in accidents. In Buddhism, the symbol of a wheel represents the perpetual cycle of death and rebirth that happens in samsara.[6] The symbol of a grave or tomb, especially one in a picturesque or unusual location, can be used to represent death, as in Nicolas Poussin's famous painting Et in Arcadia ego. Images of life in the afterlife are also symbols of death. Here, again, the ancient Egyptians produced detailed pictorial representations of the life enjoyed by the dead. In Christian folk religion, the spirits of the dead are often depicted as winged angels or angel-like creatures, dwelling among the clouds; this imagery of the afterlife is frequently used in comic depictions of the life after death.[3] In the Islamic view of the Afterlife, death is symbolised by a black and white ram which in turn will be slain to symbolise the Death of Death. The Banshee also symbolizes the coming of death in Irish Mythology.[3] This is typically represented by an older woman who is seen sobbing to symbolize the suffering of a person before their death.[3] Colors Black is the color of mourning in many European cultures. Black clothing is typically worn at funerals to show mourning for the death of the person. In East Asia, white is similarly associated with mourning; it represented the purity and perfection of the deceased person's spirit.[7] During the Victorian era, purple and grey were considered to be mourning colors in addition to black.[8] Furthermore, in Revelation 6 in The Bible, Death is one of the four horsemen; and he rides a pale horse." (wikipedia.org) "Vanitas (Latin for 'vanity') is a genre of art which uses symbolism to show the transience of life, the futility of pleasure, and the certainty of death. The paintings involved still life imagery of transitory items. The genre began in the 16th century and continued into the 17th century. Vanitas art is a type of allegorical art representing a higher ideal. Etymology The word vanitas comes from Latin and means vanity. Vanity is referenced in the Bible's Old Testament in Ecclesiastes 12:8, "Vanity of Vanities, saith the preacher, all is vanity". The message is that human action is temporary and faith is forever.[1] Vanitas is a sub-genre of still life painting which Dutch painters during the Baroque period (c.1585–1730) employed.[2] The Spanish painters also created vanitas paintings which coincided with the end of the Spanish Golden Age. Memento mori is a similar theme which when translated from Latin means, "remember that you will die."[3] History A group of painters in Leiden began to produce vanitas paintings beginning in the 16th century and they continued into the 17th century. Vanitas art is a type of allegorical art representing a higher ideal or containing hidden meanings.[4] Vanitas are very formulaic and they use literary and traditional symbols to convey mortality. Vanitas often have a message that is rooted in religion or the Christian Bible.[5] In the 17th century the vanitas genre was popular among Dutch painters. The paintings often have symbolic imagery which attempts to convey the message that we will die, and we should think about futility of our earthly pursuits.[2] The well known Spanish vanitas refer to Spain's rulers and the politics of Spain.[3] It was popular to include skulls in vanitas paintings. In the 17th century, a skull symbolized the ephemeral nature of life." (wikipedia.org) "Vanitas (Latin for 'vanity') is a genre of art which uses symbolism to show the transience of life, the futility of pleasure, and the certainty of death. The paintings involved still life imagery of transitory items. The genre began in the 16th century and continued into the 17th century. Vanitas art is a type of allegorical art representing a higher ideal. Etymology The word vanitas comes from Latin and means vanity. Vanity is referenced in the Bible's Old Testament in Ecclesiastes 12:8, "Vanity of Vanities, saith the preacher, all is vanity". The message is that human action is temporary and faith is forever.[1] Vanitas is a sub-genre of still life painting which Dutch painters during the Baroque period (c.1585–1730) employed.[2] The Spanish painters also created vanitas paintings which coincided with the end of the Spanish Golden Age. Memento mori is a similar theme which when translated from Latin means, "remember that you will die."[3] History A group of painters in Leiden began to produce vanitas paintings beginning in the 16th century and they continued into the 17th century. Vanitas art is a type of allegorical art representing a higher ideal or containing hidden meanings.[4] Vanitas are very formulaic and they use literary and traditional symbols to convey mortality. Vanitas often have a message that is rooted in religion or the Christian Bible.[5] In the 17th century the vanitas genre was popular among Dutch painters. The paintings often have symbolic imagery which attempts to convey the message that we will die, and we should think about futility of our earthly pursuits.[2] The well known Spanish vanitas refer to Spain's rulers and the politics of Spain.[3] It was popular to include skulls in vanitas paintings. In the 17th century, a skull symbolized the ephemeral nature of life. Usually, a short dialogue is attached to each pair of dancers, in which Death is summoning him (or, more rarely, her) to dance and the summoned is moaning about impending death. In the first printed Totentanz textbook (Anon.: Vierzeiliger oberdeutscher Totentanz, Heidelberger Blockbuch, c. 1455/58), Death addresses, for example, the emperor:     Emperor, your sword won't help you out     Sceptre and crown are worthless here     I've taken you by the hand     For you must come to my dance At the lower end of the Totentanz, Death calls, for example, the peasant to dance, who answers:     I had to work very much and very hard     The sweat was running down my skin     I'd like to escape death nonetheless     But here I won't have any luck ...Musical settings     This article contains a list of miscellaneous information. Please relocate any relevant information into other sections or articles. (August 2023) Musical settings of the motif include:     Mattasin oder Toden Tanz, 1598, by August Nörmiger     Totentanz. Paraphrase on "Dies irae." by Franz Liszt, 1849, a set of variations based on the plainsong melody "Dies Irae".     Danse Macabre by Camille Saint-Saëns, 1874     Songs and Dances of Death, 1875–77, by Modest Mussorgsky     Symphony No. 4, 2nd Movement, 1901, by Gustav Mahler     Totentanz der Prinzipien, 1914, by Arnold Schönberg     The Green Table, 1932, ballet by Kurt Jooss     Totentanz, 1934, by Hugo Distler, inspired by the Lübecker Totentanz     "Scherzo (Dance of Death)," in Op. 14 Ballad of Heroes, 1939, by Benjamin Britten     Piano Trio No. 2 in E minor, Op. 67, 4th movement, "Dance of Death," 1944, by Dmitri Shostakovich     Der Kaiser von Atlantis, oder Die Tod-Verweigerung, 1944, by Viktor Ullmann and Peter Kien     Le Grand Macabre, opera written by György Ligeti (Stockholm 1978)     Danse Macabre, song, 1984, by Celtic Frost, Swiss extreme metal band     Dance of Death, 2003, an album and a song by Iron Maiden, heavy metal band     Cortège & Danse Macabre from the symphonic suite Cantabile, 2009, by Frederik Magle     Totentanz (Adès) by Thomas Adès, 2013, a piece for voices and orchestra based on the 15th century text.     La Danse Macabre, song on the Shovel Knight soundtrack, 2014, by Jake Kaufman     Dance Macabre, 2018, by Ghost (Swedish band), Swedish heavy metal band     La danse macabre, song, 2019, by Clément Belio, French multi-instrumentalist     Danse Macabre by Jörg Widmann, 2022[22]     Danse Macabre, song and album, 2023, by Duran Duran, English new wave band Textual examples of the Danse Macabre The Danse Macabre was a frequent motif in poetry, drama and other written literature in the Middle Ages in several areas of western Europe. There is a Spanish Danza de la Muerte, a French Danse Macabre, and a German Totentanz with various Latin manuscripts written during the 14th century.[23] Printed editions of books began appearing in the 15th century, such as the ones produced by Guy Marchant of Paris. Similarly to the musical or artistic representations, the texts describe living and dead persons being called to dance or form a procession with Death.[24] Danse Macabre texts were often, though not always, illustrated with illuminations and woodcuts.[25] There is one danse macabre text devoted entirely to women: The Danse Macabre of Women. This work survives in five manuscripts, and two printed editions. In it, 36 women of various ages, in Paris, are called from their daily lives and occupations to join the Dance with Death. An English translation of the French manuscript was published by Ann Tukey Harrison in 1994.[26] John Lydgate's Dance of Death is a Middle English poem written in the early 15th century. It is a translation of a French poem of the same name, and it is one of the most popular examples of the Danse Macabre genre.[27] The poem is a moral allegory in which Death leads a procession of people from all walks of life to their graves. The poem includes a variety of characters, including the pope, the emperor, the pope, the cardinal, the bishop, the abbot, the prioress, the monk, the nun, the doctor, the lawyer, the merchant, the knight, the plowman, the beggar, and the child. The poem is a reminder that death is inevitable for everyone, regardless of their social status or wealth. It is also a warning against the dangers of pride and greed.[28] The poem is written in rhyme royal, a seven-line stanzaic form that was popular in the Middle Ages.[29] Literary influence The "Death and the Maiden motif", known from paintings since the early 16th century, is related to, and may have been derived from, the Danse Macabre. It has received numerous treatments in various media – most prominently Schubert's lied "Der Tod und das Mädchen" (1817) and the String Quartet No. 14 Death and the Maiden, partly derived from its musical material. Further developments of the Danse Macabre motif include:     Godfather Death, a fairy tale, collected by the Brothers Grimm (first published in 1812).     "After Holbein" (1928), short story by Edith Wharton, first published in the Saturday Evening Post in May 1928; republished in Certain People (1930) and in The New York Stories of Edith Wharton, ed. Roxana Robinson (New York Review Books, 2007).     "Death and the Compass" (original title: "La muerte y la brújula", 1942), short story by Jorge Luis Borges.     A Danse Macabre scene is depicted near the end of Ingmar Bergman's 1957 film The Seventh Seal.     "Death and the Senator", short story (1961) by Arthur C. Clarke.     "Dance Cadaverous" is a song written and performed by Wayne Shorter (released 1966).     Death and the King's Horseman, play by Wole Soyinka (premiered 1975).     Dance with Death, a jazz album released in 1980 by Andrew Hill.     Danse Macabre, a 1981 non-fiction work by Stephen King.     The Graveyard Book, a 2008 novel by Neil Gaiman. Chapter five, "Danse Macabre", depicts the ghosts of the Graveyard dancing with the inhabitants of the Old Town.     "Death Dance" (2016), a song written and performed by American rock band, Sevendust.     "Lincoln in the Bardo" a novel by George Saunders(published in 2017).     "Dance Macabre", a song written and performed by Swedish metal or hard rock band Ghost on their 2018 album Prequelle, concentrating on the Black Death plague of the 14th century.     Danse Macabre (Duran Duran album) (2023) is the sixteenth studio album by the British band Duran Duran. A Halloween-themed album, the record includes three new tracks, covers and reimagined versions of Duran Duran classics." (wikipedia.org) "Death is frequently imagined as a personified force. In some mythologies, a character known as the Grim Reaper (usually depicted as a berobed skeleton wielding a scythe) causes the victim's death by coming to collect that person's soul. Other beliefs hold that the spectre of death is only a psychopomp, a benevolent figure who serves to gently sever the last ties between the soul and the body, and to guide the deceased to the afterlife, without having any control over when or how the victim dies. Death is most often personified in male form, although in certain cultures death is perceived as female (for instance, Marzanna in Slavic mythology, or Santa Muerte in Mexico). Death is also portrayed as one of the Four Horsemen of the Apocalypse. Most claims of his appearance occur in states of Near-death.[1] By region Americas Latin America As is the case in many Romance languages (including French, Portuguese, Italian, and Romanian), the Spanish word for death, muerte, is a feminine noun. As such, it is common in Spanish-speaking cultures to personify death as a female figure. A common term for the personification of death across Latin America is "la Parca" ("The Robe"), a figure similar to the Anglophone Grim Reaper, though usually depicted as female and without wielding a scythe. Mictlantecutli in the Codex Borgia Mictlantecutli in the Codex Borgia In Aztec mythology, Mictecacihuatl is the "Queen of Mictlan" (the Aztec underworld), ruling over the afterlife with her husband Mictlantecuhtli. Other epithets for her include "Lady of the Dead," as her role includes keeping watch over the bones of the dead. Mictecacihuatl was represented with a fleshless body and with jaw agape to swallow the stars during the day. She presided over the ancient festivals of the dead, which evolved from Aztec traditions into the modern Day of the Dead after synthesis with Spanish cultural traditions.[citation needed] Mictlāntēcutli, is the Aztec god of the dead and the king of Mictlan, depicted as a skeleton or a person wearing a toothy skull.[2] He is one of the principal gods of the Aztecs and is the most prominent of several gods and goddesses of death and the underworld. His headdress was shown decorated with owl feathers and paper banners and he wore a necklace of human eyeballs,[2] while his earspools were made from human bones.[3] He was not the only Aztec god to be depicted in this fashion, as numerous other deities had skulls for heads or else wore clothing or decorations that incorporated bones and skulls. In the Aztec world, skeletal imagery was a symbol of fertility, health and abundance, alluding to the close symbolic links between life and death.[4] There was also the goddess of suicide, Ixtab. She was a minor goddess in the scale of Maya mythology. She was also known as The Hangwoman as she came to help along those who had killed themselves. La Calavera Catrina, one of José Guadalupe Posada's Catrina engravings (1910–1913) Our Lady of the Holy Death (Santa Muerte) is a female deity or folk saint of Mexican folk religion, whose popularity has been growing in Mexico and the United States in recent years. Since the pre-Columbian era, Mexican culture has maintained a certain reverence towards death, as seen in the widespread commemoration of the Day of the Dead. La Calavera Catrina, a character symbolizing death, is also an icon of the Mexican Day of the Dead. San La Muerte (Saint Death) is a skeletal folk saint venerated in Paraguay, northeast Argentina. As the result of internal migration in Argentina since the 1960s, the veneration of San La Muerte has been extended to Greater Buenos Aires and the national prison system as well. Saint Death is depicted as a male skeleton figure usually holding a scythe. Although the Catholic Church in Mexico has attacked the devotion of Saint Death as a tradition that mixes paganism with Christianity and is contrary to the Christian belief of Christ defeating death, many devotees consider the veneration of San La Muerte as being part of their Catholic faith. The rituals connected and powers ascribed to San La Muerte are very similar to those of Santa Muerte; the resemblance between their names, however, is coincidental. In Guatemala, San Pascualito is a skeletal folk saint venerated as "King of the Graveyard." He is depicted as a skeletal figure with a scythe, sometimes wearing a cape and crown. He is associated with death and the curing of diseases. In the African-Brazilian religion Umbanda, the orixá Omolu personifies sickness and death as well as healing. The image of the death is also associated with Exu, lord of the crossroads, who rules cemeteries and the hour of midnight. In Haitian Vodou, the Gede are a family of spirits that embody death and fertility. The most well-known of these spirits is Baron Samedi. Asia East Asia Skeleton Fantasy Show by Li Song (1190-1264) A depiction of Yanluo, one of the Ten Kings of Hell. See also: Life replacement narratives Yama was introduced to Chinese mythology through Buddhism. In Chinese, he is known as King Yan (t 閻王, s 阎王, p Yánwáng) or Yanluo (t 閻羅王, s 阎罗王, p Yánluówáng), ruling the ten gods of the underworld Diyu. He is normally depicted wearing a Chinese judge's cap and traditional Chinese robes and appears on most forms of hell money offered in ancestor worship. From China, Yama spread to Japan as the Great King Enma (閻魔大王, Enma-Dai-Ō), ruler of Jigoku (地獄); Korea as the Great King Yeomra (염라대왕), ruler of Jiok (지옥); and Vietnam as Diêm La Vương, ruler of Địa Ngục or Âm Phủ. Separately, in Korean mythology, death's principal figure is the "Netherworld Emissary" Jeoseungsaja (저승사자, shortened to Saja (사자)). He is depicted as a stern and ruthless bureaucrat in Yeomna's service. A psychopomp, he escorts all – good or evil – from the land of the living to the netherworld when the time comes.[5] One of the representative names is Ganglim (강림), the Saja who guides the soul to the entrance of the underworld. According to legend, he always carries Jeokpaeji (적패지), the list with the names of the dead written on a red cloth. When he calls the name on Jeokpaeji three times, the soul leaves the body and follows him inevitably. The Kojiki relates that the Japanese goddess Izanami was burnt to death giving birth to the fire god Hinokagutsuchi. She then entered a realm of perpetual night called Yomi-no-Kuni. Her husband Izanagi pursued her there but discovered his wife was no longer as beautiful as before. After an argument, she promised she would take a thousand lives every day, becoming a goddess of death, as well as giving birth to the gods, Raijin and Fūjin, while dead. There are also death gods called shinigami (死神), which are closer to the Western tradition of the Grim Reaper; while common in modern Japanese arts and fiction, they were essentially absent in traditional mythology. India Yama, the Hindu lord of death, presiding over his court in hell The Sanskrit word for death is mrityu (cognate with Latin mors and Lithuanian mirtis), which is often personified in Dharmic religions. In Hindu scriptures, the lord of death is called King Yama (यम राज, Yama Rāja). He is also known as the King of Karmic Justice (Dharmaraja) as one's karma at death was considered to lead to a just rebirth. Yama rides a black buffalo and carries a rope lasso to lead the soul back to his home, called Naraka, pathalloka, or Yamaloka. There are many forms of reapers, although some say there is only one who disguises himself as a small child. His agents, the Yamadutas, carry souls back to Yamalok. There, all the accounts of a person's good and bad deeds are stored and maintained by Chitragupta. The balance of these deeds allows Yama to decide where the soul should reside in its next life, following the theory of reincarnation. Yama is also mentioned in the Mahabharata as a great philosopher and devotee of the Supreme Brahman. Western Asia Main article: Mot (god) The Canaanites of the 12th- and 13th-century BC Levant personified death as the god Mot (lit. "Death"). He was considered a son of the king of the gods, El. His contest with the storm god Baʿal forms part of the Ba'al Cycle from the Ugaritic texts. The Phoenicians also worshipped death under the name Mot and a version of Mot later became Maweth, the devil or angel of death in Judaism.[6][7] Europe Balti A European depiction of Death as a skeleton wielding a scythe "Death" (Nāve; 1897) by Janis Rozentāls Latvians named Death Veļu māte, but for Lithuanians it was Giltinė, deriving from the word gelti ("to sting"). Giltinė was viewed as an old, ugly woman with a long blue nose and a deadly venomous tongue. The legend tells that Giltinė was young, pretty, and communicative until she was trapped in a coffin for seven years. Her sister was the goddess of life and destiny, Laima, symbolizing the relationship between beginning and end. Like the Scandinavians, Lithuanians and Latvians later began using Grim Reaper imagery for death. Celtic Bunworth Banshee, "Fairy Legends and Traditions of the South of Ireland", by Thomas Crofton Croker, 1825 In Breton folklore, a spectral figure called the Ankou (or Angau in Welsh) portends death. Usually, the Ankou is the spirit of the last person that died within the community and appears as a tall, haggard figure with a wide hat and long white hair or a skeleton with a revolving head. The Ankou drives a deathly wagon or cart with a creaking axle. The cart or wagon is piled high with corpses and a stop at a cabin means instant death for those inside.[8] Irish mythology features a similar creature known as a dullahan, whose head would be tucked under their arm (dullahans were not one, but an entire species). The head was said to have large eyes and a smile that could reach the head's ears. The dullahan would ride a black horse or a carriage pulled by black horses, and stop at the house of someone about to die, and call their name, and immediately the person would die. The dullahan did not like being watched, and it was believed that if a dullahan knew someone was watching them, they would lash that person's eyes with their whip, which was made from a spine; or they would toss a basin of blood on the person, which was a sign that the person was next to die. Gaelic lore also involves a female spirit known as Banshee (Modern Irish Gaelic: bean sí pron. banshee, literally fairy woman), who heralds the death of a person by shrieking or keening. The banshee is often described as wearing red or green, usually with long, disheveled hair. She can appear in a variety of forms, typically that of an ugly, frightful hag, but in some stories she chooses to appear young and beautiful. Some tales recount that the creature was actually a ghost, often of a specific murdered woman or a mother who died in childbirth. When several banshees appeared at once, it was said to indicate the death of someone great or holy. In Ireland and parts of Scotland, a traditional part of mourning is the keening woman (bean chaointe), who wails a lament – in Irish: Caoineadh, caoin meaning "to weep, to wail." In Scottish folklore there was a belief that a black, dark green or white dog known as a Cù Sìth took dying souls to the afterlife. Comparable figures exist in Irish and Welsh stories. In Welsh Folklore, Gwyn ap Nudd is the escort of the grave, the personification of Death and Winter who leads the Wild Hunt to collect wayward souls and escort them to the Otherworld, sometimes it is Maleagant, Arawn or Afallach in a similar position. Hellenic Main article: Thanatos In Greek mythology, Thanatos, the personification of death, is one of the offspring of Nyx (Night). Like her, he is seldom portrayed directly. He sometimes appears in art as a winged and bearded man, and occasionally as a winged and beardless youth. When he appears together with his twin brother, Hypnos, the god of sleep, Thanatos generally represents a gentle death. Thanatos, led by Hermes psychopompos, takes the shade of the deceased to the near shore of the river Styx, whence the ferryman Charon, on payment of a small fee, conveys the shade to Hades, the realm of the dead. Homer's Iliad 16.681, and the Euphronios Krater's depiction of the same episode, have Apollo instruct the removal of the heroic, semi-divine Sarpedon's body from the battlefield by Hypnos and Thanatos, and conveyed thence to his homeland for proper funeral rites.[citation needed] Among the other children of Nyx are Thanatos' sisters, the Keres, blood-drinking, vengeant spirits of violent or untimely death, portrayed as fanged and taloned, with bloody garments. Scandinavia Hel (1889) by Johannes Gehrts, pictured here with her hound Garmr In Scandinavia, Norse mythology personified death in the shape of Hel, the goddess of death and ruler over the realm of the same name, where she received a portion of the dead.[9] In the times of the Black Plague, Death would often be depicted as an old woman known by the name of Pesta, meaning "plague hag", wearing a black hood. She would go into a town carrying either a rake or a broom. If she brought the rake, some people would survive the plague; if she brought the broom, however, everyone would die.[10] Scandinavians later adopted the Grim Reaper with a scythe and black robe. Today, Ingmar Bergman's 1957 film The Seventh Seal features one of the world's most famous representations of this personification of Death.[citation needed] Slavic "Fairy tale", drawing by Taras Shevchenko. Death is depicted as a female skeleton with a scythe. In Poland, Death – Śmierć or kostuch – has an appearance similar to the Grim Reaper, although its robe was traditionally white instead of black. Because the word śmierć is feminine in gender, death is frequently portrayed as a skeletal old woman, as depicted in 15th-century dialogue "Rozmowa Mistrza Polikarpa ze Śmiercią" (Latin: "Dialogus inter Mortem et Magistrum Polikarpum"). In Serbia and other South Slavic countries, the Grim Reaper is well known as Smrt ("Death") or Kosač ("Reaper"). Slavic people found this very similar to the Devil and other dark powers. One popular saying about death is: Smrt ne bira ni vreme, ni mesto, ni godinu ("Death does not choose a time, place or year" – which means death is destiny.)[original research?] Morana is a Slavic goddess of winter time, death and rebirth. A figurine of the same name is traditionally created at the end of winter/beginning of spring and symbolically taken away from villages to be set in fire and/or thrown into a river, that takes her away from the world of the living. In the Czech Republic, the medieval Prague Astronomical Clock carries a depiction of Death striking the hour. A version first appeared in 1490.[11][12] The Low Countries In the Netherlands, and to a lesser extent in Belgium, the personification of Death is known as Magere Hein ("Thin Hein") or Pietje de Dood ("Peter the Death").[13] Historically, he was sometimes simply referred to as Hein or variations thereof such as Heintje, Heintjeman and Oom Hendrik ("Uncle Hendrik"). Related archaic terms are Beenderman ("Bone-man"), Scherminkel (very meager person, "skeleton") and Maaijeman ("mow-man", a reference to his scythe).[14] The concept of Magere Hein predates Christianity, but was Christianized and likely gained its modern name and features (scythe, skeleton, black robe etc.) during the Middle Ages. The designation "Meager" comes from its portrayal as a skeleton, which was largely influenced by the Christian "Dance of Death" (Dutch: dodendans) theme that was prominent in Europe during the late Middle Ages. "Hein" was a Middle Dutch name originating as a short form of Heinric (see Henry (given name)). Its use was possibly related to the comparable German concept of "Freund Hein."[citation needed] Notably, many of the names given to Death can also refer to the Devil; it is likely that fear of death led to Hein's character being merged with that of Satan.[14][15] In Belgium, this personification of Death is now commonly called Pietje de Dood "Little Pete, the Death."[16] Like the other Dutch names, it can also refer to the Devil.[17] Western Europe Death from the Cary-Yale Tarot Deck (15th century) In Western Europe, Death has commonly been personified as an animated skeleton since the Middle Ages.[18] This character, which is often depicted wielding a scythe, is said to collect the souls of the dying or recently dead. In English and German culture, Death is typically portrayed as male, but in French, Spanish, and Italian culture, it is not uncommon for Death to be female.[19] In England, the personified "Death" featured in medieval morality plays, later regularly appearing in traditional folk songs.[20] The following is a verse of "Death and the Lady" (Roud 1031) as sung by Henry Burstow in the nineteenth century:     Fair lady, throw those costly robes aside,     No longer may you glory in your pride.     Take leave of all sour carnal vain delight     I'm come to summon you away this night.[20] In the late 1800s, the character of Death became known as the Grim Reaper in English literature. The earliest appearance of the name "Grim Reaper" in English is in the 1847 book The Circle of Human Life:[21][22][23]     All know full well that life cannot last above seventy, or at the most eighty years. If we reach that term without meeting the grim reaper with his scythe, there or there about, meet him we surely shall. In Abrahamic religions See also: Destroying angel (Bible)     This section should specify the language of its non-English content, using {{lang}}, {{transliteration}} for transliterated languages, and {{IPA}} for phonetic transcriptions, with an appropriate ISO 639 code. Wikipedia's multilingual support templates may also be used. See why. (January 2022) The "Angel of the Lord" smites 185,000 men in the Assyrian camp (II Kings 19:35). When the Angel of Death passes through to smite the Egyptian first-born, God prevents "the destroyer" (shâchath) from entering houses with blood on the lintel and side posts (Exodus 12:23). The "destroying angel" (mal'ak ha-mashḥit) rages among the people in Jerusalem (II Sam. 24:16). In I Chronicles 21:15 the "angel of the Lord" is seen by King David standing "between the earth and the heaven, having a drawn sword in his hand stretched out over Jerusalem." The biblical Book of Job (33:22) uses the general term "destroyers" (memitim), which tradition has identified with "destroying angels" (mal'ake Khabbalah), and Prov. 16:14 uses the term the "angels of death" (mal'ake ha-mavet). The angel Azra'il is sometimes referred as the Angel of Death as well.[24] Jewish tradition also refers to Death as the Angel of Dark and Light, a name which stems from Talmudic lore. There is also a reference to "Abaddon" (The Destroyer), an angel who is known as the "Angel of the Abyss". In Talmudic lore, he is characterized as archangel Michael.[25] In Judaism La mort du fossoyeur (Death of the gravedigger) by Carlos Schwabe In Hebrew scriptures, Death (Maweth/Mavet(h)) is sometimes personified as a devil or angel of death (e.g., Habakkuk 2:5; Job 18:13).[6] In both the Book of Hosea and the Book of Jeremiah, Maweth/Mot is mentioned as a deity to whom God can turn over Judah as punishment for worshiping other gods.[26] The memitim are a type of angel from biblical lore associated with the mediation over the lives of the dying. The name is derived from the Hebrew word mĕmītǐm (מְמִיתִים – "executioners", "slayers", "destroyers") and refers to angels that brought about the destruction of those whom the guardian angels no longer protected.[27] While there may be some debate among religious scholars regarding the exact nature of the memitim, it is generally accepted that, as described in the Book of Job 33:22, they are killers of some sort.[28] Form and functions According to the Midrash, the Angel of Death was created by God on the first day.[29] His dwelling is in heaven, whence he reaches earth in eight flights, whereas Pestilence reaches it in one.[30] He has twelve wings.[31] "Over all people have I surrendered thee the power," said God to the Angel of Death, "only not over this one [i.e. Moses] which has received freedom from death through the Law."[32] It is said of the Angel of Death that he is full of eyes. In the hour of death, he stands at the head of the departing one with a drawn sword, to which clings a drop of gall. As soon as the dying man sees Death, he is seized with a convulsion and opens his mouth, whereupon Death throws the drop into it. This drop causes his death; he turns putrid, and his face becomes yellow.[33] The expression "the taste of death" originated in the idea that death was caused by a drop of gall.[34] The soul escapes through the mouth, or, as is stated in another place, through the throat; therefore, the Angel of Death stands at the head of the patient (Adolf Jellinek, l.c. ii. 94, Midr. Teh. to Ps. xi.). When the soul forsakes the body, its voice goes from one end of the world to the other, but is not heard (Gen. R. vi. 7; Ex. R. v. 9; Pirḳe R. El. xxxiv.). The drawn sword of the Angel of Death, mentioned by the Chronicler (I. Chron. 21:15; comp. Job 15:22; Enoch 62:11), indicates that the Angel of Death was figured as a warrior who kills off the children of men. "Man, on the day of his death, falls down before the Angel of Death like a beast before the slaughterer" (Grünhut, "Liḳḳuṭim", v. 102a). R. Samuel's father (c. 200) said: "The Angel of Death said to me, 'Only for the sake of the honor of mankind do I not tear off their necks as is done to slaughtered beasts'" ('Ab. Zarah 20b). In later representations, the knife sometimes replaces the sword, and reference is also made to the cord of the Angel of Death, which indicates death by throttling. Moses says to God: "I fear the cord of the Angel of Death" (Grünhut, l.c. v. 103a et seq.). Of the four Jewish methods of execution, three are named in connection with the Angel of Death: Burning (by pouring hot lead down the victim's throat), slaughtering (by beheading), and throttling. The Angel of Death administers the particular punishment that God has ordained for the commission of sin. A peculiar mantle ("idra" – according to Levy, "Neuhebr. Wörterb." i. 32, a sword) belongs to the equipment of the Angel of Death (Eccl. R. iv. 7). The Angel of Death takes on the particular form which will best serve his purpose; e.g., he appears to a scholar in the form of a beggar imploring pity (the beggar should receive Tzedakah)(M. Ḳ. 28a). "When pestilence rages in the town, walk not in the middle of the street, because the Angel of Death [i.e., pestilence] strides there; if peace reigns in the town, walk not on the edges of the road. When pestilence rages in the town, go not alone to the synagogue, because there the Angel of Death stores his tools. If the dogs howl, the Angel of Death has entered the city; if they make sport, the prophet Elijah has come" (B. Ḳ. 60b). The "destroyer" (saṭan ha-mashḥit) in the daily prayer is the Angel of Death (Ber. 16b). Midr. Ma'ase Torah (compare Jellinek, "B. H." ii. 98) says: "There are six Angels of Death: Gabriel over kings; Ḳapẓiel over youths; Mashbir over animals; Mashḥit over children; Af and Ḥemah over man and beast." Samael is considered in Talmudic texts to be a member of the heavenly host with often grim and destructive duties. One of Samael's greatest roles in Jewish lore is that of the main angel of death and the head of satans.[35] Scholars and the Angel of Death The Angel of Death, sculpture of a funeral gondola, Venice. Photo by Paolo Monti, 1951. Talmud teachers of the 4th century associate quite familiarly with him. When he appeared to one on the street, the teacher reproached him with rushing upon him as upon a beast, whereupon the angel called upon him at his house. To another, he granted a respite of thirty days, that he might put his knowledge in order before entering the next world. To a third, he had no access, because he could not interrupt the study of the Talmud. To a fourth, he showed a rod of fire, whereby he is recognized as the Angel of Death (M. K. 28a). He often entered the house of Bibi and conversed with him (Ḥag. 4b). Often, he resorts to strategy in order to interrupt and seize his victim (B. M. 86a; Mak. 10a). The death of Joshua ben Levi in particular is surrounded with a web of fable. When the time came for him to die and the Angel of Death appeared to him, he demanded to be shown his place in paradise. When the angel had consented to this, he demanded the angel's knife, that the angel might not frighten him by the way. This request also was granted him, and Joshua sprang with the knife over the wall of paradise; the angel, who is not allowed to enter paradise, caught hold of the end of his garment. Joshua swore that he would not come out, and God declared that he should not leave paradise unless he had ever absolved himself of an oath; he had never absolved himself of an oath so he was allowed to remain. The Angel of Death then demanded back his knife, but Joshua refused. At this point, a heavenly voice (bat ḳol) rang out: "Give him back the knife, because the children of men have need of it will bring death." Hesitant, Joshua Ben Levi gives back the knife in exchange for the Angel of Death's name. To never forget the name, he carved Troke into his arm, the Angel of Death's chosen name. When the knife was returned to the Angel, Joshua's carving of the name faded, and he forgot. (Ket. 77b; Jellinek, l.c. ii. 48–51; Bacher, l.c. i. 192 et seq.). Rabbinic views The Rabbis found the Angel of Death mentioned in Psalm 89:48, where the Targum translates: "There is no man who lives and, seeing the Angel of Death, can deliver his soul from his hand." Eccl. 8:4 is thus explained in Midrash Rabbah to the passage: "One may not escape the Angel of Death, nor say to him, 'Wait until I put my affairs in order,' or 'There is my son, my slave: take him in my stead.'" Where the Angel of Death appears, there is no remedy, but his name (Talmud, Ned. 49a; Hul. 7b). If one who has sinned has confessed his fault, the Angel of Death may not touch him (Midrash Tanhuma, ed. Buber, 139). God protects from the Angel of Death (Midrash Genesis Rabbah lxviii.). By acts of benevolence, the anger of the Angel of Death is overcome; when one fails to perform such acts the Angel of Death will make his appearance (Derek Ereẓ Zuṭa, viii.). The Angel of Death receives his orders from God (Ber. 62b). As soon as he has received permission to destroy, however, he makes no distinction between good and bad (B. Ḳ. 60a). In the city of Luz, the Angel of Death has no power, and, when the aged inhabitants are ready to die, they go outside the city (Soṭah 46b; compare Sanh. 97a). A legend to the same effect existed in Ireland in the Middle Ages (Jew. Quart. Rev. vi. 336). In Christianity Gustave Doré Death on the Pale Horse (1865) – The fourth Horseman of the Apocalypse Death is one of the Four Horsemen of the Apocalypse portrayed in the Book of Revelation, in Revelation 6:7–8.[36]     And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him. And power was given unto them over the fourth part of the earth, to kill with sword, and with hunger, and with death, and with the beasts of the earth.     — Revelation 6:8, King James Version He is also known as the Pale Horseman whose name is Thanatos, the same as that of the ancient Greek personification of death, and the only one of the horsemen to be named.[citation needed] Paul addresses a personified death in 1 Corinthians 15:55.     "O Death, where is your sting? O Hades, where is your victory?"     — 1 Corinthians 15:55, New King James Version In some versions, both arms of this verse are addressed to death.[37] The Christian scriptures contain the first known depiction of Abaddon as an individual entity instead of a place.     A king, the angel of the bottomless pit; whose name in Hebrew is Abaddon, and in Greek Apollyon; in Latin Exterminans.     — Revelation 9:11, Douay–Rheims Bible In Hebrews 2:14 the devil "holds the power of death."[38]     Since therefore the children share in flesh and blood, he himself likewise partook of the same things, that through death he might destroy the one who has the power of death, that is, the devil, and deliver all those who through fear of death were subject to lifelong slavery.     — Hebrews 2:14–15, English Standard Version Conversely, the early Christian writer Origen believed the destroying angel of Exodus 12:23 to be Satan.[39] The Grim Reaper, is stated to be destroyed by the Lake of Fire that burns with sulfur.     Death and Hell were thrown into the Lake of Fire. This is the second death.     — Revelation 20:14, King James Version     The last enemy to be destroyed is death.     — 1 Corinthians 15:26, New International Version In Islam In Islam, Archangel Azrael is the Malak al-Maut (angel of death). He and his many subordinates pull the souls out of the bodies and guide them through the journey of the afterlife. Their appearance depends on the person's deeds and actions, with those who did good seeing a beautiful being, and those who did wrong seeing a horrific monster. Islamic tradition discusses elaborately as to what exactly happens before, during, and after the death. The angel of death appears to the dying to take out their souls. The sinners' souls are extracted in a most painful way while the righteous are treated easily.[40] After the burial, two angels – Munkar and Nakir – come to question the dead to test their faith. The righteous believers answer correctly and live in peace and comfort while the sinners and disbelievers fail and punishments ensue.[40][41] The period or stage between death and resurrection is called barzakh (the interregnum).[40] Death is a significant event in Islamic life and theology. It is seen not as the termination of life, but rather the continuation of life in another form. In Islamic belief, God has made this worldly life a test and a preparation ground for the afterlife; and with death, this worldly life comes to an end.[42] Thus, every person has only one chance to prepare themselves for the life to come where God will resurrect and judge every individual and will entitle them to rewards or punishment, based on their good or bad deeds.[42][43] And death is seen as the gateway to and beginning of the afterlife. In Islamic belief, death is predetermined by God, and the exact time of a person's death is known only to God Allah. In other media     It has been suggested that this section of this character be split out into another article titled Death in pop culture. (Discuss) (October 2023) Music     The 1960 gospel blues song "Death Don't Have No Mercy", composed and first recorded by Blind Gary Davis, portrays death as an inevitable and periodic visitor.[44] According to the musicologist David Malvinni, it "presents a terrifying personification of the instant, sudden possibility [of] death at any moment that could have come from the medieval era's confrontation with the plague".[45]     The 1976 Blue Öyster Cult song "(Don't Fear) The Reaper", recorded for their album Agents of Fortune, alludes to the Grim Reaper in the title and lyrics. The song encourages the audience not to fear death, but rather to think of it as something that immortalizes love.[46]     The 1984 thrash metal song "Creeping Death", recorded by Metallica, references the angel of death, among other religious symbols. Written from the perspective of the Angel of Death, "Creeping Death" describes the tenth plague of Egypt. It is often thought of as one of the band's most popular songs and is currently the second-most-played song live by them. It is described by the writer Tom King as "a tale of righteous Biblical rage and devastation straight out of the Book of Revelations".[47] Literature     Nobel laureate José Saramago's novel features an anthropomorphised death as its main character, who insists that her name be written lowercase. She is depicted as a skeleton who can shapeshift and be omnipresent and has a scythe, though she doesn't always carry it. Her jurisdiction is limited to the imaginary country where the story happens and to the human species. It is implied that other deaths with jurisdiction over different life forms and territories exist, as well as an overarching death and/or god. The book deals with how society relates to death, both as a phenomenon and a character, and likewise how death relates to the people she is meant to kill and with loneliness and love.     Death is a fictional character in Terry Pratchett's Discworld series, and depicted as one of many Deaths. His jurisdiction is specifically the Discworld itself; he is only a part, or minion, of Azrael, the universal Death. Death has appeared in every Discworld novel, with the exception of The Wee Free Men and Snuff. Novel Mort, published in 1987, is the first time Death appears as a leading character.[48]     Death is the narrator of Markus Zusak's 2005 novel The Book Thief. He is a collector of deceased souls in the story. He tells the coming of age story about a girl he witnessed living in Nazi Germany and surviving World War II.[49]     Death appears in "The Tale of Three Brothers" in J.K. Rowling's The Tales of Beedle the Bard, a collection of fairytales featured in her Harry Potter series. Three brothers avoid Death and Death, furious at being avoided, offers the brothers gifts. Two of these gifts, the Elder Wand and the Resurrection Stone, lead to the first two brothers' deaths. The third brother, gifted with the Invisibility Cloak avoids Death until old age, where he then goes with Death like an old friend. These gifts became the Deathly Hallows.[50]     Death is a held office in Piers Anthony's 1983 novel On a Pale Horse.[51] The character Zane becomes Death after a suicide attempt that ends up killing the previous Death. He is taught by his fellow Incarnations Time and Fate and must defeat the Incarnation of Evil, Satan. He is given several items to aid him on his job, including a watch to stop local time, jewels to measure how much good and evil is in a person for judgment, and his pale horse Mortis, who often takes the form of a pale car. Zane as Death appears in Anthony's following novels, notably Bearing an Hourglass.     Death is a career in Christopher Moore's A Dirty Job.[52] Charlie Asher is chosen to be a "Death Merchant" for retrieving souls and protect them from dark forces while managing his story and raising his newborn daughter. Comics     Death first appeared in The Sandman vol. 2, #8 (August 1989), and was created by Neil Gaiman and Mike Dringenberg.[53] She is both an embodiment of death and a psychopomp in The Sandman Universe, and depicted as a down to earth, perky, and nurturing figure. Death is the second born of The Endless and she states "When the last living thing dies, my job will be finished. I'll put the chairs on the tables, turn out the lights and lock the universe behind me when I leave."[54] Death also appears briefly in Fables #11 (May 2003) titled "Bag O' Bones", where Jack Horner traps Death in a magical bag that never gets full.[55] There has been no indication as to whether Fables has any connection to the Sandman universe.     Death first appears in Captain Marvel #26 (Jun. 1973) and was created by Mike Friedrich and Jim Starlin. Death is an abstract entity, the embodiment of the end of life in the Marvel Universe, and resides inside a pocket dimension known as the Realm of Death.[56] The character can change appearance at will shown in a storyline of Captain Marvel where Thanos' scheme to conquer the universe, as the character becomes determined to prove his love for Death by destroying all life. However, she is commonly seen in a relationship with Deadpool.     In Bug-a-Booo, Lady MacDeath is a Grim Reaper, the personification of Death who is responsible of going after all people whose time to die has come, although unlike a typical Grim Reaper, her body is not pictured as made of bones. She uses her sickle to kill people, by hitting them in the head, and then she takes their souls to the purgatory, for them to be judged and sent whether to hell or heaven (sometimes after much bureaucracy). She always carries a list with the name of the people she must kill on the day. Most of her stories feature a pursuit, sometimes punctuated with struggles faced every day by normal people. Maurício de Souza says that the purpose of creating her is "taking death less seriously, while it doesn't come to us". Anime/Manga Death Note Main article: Death Note Bleach Main article: Bleach (manga) Soul Eater Main article: Soul Eater (manga) Naruto Main article: Naruto Film     Death appears in the 1934 film, Death Takes a Holiday. After years of questioning why people fear him, Death takes on human form for three days so that he can mingle among mortals and find an answer. He finds a host in Duke Lambert after revealing himself and his intentions to the Duke, and takes up temporary residence in the Duke's villa. However, events soon spiral out of control as Death falls in love with the beautiful young Grazia. As he does so, Duke Lambert, the father of Grazia's mortal lover Corrado, begs him to give Grazia up and leave her among the living. Death must decide whether to seek his own happiness, or sacrifice it so that Grazia may live.     The 1998 American film Meet Joe Black is loosely based on the 1934 film. While on Earth, Death, living under the name Joe Black, enlists the wealthy Bill Parrish to be his guide to mortal life, and in exchange guarantees that Bill will not die as long as he serves as "Joe's" guide. Joe falls in love with Bill's youngest daughter, Susan, a resident in internal medicine, and learns the meaning of both friendship and love.     Death is one of the main characters in 1957 Swedish historical fantasy film The Seventh Seal. The film tells the story of a knight encountering Death, whom he challenges to a chess match, believing he can survive as long as the game continues.[57]     These scenes are parodied in the 1991 comedy film Bill & Ted's Bogus Journey, in which the title characters repeatedly beat Death playing a variety of family board games such as Battleship and Twister. Death goes on to accompany Bill and Ted for the remainder of the film as a major supporting character.[58] The scene from "The Seventh Seal" is also parodied in a one-act play by Woody Allen called "Death," in which the personification of death agrees to play gin rummy and loses badly, altering his plans to "take" his opponent.     In the 1988 film The Adventures of Baron Munchausen, Munchausen is pursued by Death, a skeletal angel with raven's wings, carrying a scythe in one hand and an hourglass in the other. At the end, Death, in the form of a grim physician, extracts Munchausen's glowing life force, and Munchausen is given a lavish funeral before boldly claiming it was "one of the many times I faced Death."     In the Final Destination series, one of the protagonists experiences a premonition of an impending disaster. When these visions come true, the protagonists manage to avoid harm, though many innocent people are killed. Their escapes alter the design intended by Death, which – while never portrayed as a physical entity – is described as an omniscient supernatural force. In each film, the characters learn that they can never truly escape from death, and that they are each doomed to be killed one by one.     In Guillermo del Toro's Pinocchio, Death (voiced by Tilda Swinton) resides in the afterlife. She is the sister of the Wood Sprite and is depicted as a Chimera.     In the 2002 animated film, Puss in Boots: The Last Wish, the titular Puss in Boots is pursued by the terrifying black-cloaked Wolf (voiced by Wagner Moura), who wields twin sickles and announces his foreboding presence with haunting whistling. His sighting consistently evokes terror in the cat, following their first meeting in which Puss lost his sword to him and was wounded by a blade for the first time. Eventually, Wolf confronts Puss once again and reveals himself as the personification of Death. He states his disgust and anger at Puss's lack of respect for the concept of death and lack of value placed on his previous eight lives, as well as his intent to kill Puss once and for all. However, though he manages to partially disarm Death during their final duel, Puss acknowledges that he knows that he can never truly defeat him. Though Death is initially frustrated, he appreciates Puss's growth in character and tells him to live his last life well and departs as a new respect forged between them. Television     In 1987, the Australian government produced a controversial commercial featuring the Grim Reaper in order to raise public awareness about the danger of HIV/AIDS.[59]     The Grim Reaper is one of the main characters of the 2000s Cartoon Network series The Grim Adventures of Billy & Mandy, where he is usually referred to as Grim and is voiced by Greg Eagles with a pronounced Jamaican accent.     The Grim Reaper ("Death") appears in some early episodes of Family Guy as a character voiced by Norm Macdonald in the first appearance and by Adam Carolla in later appearances.     The Showtime television series Dead Like Me features a small team of characters taking the role of the "grim reaper", removing the souls of people just prior to their imminent death. Unlike most depictions of Death, the show depicted "grim reaper" as a job title, held by multiple people at once.     In the British children's sketch television show Horrible Histories, Death (portrayed by Simon Farnaby) is a reoccurring character who appears the segment "Stupid Deaths" and later in its sixth series "Chatty Deaths".     In Supernatural, Death was played by Julian Richings and appeared in five episodes. His first appearance was in season 5 episode 21 "Two minutes to midnight" (2010) and last appeared in season 10 episode 23 "Brother's Keeper" (2015). Death appear as one of the four horsemen and the leader of the Grim Reapers. The brothers Sam (Jared Padalecki) and Dean (Jensen Ackles) try to defeat the four horsemen when their seal was broken and they started to ravage the world to prevent the apocalypse. Although they managed to stop the other three, they were powerless in front of Death and made a bargain with him instead. It is shown that Death's main role is to kill those whose time is up and afterwards a grim reaper will lead them to their afterlife. Dean learned it the hard way the consequences of not killing people when their time is up when Death challenged him to do his job for 24h in exchange of retrieving Sam's soul stuck in Lucifer's seal in Hell. Death is depicted as one of the most powerful entity in the show, along with The Endless and God.     In American Horror Story: Asylum Death is depicted by Frances Conroy. She is depicted as an old woman in funeral cloths who kisses people when their time comes and sprouts wings. She frequently visits the characters, but particularly torments Sister Jude throughout her time at the asylum.     In the Disney Channel series, Pretty Freekin Scary, the Grim Reaper was a recurring character portrayed by Siobhan Murphy. She accidentally sent Frankie Ripp to The Underworld, but meant to send an old man named Theodore Snickering there. The Grim Reaper allowed Frankie to come back to life, as long as she did tasks for her. She is often nicknamed "G.R." by Frankie. Her mission was to fix her first mishap of accidentally letting Theodore cheat death and escape The Underworld. All the tasks she was assigning Frankie were meant to help her get Theodore back into The Underworld. Theatre     The personification of Death or the Grim Reaper is the leading male role in the 1992 Viennese musical Elisabeth, depicting the titular Empress of Austria-Hungary's fictionalised life and her entanglements and obsession with Death.[60] Portrayals of Death varies between productions from androgynous to masculine, dressed at various times in all black or all white.[61] Video games     The personification of Death appears many times in many different games, especially Castlevania and The Sims. Nearly all iterations of a "Death" or "Grim Reaper" character feature most of the same characteristics seen in other media and pop culture: a skeleton wearing a cloak and wielding a scythe. Darksiders II has Death as the player character.     In League of Legends, death is personified in the form of Kindred, a duo of lamb and wolf." (wikipedia.org) "A skeleton is a type of physically manifested undead often found in fantasy, gothic, and horror fiction, as well as mythology, folklore, and various kinds of art. Most are human skeletons, but they can also be from any creature or race found on Earth or in the fantasy world. Myth and folklore Animated human skeletons have been used as a personification of death in Western culture since the Middle Ages, a personification perhaps influenced by the valley of the dry bones in the Book of Ezekiel.[1] The Grim Reaper is often depicted as a hooded skeleton holding a scythe (and occasionally an hourglass), which has been attributed to Hans Holbein the Younger (1538).[2] Death as one of the biblical horsemen of the Apocalypse has been depicted as a skeleton riding a horse. The Triumph of Death is a 1562 painting by Pieter Bruegel the Elder depicting an army of skeletons raiding a town and slaughtering its occupants.[3] "The Story of the Youth Who Went Forth to Learn What Fear Was" is a Brothers Grimm fairy tale in which a boy named Hans joins a circle of dancing skeletons.[4] In Japanese folklore, Mekurabe are rolling skulls with eyeballs who menace Taira no Kiyomori.[5] José Guadalupe Posada's 1913 La Calavera Catrina zinc etching Mexico Figurines and images of skeletons doing routine things are common in Mexico's Day of the Dead celebration, where skulls symbolize life and their familiar circumstances invite levity. Highly-decorated sugar-skull candy has become one of the most recognizable elements of the celebrations.[6][7] They are known in Mexico as calacas, a Mexican Spanish term simply meaning "skeleton". The modern association between skeleton iconography and the Day of the Dead was inspired by La Calavera Catrina, a zinc etching created by Mexican cartoonist José Guadalupe Posada in the 1910s and published posthumously in 1930.[8] Initially a satire of Mexican women who were ashamed of their indigenous origins and dressed imitating the French style, wearing heavy makeup to make their skin look whiter, it later became a more general symbol of vanity.[9] During the 20th Century, the Catrina entrenched itself in the Mexican consciousness and became a national icon, often depicted in folk art. Modern fiction [icon]    This section needs expansion. You can help by adding to it. (March 2014) Literature     The animated skeleton features in some Gothic fiction. One early example is in the short story "Thurnley Abbey" (1908) by Perceval Landon, originally published in his collection Raw Edges.[10] It is reprinted in many modern anthologies, such as The 2nd Fontana Book of Great Ghost Stories and The Penguin Book of Horror Stories.     An anthropomorphic depiction of Death which looks like a skeleton in a black robe appears in almost all volumes of Terry Pratchett's fantasy series Discworld, including five novels where he is the lead character.[11]     In the manga/anime One Piece, Brook, who is one of the main characters, is an animated skeleton after consuming the Revive-Revive Fruit. Film and TV     Undead skeletons have been portrayed in fantasy films such as The 7th Voyage of Sinbad (1958), The Black Cauldron (1985), Army of Darkness (1992), The Nightmare Before Christmas (1993), and Corpse Bride (2005).     An extended battle scene against an army of skeletal warriors was produced by animator Ray Harryhausen for Jason and the Argonauts (1963) and is remembered as one of the most sophisticated and influential visual effects sequences of its day.[12]     Undead skeletons always appear as funny characters in Thai fantasy folk television dramas. They are often referred to as "Na Phi" ("uncle ghost").[13] A CG art skeleton, as commonly found in modern fantasy-theme games. Games     Animated skeletons have been used and portrayed extensively in fantasy role-playing games. In a tradition that goes back to the pen-and-paper game Dungeons & Dragons, the basic animated skeleton is commonly employed as a low-level undead enemy, typically easy for a player to defeat in combat. Thus, in games which make use of them, such enemies often appear relatively early in the gameplay and are considered a suitable opponent for novice players.[14] In these contexts, they are commonly armed with medieval weapons and sometimes wear armor.     In the PlayStation action-adventure series MediEvil, the protagonist is an animated skeleton knight named Sir Daniel Fortesque.[15]     In the 1999 cult classic Planescape: Torment, Morte is a character who joins the protagonist on his quest and is essentially a sentient, levitating human skull with intact eyeballs who cracks wise and fights by biting.[16]     In the 2009 Minecraft video game, skeletons appear as bow-wielding monsters that shoot players with their bows and burn under the sunlight unless they wear helmets. Sometimes the skeletons spawn with enchanted bows or a random piece of armor, or random full armor, or without a bow, and they can choose melee weapons. On Halloween, they can spawn wearing carved pumpkins or Jack O' Lanterns on their heads. Variants include the wither skeleton, which causes the player to wither away due to the Wither effect, and the stray, which is a frozen variant found in snowy biomes.     In the video game Fable III, there exist a race of antagonal characters called "hollow men" which are featured throughout the game.     A duo of animated skeleton brothers plays an important role in the role-playing game Undertale. Named Sans and Papyrus, the brothers' dialogue text is printed in Comic Sans and Papyrus fonts, respectively.[17]     Following a poll taken during their Kickstarter campaign, Larian Studios added a playable skeleton race in their 2017 RPG Divinity: Original Sin II, as well as an ancient skeletal character named Fane.[18]     Following the first game, the skeletons were re-added in Minecraft Dungeons, a 2020 dungeon crawler game released by Mojang Studios as the guards of The Nameless One, the king of the undead. In this form, they are equipped with glaives, shields, and iron helmets and chestplates, and are referred to as Skeleton Vanguards. They also spawn as their original bow-wielding form, sometimes wearing iron helmet. Other DLCs include exclusive variants of skeletons.     The Mario series has some Koopa Troopa-skeleton themed enemies known as Dry Bones, where after they get hit, they return to their form. Bowser also has a skeleton form known as Dry Bowser, first debuted in New Super Mario Bros., and featured in other games such as Mario Party and Mario Kart.     The Legend of Zelda series features an enemy called Stalfos, armed skeletons who serve as regular enemies and occasionally as minibosses. Variations such as Stalkids and Stalblins also appear in various games in the series.     In the Elder Scrolls series, skeletons are featured as one of the undead creatures and they are armed.     In Heroes of Might and Magic 3, skeletons are recruitable troops from the Town, Necropolis." (wikipedia.org) "Dennis Montague Anderson (born October 24, 1960)[1] is an American former professional monster truck driver. He is the creator, team owner, and former driver of "Grave Digger" on the USHRA Monster Jam circuit. Anderson is from Kill Devil Hills, North Carolina, where he currently resides.[1] Career Dennis started out as a mud bogger with his original truck in 1982. This truck was built using the body of a 1952 Ford pickup truck painted in red primer, and was dubbed Grave Digger after a boast made before a race. The truck was later rebuilt with larger wheels and using a 1951 Ford panel truck painted in silver and blue. At one local show, a scheduled monster truck failed to appear and Anderson, who already had large tractor tires on the truck, offered to crush cars in the absence of the full-size monster truck. The success of the event led Anderson to pursue monster trucks as a career. In 1986, Grave Digger was further modified and first received its distinctive black graveyard paint scheme. In 1987 and 1988 Anderson drove the truck primarily at TNT Motor sports races. In 1988 Anderson beat Bigfoot in Saint Paul, Minnesota, on a show taped for ESPN. Anderson moved to a newly built Grave Digger 2 in 1989, made with a 1950 Chevrolet panel van body. TNT began promoting Grave Digger heavily, especially for races on the Tuff Trax syndicated television series and ESPN's Powertrax. This was helped by Bigfoot running a limited schedule in the 1989 championship as Bigfoot 8 was deemed too advanced for the field. During the same year, construction of Grave Digger 3 had begun. While Dennis drove Grave Digger 2, his brother Leslie drove Grave Digger 1. When TNT became a part of the USHRA in 1991, Anderson began running on the USHRA tour and debuted his first four-link suspension truck, Grave Digger 3. In 1992, after Dennis Anderson was injured during an event in Louisville, Kentucky, he decided to build a better truck with a similar short wheelbase and a new tube frame, therefore Grave Digger 7 was constructed (numbers 4 and 5 having been franchised to other drivers and number 6 being a street-legal display truck). He drove that truck from 1992 until 1996, and was a regular on the USHRA syndicated series "Monster Wars". In 1997 he built and debuted Grave Digger 12, which would be inherited by former Carolina Crusher driver Gary Porter in early 2001. In late 1998, due to his financial difficulties, Anderson sold the Grave Digger team to SRO/Pace, then-owners of the USHRA, leading to controversy and accusations of rigged races due to Anderson driving for the same company that runs the events.[citation needed] In 1999 he won his first championship in the USHRA series. In 2001, he drove Mr. Destruction into a wall of cars as a special stunt for a show in the Louisiana Superdome. Anderson won the inaugural Monster Jam World Finals freestyle championship in 2000, and scored a racing championship win at the 2004 World Finals. He won another racing championship at the 2006 World Finals driving Grave Digger 20. Anderson has also won the 2010 World Finals Racing Championship also driving Grave Digger. Anderson was also a co-host on History Channel's Around the World in 80 Ways. His final event as a competitor took place in Tampa, Florida, at Raymond James Stadium on January 14, 2017, as he was injured and forced to miss the rest of the season. During Monster Jam's 2018 Season Kickoff Show on September 18, 2017, Anderson announced his retirement from the sport. He stated he would remain "behind the scenes" at events, working in the pits with his team. Injuries Anderson has had several injuries over his career. In late 1991 he broke his kneecap when he hit a wall at the Rosemont Horizon in Chicago, forcing him to sit out the 1992 winter season. He recovered and beat Jack Willman Jr. in Taurus at Carter Finley Stadium in Raleigh, North Carolina. Later in 1992, a hard side hit on the wall of Louisville Motor Speedway in Louisville, Kentucky broke several ribs near his backbone and caused recurring problems throughout his career. A nose-dive, AKA the lawn dart, at the Louisiana Superdome in New Orleans in 1999 aggravated the injury and caused Anderson to miss several shows over the next couple of years. He reinjured himself at a Special Events show in Bloomsburg, Pennsylvania. A broken hand from a non-driving accident in Philadelphia 2003 sat him out for half of the year. A lesser-known injury happened during the summer of 2006 in a non-monster truck accident when Anderson injured his wrist. He also suffered a shoulder injury at the Metrodome in late 2006, in which his son Adam Anderson drove Grave Digger at shows in early 2007 until The Monster Jam World Finals 8. In 2017, Anderson was hospitalized following an accident while attempting a backflip.[2] On March 10, 2017, it was announced on that Anderson would not compete in World Finals 18 due to the previously stated injury he would retire later that year. Hallmarks Anderson has often crashed or damaged his truck early in racing rounds due to his driving style. For this reason, he had a nickname of "One Run Anderson". Back in his early mud bogging days, he was known for running full throttle, flinging mud everywhere. He would either make a mess going through, or break the truck from heavy strain during most events. Coincidentally and fitting enough, his most recent work has brought Anderson 'full circle' – back to the mud – a custom built monster mud truck called King Sling. The truck, a 1941 Willys truck with custom-cut tractor tires and modern chassis and suspension components, carries twice the horsepower at half the weight of his monster truck Grave Digger. The truck is a favorite exhibition vehicle at mud bogs as it is a combination of monster mud vehicle with the monster mud driver. Awards     Motor Madness World Finals Points Champion - 1999     USHRA World Finals Freestyle Champion – 2000     USHRA World Finals Racing Champion – 2004, 2006, 2010     Inducted in the International Monster Truck Hall of Fame - 2012     Inducted in the Monster Jam Hall Of Fame - 2020" (wikipedia.org) "Grave Digger is a monster truck racing team in the Feld Entertainment Monster Jam series founded by original driver Dennis Anderson. Considered one of the most famous and recognized monster trucks of all time, Grave Digger serves as the flagship team of the Monster Jam series, with seven active Grave Digger trucks being driven by different drivers to allow a truck to appear at every Monster Jam event. History Grave Digger was originally built in 1982 by Dennis Anderson as a mud bogger. This first truck was assembled from salvaged parts, including the body of a red 1952 Ford pickup truck. The truck received its name when Anderson, amicably retorting trash talking from his fellow racers about the truck's salvaged parts, said, "I'll take this old junk and dig you a grave with it." Anderson gained a reputation for an all-or-nothing driving style and quickly became popular at local events. At one show, a scheduled monster truck failed to show up and Anderson, who already had large tractor tires on the truck, offered to crush cars in the absence of the full-size monster. The promoter accepted and Grave Digger was an instant success as a car crusher and led Anderson to leave mud bogging and pursue monster trucks instead. In 1984 Anderson rebuilt the truck as a true monster truck using a 1951 Ford panel van body originally sporting a silver and blue paint scheme. In 1986 Grave Digger first received its famous black graveyard paint scheme. In 1987 and 1988 Anderson drove the truck primarily at TNT Motorsports races and became a crowd favorite for driving hard despite lacking major funding that better-known teams, like Bigfoot, had. In 1987, Anderson beat Bigfoot in Saint Paul, Minnesota, on a show taped for ESPN. It was the first major victory for Grave Digger. Anderson moved to Grave Digger 2 in 1989, with a new 1950 Chevy panel van body, while his brother Leslie Anderson drove Grave Digger 1. It was during this time that the reputation for wild passes was developed, and the popularity of the truck increased. It was also during this time that "Bad To The Bone" began to be used as the truck's theme song. TNT recognized his rising popularity and began promoting Grave Digger heavily, especially for races on the Tuff Trax syndicated television series. This was helped by Bigfoot not racing for points in the 1989 championship, leaving Grave Digger as the most popular truck on the tour. When TNT became a part of the United States Hot Rod Association in 1991, Anderson began running on the USHRA tour and debuted his first four-link truck, Grave Digger 3. Throughout the 1990s, the popularity of the truck grew and forced Anderson to hire other drivers to run other Grave Digger trucks. Grave Diggers 4, 5 and 8 were built to suit this purpose, and were never driven in any major capacity by Anderson. Anderson drove Grave Digger 7, a direct successor to 3, for most of the decade. It was replaced by Grave Digger 12, well known as the "long wheelbase Digger", which was also the first Grave Digger with purple in the paint job. In 1993, Dennis Anderson and Grave Digger #7 were heavily featured on the TV series Monster Wars. Anderson led the beginning of the season until breakages and disqualifications; he finished 5th. That year, Anderson won the 2nd USHRA wreck of the year title after he won and rolled over in Lebanon Valley Speedway, racing UFO. There was footage inside the cab of Anderson uttering his famous catch-saying “Yea we turned er over, she’s over, that’s what the people want, that’s what they got, I got a torn up truck!” In late 1998, Anderson sold the Grave Digger team to Pace Motorsports (now Feld Entertainment). Anderson continued to drive, being the most visible member of the team, and remained in charge of drivers and of training team members. Anderson competed in his final event on January 14, 2017 at Raymond James Stadium in Tampa, Florida. On September 18, 2017, Dennis announced his full retirement from Monster Jam, stating however that he would still be behind the scenes and in the pits. Accomplishments     1999 Monster Jam Points Champion (Dennis Anderson – Grave Digger #12)     2000 Monster Jam World Freestyle Champion (Dennis Anderson – Grave Digger #7)     2002 Monster Jam Points Champion (Dennis Anderson – Grave Digger #14)     2003 Monster Jam Points Champion (Randy Brown – Grave Digger #18)     2004 Monster Jam Points Champion (Gary Porter – Grave Digger #12)     2004 Monster Jam World Racing Champion (Dennis Anderson – Grave Digger #19)     2004 World Monster Truck Racing League Championship (Gary Porter – Grave Digger #12)     2006 Monster Jam World Racing Champion (Dennis Anderson – Grave Digger #20)     2010 Monster Jam World Racing Champion (Dennis Anderson – Grave Digger #20)     2010 Monster Jam Points Champion (Dennis Anderson – Grave Digger #20)     2016 Monster Jam Amsoil Series East Champion (Cole Venard – Grave Digger #31)     2016 Monster Jam Amsoil Series West Champion (Morgan Kane – Grave Digger #25)     2016 Monster Jam FS1 Series Champion (Adam Anderson – Grave Digger #32)     2016 Monster Jam World Racing Champion (Morgan Kane – Grave Digger #25)     2016 Monster Jam World Freestyle Champion (Adam Anderson – Grave Digger #32)     2017 Monster Jam Triple Threat Series East Champion (Tyler Menninga – Grave Digger #23)     2017 Monster Jam Triple Threat Series West Champion (Cole Venard – Grave Digger #31)     2017 Monster Jam Stadium Tour Champion (Charlie Pauken – Grave Digger #27)     2017 Monster Jam Arena Tour Champion (Pablo Huffaker – Grave Digger #28)     2017 Monster Jam Arena Tour Champion (Randy Brown – Grave Digger #29)     2018 Monster Jam Stadium Championship Series 2 Champion (Charlie Pauken – Grave Digger #27)     2018 Monster Jam Stadium Championship Series 3 Champion (Morgan Kane – Grave Digger #33)     2018 Monster Jam Triple Threat Series Central Champion (Tyler Menninga – Grave Digger #32)     2018 Monster Jam World Racing Champion (Adam Anderson – Grave Digger #35)     2019 Monster Jam Triple Threat Series West Champion (Tyler Menninga – Grave Digger #36)     2019 Monster Jam Triple Threat Series Central Champion (Brandon Vinson – Grave Digger #31)     2019 Monster Jam Stadium Championship Series 2 Champion (Adam Anderson – Grave Digger #35)     2019 Monster Jam Arena Championship Series Champion (Randy Brown – Grave Digger #39)     2020 Monster Jam Stadium Series Yellow Champion (Charlie Pauken – Grave Digger #27)     2020 Monster Jam Triple Threat Series East Champion (Tyler Menninga – Grave Digger #36)     2020 Monster Jam Triple Threat Series West Champion (Brandon Vinson – Grave Digger #31)     2020 Monster Jam Arena Championship Series Champion (Randy Brown – Grave Digger #39)     2023 Monster Jam Stadium Series Blue Champion (Tyler Menninga - Grave Digger #39)     2023 Monster Jam Stadium Series Red Champion (Adam Anderson - Grave Digger #35) Trucks     This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2019) (Learn how and when to remove this template message) There have been a total of 41 Grave Digger monster trucks built. There are seven trucks currently competing.     Grave Digger #1 – The original truck was first built as a mud racing truck from a 1951 Ford pickup, then rebuilt as a true monster truck in 1985 using a 1951 Ford panel van body. The rebuilt version, nicknamed "Grandma", is on display at the Digger's Dungeon shop. A replica of the original configuration using parts saved from the rebuild was assembled to make an appearance at World Finals 8 in 2007 as part of a 25th anniversary celebration of Grave Digger. It is also on display at Digger's Dungeon.     Grave Digger #2 – Built in 1989 from a 1950 Chevrolet panel van, which became the model for all subsequent Grave Digger bodies. The steel body was soon replaced by a fiberglass replica. It was heavily damaged in a crash that snapped its frame in late 1990, and retired from full-time competition. In 1994, parts, including the original steel body, were used to construct a special truck to allow Dennis Anderson to perform a stunt where he drove across Currituck Sound for charity. Fully restored in 2016 by Adam Anderson using the original body, it is on display at Digger's Dungeon.     Grave Digger #3 – Debuted in 1991. First truck to use a steel-tube-framed, four-link-suspension chassis. It was sold in late 1999. The truck is currently owned by Jimmy Durr and known as "Slag Hag".     Grave Digger #4 – This truck was operated from 1991 to 1993 by Jack Koberna as part of a franchise agreement for West Coast events. It was built with a traditional frame and leaf-spring suspension chassis with a fiberglass body. After Koberna's franchise ended, Pablo Huffaker signed a similar deal, and used his second Jus' Show'N Off truck (a tube-framed truck built in 1991) with the body from #4. Huffaker drove it as Grave Digger from 1993 to 1995.     Grave Digger #5 – Built in 1991 using a new frame with parts salvaged from #2, including the fiberglass replica body and leaf-spring suspension. It was only used until 1992, and it became a display truck. Parts were removed for the restoration of #2, and the frame was sold.     Grave Digger #6 – Built in 1991 as the "Street Digger", a street-legal display truck. Parts were later used to build a mega truck that is now known as "Old Number Six".     Grave Digger #7 – Debuted in 1992, extensively rebuilt in 1999, and retired in 2005. Currently on permanent display at Digger's Dungeon.     Grave Digger #8 – Debuted in 1992, retired in 2005. Used as a display truck as part of Cedar Fair amusement parks' "Monster Jam Thunder Alley" experience in 2019.     Grave Digger #9 – Built in 1994 as a ride truck, it was sold and is now the ride truck Extinguisher.     Grave Digger #10 – Built in 1995 by Pablo Huffaker. Became Radical Rescue in 2001 before being retired in 2004.     Grave Digger #11 – Built in 1996 as a ride truck. It was rebuilt in 2013 and currently runs as a Grave Digger ride truck.     Grave Digger #12 – Debuted in 1996. Originally retired in 2010 as a Grave Digger after a crash in Wildwood, New Jersey, the truck was refurbished and ran as Grave Digger the Legend in 2011 as a backup truck before being finally retired that year.     Grave Digger #13 – Skipped per superstitions regarding the number 13, but used as a nickname for Grave Digger #7 after its substantial rebuild.     Grave Digger #14 – Debuted in 2001. Retired in 2010 following a crash in Philadelphia.     Grave Digger #15 – Debuted 2001, retired in 2009. Currently on display at Digger's Dungeon.     Grave Digger #16 – Built 2002 by Pablo Huffaker, retired in 2013.     Grave Digger #17 – Pro Modified drag racer sponsored by the team. (The IHRA and USHRA were previously under the same ownership.) No longer racing.     Grave Digger #18 – Debuted 2003, retired in 2013.     Grave Digger #19 – Debuted 2004, retired in 2014.     Grave Digger #20 – Debuted 2005, retired in 2013.     Grave Digger #21 – Display truck. The truck is mounted in a trailer where fans can sit in the cab of the truck.     Grave Digger #22 – Originally ran as the Batman monster truck from 2006 to 2008 before becoming Grave Digger #22. Retired in 2013.     Grave Digger #23 – Debuted 2011, retired in 2017.     Grave Digger #24 – Debuted 2011, retired in 2016.     Grave Digger #25 – Debuted 2011, retired in 2016.     Grave Digger #26 – Debuted 2013, retired in 2016.     Grave Digger #27 – Debuted 2014, retired in 2018.     Grave Digger #28 – Built by Pablo Huffaker in 2014. Retired from competition in May 2018 when Huffaker retired as a driver. Now a display truck.     Grave Digger #29 – Debuted 2015. Currently serves as a back-up truck, used mostly for international shows.     Grave Digger #30 – Debuted 2014. Retired in 2018 when Dennis Anderson retired, as this was the last truck he personally drove.     Grave Digger #31 – Debuted 2016. Currently serves as a back-up truck.     Grave Digger #32 – Originally built in 2011 as "Grave Digger: The Legend", a retro-themed truck driven by Adam Anderson through the 2015 season, it was renamed and numbered in 2016 when Adam Anderson joined the Grave Digger team full time. Retired in 2018.     Grave Digger #33 – Debuted 2017. Driven by Morgan Kane until 2021. Was driven by Weston Anderson until its retirement in 2022 after a crash in Hampton, Virginia.     Grave Digger #34 – Debuted 2017. Was driven by Krysten Anderson until 2021. Was retired after crash in Glendale, Arizona. It was repaired in 2022 and used at World Finals for freestyle by Adam Anderson. It is used as a backup truck.     Grave Digger #35 – Debuted 2017. Currently driven by Adam Anderson.     Grave Digger #36 – Debuted 2018. Currently driven by Brandon Vinson. Was driven by Tyler Menninga until 2021     Grave Digger #37 – Debuted 2018. Currently driven by Weston Anderson after Grave Digger's 33 retirement     Grave Digger #38 – Debuted 2018. Currently driven by Matt Cody on the International Tour.     Grave Digger #39 – Debuted 2019. Currently driven by Tyler Menninga     Grave Digger #40 – Built 2019 as a ride truck for Cedar Fair amusement parks' "Monster Jam Thunder Alley" experience.     Grave Digger #41 – Debuted late 2019. Currently driven by Krysten Anderson after Grave Digger 34's retirement. Hallmarks Grave Digger is well known for its damaging crashes. Grave Digger's origins, the imagery associated with the truck, and the truck's wild reputation, are all considered part of the mystique of the truck and have contributed to its continued popularity. The paint scheme, which combines green flames, letters dripping blood, a foggy graveyard scene with tombstones bearing names of competitors, a haunted house silhouetted by a full moon, and a giant skull-shaped ghost, has not strayed far from the first incarnation of the paintwork from 1986. Perhaps the most visible trademark is the red headlights which glow menacingly whenever the truck is in competition. The lights were first used when Anderson was building a transporter out of a school bus and removed the red stop lights. After realizing they would fit in the headlights of the van, he installed them and the truck has had them ever since. Grave Digger 7 with most of its body missing. Anderson became known for destructive qualifying passes which entertained the crowd but on many occasions put the truck out of competition for the rest of the event. With the advent of freestyle, Anderson gained a means by which he could entertain the crowd with wild stunts while also focusing on winning races. Today, Grave Digger, no matter which driver is appearing, is traditionally the last truck to freestyle at most events, providing the "grand finale" which caps off the show. The immense popularity of Grave Digger has made it the flagship truck of Monster Jam, and in some cases monster trucks in general. There is much debate over whether Grave Digger has taken over the title of "Most Popular Monster Truck" from Bigfoot. As a result, the Grave Digger vs. Bigfoot rivalry is one of the strongest in the sport, despite the fact that the teams have not raced each other regularly since the late 1990s. Drivers Current drivers     Adam Anderson – Currently driving Grave Digger #35 (2016–present)     Krysten Anderson – Currently driving Grave Digger #41 (2017–present)     Weston Anderson – Currently driving Grave Digger #37 (2022–present)     Tyler Menninga – Currently driving Grave Digger #39 (2017–present)     Brandon Vinson – Currently driving Grave Digger #36 (2018–present)     Matt Cody – Currently driving Grave Digger #38 (2023–present) Digger's Dungeon Digger’s Dungeon located in Poplar Branch, North Carolina,[3] is the official home of Grave Digger. Besides the usual gift shop, there are several Grave Diggers located outside on display, including Grave Digger 1. There are also various pieces of other Grave Diggers hanging throughout the store, all of which have been damaged from various accidents. Digger’s Dungeon hosted the 2010 No Limit R/C Monster Truck World Finals, taking place from May 28 to May 30. The RC World Finals is the largest RC Monster Truck event in the world." (wikipedia.org)
  • Condition: Used
  • Condition: In excellent, pre-owned condition. Please see photos and description.
  • Size: One Size
  • Color: Purple
  • Product: Mask
  • Driver: Dennis Anderson
  • Driver 3: Adam Anderson
  • Driver 2: Krysten Anderson
  • Driver 5: Tyler Menninga
  • Driver 4: Weston Anderson
  • Driver 7: Matt Cody
  • Event/Tournament: Monster Jam 2022
  • Driver 6: Brandon Vinson
  • Brand: Feld Motor Sports, Inc.
  • Item: Collectible Mask
  • Sport: Monster Truck
  • Theme: Skull , Grim Reaper , Monster Truck , Grave Digger
  • Country/Region of Manufacture: China

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