Journal articles on the topic 'Travel Accessories'

The paper offers an overview of available information on travel of medieval Serbian embassies in the Nemanjic dynasty period. This content is contextualized into the wider picture of regional embassy travel, presented by the far better documented embassies of Dubrovnik, Venice and the Byzantine Empire. The information is sorted by the key determining factors of an embassy?s journey - diplomatic and auxiliary personnel, representational accessories such as gifts and adornments, transport over land and sea, sustenance, lodging, expenses and obstacles presented by nature and men.

<strong>Travelling has become more popular today as a hobby and passion for many people. There are many problem faced by bikers in a long adventure road trips. One of the main problems is lack of availability of clean water. The main objective of this project is to utilize the heat from exhaust bend pipe to make the unclean water into drinkable one. This can also reduce the heat radiation of the engine so that the driver gets comfortability in drive since it used the heat generated from the side bend pipe of an exhaust system.</strong>

The reseach objectives are to know whats ymbols are performed in Lariangi dance and what meaning are conveyed in the symbols performed in Lariangi dance. The research used descriptive qualitative method to take information. The writer obsereved the house in Liya village and took some informations from them and interviewed and documented by using recorded and camera. This research also took the datum from some books, articles, internet which associat with the symbols in Lariangi dance in Wakatobi Southeast Sulawesi. The research resulted in the part of symbols in Lariangi dance start from dress, accessories, movement of the dance and the songs of Lariangi dance. The result of the research was consisted in four part. First, the symbols found in dress there are six namely Kombo Monihi, Kombo Meha, Punto/Wuray Nibelo Biru, Laka/Wuray Meha, Kambero, and Lenso/Saputangan symbolyzes sweat rag of King Buton. The second, there are eight symbols and their meaning found in accessories, namely Panto and Pintoru, Hepupu/Konde, Kamba Konde, Toboy Kamba, Hebindu/Sangi-Sangi, Kalo, Naga, Sekori Keponto Posusu symbolyzes degrees nobility. The third, there are four symbols found in movement of Lariangi dance namely, Hematu kepooli le..le, Pajogi/Nyibing/Ngifi, Nabu/Tau, and Lariangi symbolyzes Lighting. The last is symbols found in song of Lariangi dance there are nine songs namely Mangu-Mangu, Ole-Ole, Doumaraia, Denda Aule, Sailila, Waindi-Indi, Rongande, Jojongana, and Salatu symbolyzes as thankful to Allah SWT.

Failures in hoist and drag ropes are studied and described based on site inspections on Marion and BE draglines. Causes of the failures are discussed. Some of the analyses of the wire rope failures centres on the wire rope accessories through which these ropes travel during machine operation. The influence of wire quality on wire rope life is also studied. Visual and metallographic examinations are both used in this study leading to a better understanding of deterioration mechanisms that lead to failure of hoist and drag ropes under service loading.

This study explores information about traditional wedding ceremonies and bridal makeup in Nagari Abai Sangir in terms of wedding ceremony processions, bridal makeup, bridal fashion and accessories and the meaning of bridal fashion and accessories. This study aims to describe the wedding ceremony procession, the form of bridal makeup, the form of bridal clothing and accessories, describe the meaning of bridal clothing and accessories. This type of research is qualitative research. This research instrument is the researcher himself and is assisted by supporting instruments such as stationery, tape recorders and cameras. Data collection techniques are carried out by means of observation, interviews and documentation. The techniques of checking the validity of data in this study are the extension of observations, increased persistence, triangulation and auditing. The steps to analyze data are data collection, data reduction, data presentation and making conclusions. The results of this study are 1) marriage ceremonies at the gadang house 21 Nagari Abai Sangir rooms including ceremonies before marriage, wedding ceremonies and post-wedding ceremonies, 2) in Nagari Abai Sangir before the bride and groom are made up first carry out the ritual of eating betel while reciting prayers called pamanih, 3) the form of clothing and accessories of the bride in the gadang house 21 nagari Abai Sangir room consists of suntiang, kuruang clothes, salendang, orok, kaluang omeh, galang furnace, tarompa tinggi, while the groom's clothes consist of shirts, sarawa rocking saruang cloth, litau bridal accessories, kaluang and keris, 4) suntiang contains the meaning of a bride must be able to carry a heavy burden after having a family, kuruang clothes show minangkabau democracy, salendang contains the meaning of there are parts of a woman's body that others should not know, orok contains the meaning of women must cover aurat, neck jewelry as beauty and wealth sipemakainya, hand jewelry has the meaning to act must have limits, high tarompa contains the meaning of travel must be careful, while the meaning of the groom's dress includes Shirts symbolizing the greatness of the wearer and having a big spirit, sarawa goyang symbolizes all acts of work must have a size, saruang cloth symbolizes having to obey customs and sharak, litau symbolizes a leader in the family and his people, keris symbolizes a person must be careful and think first before acting, shoes symbolize a leader must manage to take his family in a more important direction good. It is recommended that it be able to consider and preserve the customs of Marriage in Nagari Abai Sangir in terms of bridal makeup, bridal fashion and accessories and their meaning.

The Smart IoT Bag represents a revolutionary integration of technology into everyday accessories, transforming a conventional item into an intelligent and connected device. This innovative bag incorporates a range of Internet of Things (IoT) features that enhance user experience, convenience, and security. At its core, the Smart IoT Bag is equipped with embedded sensors and connectivity modules, enabling it to gather real-time data about its surroundings and the items it contains. One key aspect of the Smart IoT Bag is its ability to provide users with smart inventory management. Through RFID or NFC technology, the bag can track the presence and location of specific items placed within it. This feature proves invaluable for individuals who frequently misplace their belongings, offering a seamless and efficient way to locate items through a dedicated mobile application. Furthermore, the Smart IoT Bag embraces the concept of smart security. Integrated with biometric authentication, the bag ensures that only authorized users can access its contents. In the event of theft or unauthorized access, the bag can send instant alerts to the user's smartphone, allowing for swift action. Additionally, the bag is equipped with GPS tracking, enabling users to pinpoint its location in real-time, enhancing security and providing peace of mind. The bag's connectivity extends beyond personal use, contributing to a broader ecosystem of interconnected devices. It can seamlessly integrate with smart home systems, allowing users to automate tasks based on the bag's status or location. For instance, upon arriving home, the bag could trigger the lights to turn on or adjust the thermostat.

The growing mobility of modern society has increased the demand for innovative travel accessories that offer practicality, efficiency, and multifunctionality. This study seeks to meet these demands by designing a foldable travel hanger that maximizes storage space while ensuring clothing remains neat, addressing the needs of both business and leisure travelers. The design process follows Nigel Cross's Rational Product Design and Development Method, a systematic approach that involves clarifying objectives, defining functions, establishing requirements, identifying key features, generating design alternatives, and selecting the best solutions. The final solution effectively reduces the risk of wrinkled clothing during travel and speeds up the drying process, offering dual benefits. Its compact and user-friendly design ensures long-term usability, making it a sustainable and cost-effective option for modern travelers. The product contributes to enhancing users' professional image by providing reliable and efficient clothing management, thus addressing critical customer needs. The study emphasizes the importance of incorporating user feedback to improve product usability and satisfaction. By aligning technological innovation with consumer needs, this work establishes a benchmark for future travel accessory development, demonstrating how structured design methodologies can resolve user challenges and drive innovation in consumer products. The results of this study show that the Multifunctional Foldable Hanger with a built-in heating system can help smooth out clothes easily during travel, weighing only 700g and featuring 7 folding hinges. With a portable design, heat-resistant ABS material, and 3 adjustable temperature settings, this product innovation has also been tested using von Mises stress analysis to assess its strength.

This article tells the history of luggage with the starting point in the sales catalogs from Galeries Lafayette’s archives, where not least Louis Vuitton is one of the famous producers. Travel was expanding at a time when crinolines were the height of fashion. Such garments must be carefully folded and packed in a suitcase. The many accessories that represented the feminine clothing were packed in special containers for gloves, shoes and hats. The history of luggage is intimately connected with the development of new modes of travel. The introduction of the flat suitcase in 1858 by French trunk maker Louis Vuitton represented a turning point in the history of luggage. The bags could now be stacked in railway cars and in the holds of ships. Air traffic requirements of light weight resulted in special air luggage. The trend has been from the 1800s emphasis on the interior of trunks to the prominence of the lusciously designed outside, from the unwieldy trunks to wheeled lightweight bags, from women who simply could only travel without her husband and a carrier to an independent woman traveling by herself. History shows tensions between aesthetics and convenience, public and private, uniqueness and standardization, male and female.

The aim of this contribution is to determine and analyse the types of products the five most followed Instagram influencers in the Czech Republic promoted during the period September 2019 – September 2020. The most followed influencers in 2020 were identified on the basis of the highest number of followers (Leoš Mareš, Petr Čech, Jirka Král, Karolina Kurková and Anna Šulcová). The next step was to calculate the frequency of product-related posts by each influencer according to the individual product types. Based on the data, it can be concluded that the most frequent product-related posts are associated with clothing and accessories, followed by magazines, cosmetics, e-shops, sports, travel, culture, children’s goods or restaurants.

The purpose of this paper is to argue that any tying is not anticompetitive, and that abolishing the doctrine of anticompetitive tie-in sales is necessary on the exclusive basis of property rights protection: each firm has the exclusive right to dispose of the essence and accessories of its own product or service, and can, therefore, tie or bundle them in any configuration. The respect of this requirement is necessary to protect the property rights of the owner. A travel service contains bundles of trips, cars contain bundles of diverse features, electronic goods contain bundles of components, websites contain bundles of contributions, and this is perfectly legitimate, and must be protected for the sake of the protection of property rights.

Urban tourism involves travelling to cities that are quite near to the urban precincts. Huge quantum of people travel to nearby cities for entertainment and relaxation. The tourist authorities serve its customers with adequate resources and accessories on an updated mode. Even the advancement of artificial intelligence too reflected in the urban tourist segment in a highly profound manner as the influence of e-technology has highly benefited almost all countries throughout the world. The present study sprouts light into the significance of Artificial Intelligence (AI) in the urban tourist segment and it is analyzed that Artificial Intelligence plays a significant role in the tourism industry and is updated with its latest tools for a highly attractive and profitable tourist climate.

&lt;p&gt;Reorganizing a layout entails a massive adjustment and thorough planning is essential before a new layout implemented. This project is to reorganize layout at dispatching area of a manufacturing industry which produces apparel accessories products. Current arrangement at the dispatching area of the company shows an interrupted flow path of activities and scattered of queuing cartons at area of activities in the dispatching line which brought to operating issues. The project aims to identify problem in current arrangement of dispatching layout, analyze the the problem and propose an alternative layout that reduces dispatching time. Time studies were applied to collect data on current performance, developing alternative arrangement, and evaluation the alternative through Witness simulation. The finding showed total dispatching time of current layout consumes 30.77 minutes to complete one dispatching job with distance travel of 162.83 meters. Better alternative layout is developed by the approach of facility planning process. Results showed the dispatching time has reduced by 32.79%, which the alternative layout only consumes 20.68 minutes to complete one dispatching job with shorter distance travel of 109.44 meters.&lt;br /&gt;&lt;br /&gt;&lt;/p&gt;

The paper presents research on carsharing users in Poznan, Poland (an example of a large city in a macro-region of Central Europe, where carsharing is still an innovation to be popularised). The study is based on structured face-to-face interviews with a large sample of 892 drivers analysed using stepwise logit regression. We found that carsharing users are mainly young, educated, single and male; that they regularly use public transport and pay special attention to car equipment and accessories, but at the same time are less concerned about costs than other drivers. Carsharing users drive cars with varying frequency, for a variety of reasons and feel curiosity towards the activity of driving. The results have practical implications for both: local policy-makers (interested in promoting sustainable mobility modes, creating smart cities strategies) and companies operating carsharing systems (formulating advertising strategies).

The paper is dedicated to the collection of Japanese art objects, which were bought by the famous Russian artist V.V. Vereshchagin during his travelling to Japan in 1903. The paper represents the main information about the travel and excerpts from Vereshchagins memories about the country and art objects he bought. The description of the Vereshchagins collection was made on the base of the memories of Vereshchagins son and the catalogue of the collection which was published for the trade-exhibition in Moscow in 1910. Japanese collections part of the catalogue consists of the objects № 76-355. Some groups were distinguished among those artifacts: interior items, textile, clothes, accessories, enamel, bronze, turtle, porcelain, faience and different trivia. The description of the collection was made in connection with those groups. Some thoughts are represented about the main reasons of the collections trade-exhibition and its fate after the trade-exhibition. Analyzing the art objects, which were brought by Vereshchagin from Japan could help to understand what artists interest was in Japanese life.

While many Indian feel good to see, touch and go round the retail outlets for shopping but however, Internet has transformed many aspects of life. For some services like booking ticket and travel plans this has definitely become the most preferred source of purchase due to convenience. This paper is an attempt to bring out different aspects of this trend of online buying behavior which has picked up since almost 15 years, it highlight the factors influencing the online buying decision along with the negative factors which deter the consumer to go online purchase. Further, the study focuses on how the demographic factors influence the online buying decision along with the informational sources that influence the choice of websites. From the study it was found that clothes, footwear and accessories are the most purchase online, while the factors that interests the online shopper was found to be discounts and the negative motivation was due to poor quality of product and fake product.Int. J. Soc. Sc. Manage. Vol. 4, Issue-1: 38-43

This paper presents a model capturing the intercity freight mode choice behaviour in high-speed rail system from Bangkok to Chiangmai. The model is developed based on the stated preference data collected from 800 freight operators, wholesaler, retailer, and people. The results show that, when the high-speed rail system from Bangkok to Chiangmai are developing in the future, the suitable products for high-speed rail system are types of an express mail service (EMS), air cargo, gold, jewellery, gold accessories, computer circuit boards, high prices agricultural products such as fruit, and flowers. Most of determining the selling price will fluctuate with the speed of transport and damage impairment of the product. With the application of discrete choice models, the results show that, aside from travel cost and time, loading and unloading, delays time, frequency are statistically significant. The application of model indicated that the holder and freight forwarder which in the line of high-speed rail (Bangkok – Chiangmai) tend to use rail-transport such as double-track rail is 27.71%, high-speed rail is 11.18% and the most is trucks 56.51% which is a policy development point loading and unloading, multimodal transportation efficiency and safety of the portion of the freight high-speed rail increased.

&#x0D; &#x0D; &#x0D; Virtual Reality (VR) is widely used today in both research and entertainment. The continuous growth of this technology makes VR consumer hardware now available for masses. The new trend in the next generation of VR devices is a VR headset and controllers with inside-out technology. These VR devices will become an important basis for the future of VR applications. Virtual travel or locomotion inside VR experiences is the important part in the VR application development, which affected to the users preference. The goal of this research is to study the difference of locomotion in VR with new trend devices consisting of VR headset and controllers without using other accessories. Three locomotion techniques: controller-based, motion-based and teleportation-based were used to analyze the differences. The VR scene with virtual environments was created to use in the experiment where the users have to move with different locomotion technique. The Usability Questionnaire (UQ) is used to evaluate the usability value of each locomotion technique, while Simulator Sickness Questionnaire (SSQ) is used to assess the motion sickness value. The results showed that the usability (p-value=0.02007) and motion sickness (p-value=0.00014) of all locomotion techniques are different and the usability affected to the user preference. The conclusions of VR locomotion studies were discussed with the limitations of the study and the future work for this research.&#x0D; &#x0D; &#x0D;

One of Indonesian’s cultures is bring back souvenirs for their friends and relatives when they travel. Souvenirs usually present a specialty of a certain place. Brawijaya Istana Oleh-Oleh is a souvenir shop in Batu which sells souvenirs, such as snacks, clothes, and accessories. Brawijaya’s facilities are cafeteria, Islamic prayer room (musholla), hostel, rest area, parking space, and bathrooms with hot water. Cafeteria and clothes retail store are the areas that will be designed. Cafeteria in Brawijaya is leased for group of tourists. It doesn’t sell foods, the foods are provide by outsource local caterings. The featured products of clothes retail store are batik fabric and t-shirt that produced by local small and medium retailers. Brawijaya’s visions are to becomethe most complete and affordablesouvenir shop in Batu and also make cooperation with local small and medium retailers and artists. The design has to pay attention of circulation path and room organization to ease consumers finding products. Design of Brawijaya’s cafeteria and clothes retail store using “Connecthings” as the concept, which means, “connect things” connecting Brawijaya’s vision and consumer’s need into layout arrangement and interior design. The application concepts are by locating featured products, which produced by local and medium retailers, in the most strategic place. Graphics on the wall is designed by local artist, to support Braiwjaya’s vision. Products displays in retail store are arranged based on Market Segments Grouping, in order to ease the tourists with the short shopping time finding their needs. Logo application is visually and philosophically implemented in the interior elements to strengthen Brawijaya’s branding. &#x0D;

A significant portion of the military population develops severe neck pain in the course of their duties. It has been hypothesized that neck pain is a consequence of accelerated degeneration of the intervertebral discs in the cervical spine, but more occupational and mechanistic-based tools and research are needed to positively confirm the link between neck pain and accelerated disc degeneration. Heavy head-supported mass including helmets and accessories worn by military personnel may subject the intervertebral discs of the cervical spine to complex cyclic loading profiles. In addition, some military operational travel which includes riding on high speed planing boats has also been reported to result in high magnitude cyclic loading on cervical spine discs. In this article, we present a methodology to computationally predict fatigue damage to cervical intervertebral discs over extended periods of time, by integrating kinematics-based biomechanical models with a continuum damage mechanics-based theory of disc degeneration. Through this computational approach, we can gain insights into the relationship between these military activities and possible accelerated fatigue degeneration of cervical intervertebral discs and provide a quantitative prediction tool for decade-long time ranges. The four significant improvements this computational framework adds to the area of modeling intervertebral disc degeneration are the following: (a) it addresses the non-linear nature of fatigue damage evolution, (b) it includes the effect of aging and damage recovery to accurately simulate biological phenomena, (c) it computes fatigue damage taking into account the multiaxial stress state in the disc, and (d) it correlates the computational damage parameter with established clinical grading systems for disc degeneration.

In her article, the author intends to embrace the phenomenon of Marie Bashkirtseff , whose literary legacy perfectly refl ects the epoch at the turn of the centuries. To achieve this goal, the author uses such methods as comparative, receptive and interpretive ones as well as cross reading. A special focus is on the Diary by Bashkirtseff which helps understand her creative personality, psychological priorities and artistic mission. The author studies her Ukrainian identity, estheticism, artistic behavior, feminism and disagreement with a traditional status of the woman that was so typical for her epoch. The author shows that estheticism and dandyism become her world view and life style. This can be traced in her female self-attraction, fascination with her own body, her clothes making or ordering it at Paris boutiques, love for accessories, artistic behavior and estheticism of her home. The author proves that Bashkirtseff ’s literary legacy can be seen as a true testimony to the arts of the turn of the centuries. Her Diary contemplates the atmosphere of the epoch, it resonates with real life, and it describes cultural reality simultaneously with social issues and everyday reality. It is fi lled with refl ections about art and literature that help discover cultural and historic truth. Also, the author presents an overview of Bojidar Karageorgevitch’s legacy. Born a Serbian prince, he was an intellectual cosmopolitan, writer, translator, journalist, artist, illustrator, designer, and jeweler. Bojidar was Bashkirtseff ’s close friend. He watched closely all discussions caused by the Diary. Karageorgevitch participated in denouncing invented stories about it. To give his friend more credibility, Karageorgevitch wrote several articles about Bashkirtseff , one of which was included into Encyclopedia Britannica. While researching the t life and multisided legacy of both artists, the author defi nes pronounced similarities between the two, including aristocratic decent, gifts and skills in the arts, education, cosmopolitanism, and bohemian lifestyles. It is proved that the legacy of Bashkirtseff and Karageorgevitch refl ects the tendencies of their time and can be used as a material to study the life of artists at the turn of the centuries and to deepen knowledge about European cultural context at the end of the 19th century. Key words: Marie Bashkirtseff , Bojidar Karageorgevitch, universalist artists, creative dialogue, estheticism, cosmopolitism, memoirs, travel notes.

ABSTRACT Handling socio-economic problems is still the focus of attention for both the government and society, especially after the COVID-19 pandemic and the increasing number of poor people in big cities. The MSME program with a halal entrepreneurship model aims to not only focus on economic profits but also solve social problems. This research aims to determine the participation and socioeconomic impact of the MSME program with the halal entrepreneurship model in big cities, especially in culinary businesses and fashion design, crafts (handmade accessories and the provision of craft materials), as well as tour and travel. The research method used in this research is the facto exposure method. The results of the research show that the participation of halal entrepreneurial MSME actors has shown effective achievements through individual mental and emotional involvement in carrying out group activities, individual motivation in making contribution and a sense of responsibility within individuals towards group activities in achieving business. target. Apart from that, the socio-economic impact in the context of halal entrepreneurship also has an impact on capacity and independence in opening up business opportunities and employment opportunities. Research findings show the importance of government support from large cities and policies that are able to accommodate economic opportunities and represent the values ​​of halal entrepreneurship in the future in a sustainable manner. The recommendation of this research is to encourage the increase of MSMEs through the halal entrepreneurship model as an effort to solve social and economic problems, increase partnerships with larger entrepreneurs and encourage government regulations to accommodate opportunities and community participation as well as social economic impacts. entrepreneurship. Handling socio-economic problems and the increasing number of poor people in big cities is still the focus of attention for both the government and society, especially after the COVID-19 pandemic. ABSTRAK Penanganan masalah sosial ekonomi masih menjadi fokus perhatian pemerintah dan masyarakat, terutama setelah pandemi COVID-19 dan meningkatnya jumlah penduduk miskin di kota-kota besar. Program UMKM dengan model wirausaha halal bertujuan untuk tidak hanya berfokus pada keuntungan ekonomi tetapi juga menyelesaikan masalah sosial. Penelitian ini bertujuan untuk mengetahui partisipasi dan dampak sosial ekonomi dari program UMKM dengan model wirausaha halal di kota-kota besar, khususnya pada usaha kuliner dan desain fesyen, kerajinan tangan (aksesoris handmade dan penyediaan bahan kerajinan), serta tour and travel. Metode penelitian yang digunakan dalam penelitian ini adalah metode ekspos fakto. Hasil penelitian menunjukkan bahwa partisipasi pelaku UMKM wirausaha halal telah menunjukkan pencapaian yang efektif melalui keterlibatan mental dan emosional individu dalam melaksanakan kegiatan kelompok, motivasi individu dalam memberikan kontribusi dan rasa tanggung jawab dalam diri individu terhadap kegiatan kelompok dalam mencapai target usaha. Selain itu, dampak sosial ekonomi dalam konteks wirausaha halal juga berdampak pada kapasitas dan kemandirian dalam membuka peluang usaha dan kesempatan kerja. Temuan penelitian menunjukkan pentingnya dukungan pemerintah kota besar dan kebijakan yang mampu mengakomodasi peluang ekonomi dan merepresentasikan nilai-nilai wirausaha halal di masa depan secara berkelanjutan. Rekomendasi dari penelitian ini adalah mendorong peningkatan UMKM melalui model halal entrepreneurship sebagai upaya penyelesaian masalah sosial dan ekonomi, meningkatkan kemitraan dengan pengusaha yang lebih besar dan mendorong regulasi pemerintah untuk mengakomodir peluang dan partisipasi masyarakat serta dampak sosial ekonomi dari kewirausahaan. Penanganan masalah sosial ekonomi dan meningkatnya jumlah penduduk miskin di kota-kota besar masih menjadi fokus perhatian pemerintah dan masyarakat, terutama pasca pandemi COVID 19.

O presente estudo tem como horizonte as aprendizagens da professora Anttonieta de Souza na viagem que realizou ao Egito na década de 1950. Com base na série de artigos intitulada “Minhas impressões sobre o Egito”, as perguntas que norteiam o texto são: quais tradições e culturas musicais egípcias a artista apresentou aos leitores da Revista do Conservatório Brasileiro de Música? O que aprendeu com os estudos arqueológicos e históricos sobre a música e os músicos da terra dos faraós? Os escritos da cantora dos palcos de concerto do Rio de Janeiro, publicados no periódico oficial da instituição de ensino superior de música que ela dirigia, permitem interpretar que as bases da tradição musical daquele povo eram os rituais religiosos, os mitos, as festas populares, as canções de trabalho, as fanfarras militares e as lendas. E que os estudos musicológicos sobre a antiguidade, com os quais Anttonieta teve contato na viagem, ressaltam que os instrumentos achados nos sítios arqueológicos possibilitaram repercutir timbres que há milhares de anos não soavam; e também conhecer as vestimentas e adornos feitos com flores de lótus que cantores e instrumentistas utilizavam; e ainda, adquirir informações sobre as grandes famílias de músicos que funcionavam como espécies de dinastias artísticas.Music from the pharaoh's land: learning of Antoinetta de Souza on a trip to Egypt. This study focuses on the learnings of Professor Anttonieta de Souza during her trip to Egypt in the 1950s. Based on the series of articles entitled “Minhas impressões sobre o Egito” (My impressions about Egypt), the questions guiding the study are as follows: What Egyptian traditions and musical culture did the artist present to the readers of the Revista do Conservatório Brasileiro de Música (Brazilian Conservatory of Music’s Magazine)? What did she learn from archaeological and historical studies about music and musicians of the Pharaohs’s Land? The writings of the singer who graced the stages of Rio de Janeiro, published in the official journal of the Conservatório Brasileiro de Música that she directed herself, allow for the impression that the nucleus of the Egyptian musical culture were the religious rituals, myths, the popular parties, Work songs, military fanfare and legends. What’s more, her work that focuses on the antique music culture of Egypt emphasizes that instruments found on archaeological sites made the reverberation of timbres possible that for thousands of years did not sound; investigates the garments and accessories made from lotus flowers that singers and instrumentalists used; and considers the large families of musicians who functioned as if they were, to some extent, artistic dynasties. Keywords: Travel; Music education; Egyptian culture.

Carsharing organizations (carshares) provide collectively available vehicles that can be booked for exclusive use on a pay-as-you-go basis. Previous research has shown that two groups join carshares: (a) accessors, who do not have a car when they join the carshare and therefore gain access to one, and (b) shedders, who give up a car when they join the carshare. The paper examines the circumstances and motivations that cause accessors and shedders to join a carshare, the changes in their travel behavior in the short and longer run, and how the travel behavior might have changed if the carshare had not been joined. These objectives were achieved through in-depth interviews with 16 members of a carshare in Bath, United Kingdom. The interviewed members were selected to achieve a mix of accessors, shedders, recent members, and longstanding members. It was found that carshare attracted people who were already contemplating giving up their cars or who had been triggered by life events to consider giving up their cars. Joining a car-share prevented the acquisition of cars for some members, but some subsequently took opportunities to acquire a car as their circumstances changed. Once shedders became members, they adapted to managing without a personal car, used a variety of transport modes, planned their activity–travel schedules in advance, and took into account the costs and convenience of different options. The increasing popularity of new mobility options, such as carsharing, also has implications for the methods used to analyze and model travel behavior. The option of joining a carshare and using carshare vehicles should be included in transport models for areas in which carshares operate.

Mimbo Hamlet is one of the hamlets in Jatirejo Village, Lekok District, Pasuruan Regency. As a hamlet located in a coastal area, the natural potential, especially marine products, is very abundant. The majority of people have livelihoods as fishermen and traders in the market. The location of the hamlet which is far from the main access road connecting Pasuruan Regency and other cities makes this area difficult regarding the flow of information. Technological developments and entrepreneurial literacy that are actually needed by the community are very limited. Meanwhile, the community's skills and creativity in managing local potential in Mimbo hamlet are very well developed. Fishermen's marine products so far cannot be enjoyed economically because fishermen are still dependent on middlemen who provide capital in finding fish. Fish catches are purchased at low prices and have to pay for the start-up costs of their business. It is this economic limitation that encourages fishing families, especially housewives, to be creative with the sea catches they get. The community processes unsold fish into fish crackers, fish rengginang and shrimp paste. While other villagers are also trying to make a fortune by selling Arabic coffee, herbal medicine and even other handicrafts, namely creations from shells. Shells are used as the basic material for mosaic crafts, ashtrays, flower pots and accessories. The community even processes local plant products, namely the leaves of the mimbo plant, into herbal medicine which is brewed in the form of tea. It is this limited product and technology marketing literacy that limits them from developing innovative results to a larger market. The people's desire to penetrate markets outside the region is only a dream that has no end. This condition increasingly makes the box that limits them because the location of the area is indeed far from the reach of the general public. Apart from that, no public transportation passes Mimbo Hamlet except for the local people themselves who travel. This situation certainly does not provide broad opportunities for the people of Mimbo Hamlet to progress like other regions. The fighting spirit that coastal areas also have potential cannot be known by many people. Therefore it is very important to provide insight and literacy regarding technology and marketing as well as related regulations, namely related to brands and product licensing. Insight into business financial management is also very necessary so that people can manage business finances to achieve business goals. It is hoped that this increase in insight will allow the community to be independent in developing entrepreneurial opportunities and be able to compete with outsiders. The independence of this community can also support Jatirejo village as a marine tourism village in Pasuruan Regency

Endoscopy for the posterior region of the ankle through two portals is becoming more widespread for the treatment of a large number of conditions which used to be treated with open surgery years ago. The tendon of theflexor hallucis longus(FHL) travels along an osteofibrous tunnel between the posterolateral and posteromedial tubercles of the talus. Chronic inflammation of this tendon may lead to painful stenosing tenosynovitis. The aim of this report is to describe two cases depicting an accessory tendon which is an anatomical variation of theflexor hallucis longusin patients with posterior friction syndrome due to posterior ankle impingement and associated with a posteromedial osteochondral lesion of the talus. The anatomical variation (FDAL) described was a finding during an endoscopy of the posterior region of the ankle, and we have spared it by sectioning the superior flexor retinaculum only. The accessory flexor digitorum longus is an anatomical variation and should be taken into account when performing an arthroscopy of the posterior region of the ankle. We recommend this treatment on this type of injury although we admit this does not make a definite conclusion.

This article, written by JPT Technology Editor Chris Carpenter, contains highlights of paper SPE 202620, “A Review of 25 Coiled Tubing Well Interventions: Customized Solutions for Bolivian Sub-Andean Basin,” by Jovanny A. Hernandez, SPE, Luis F. Antelo, SPE, and Carlos D. Rodriguez, Halliburton, et al., prepared for the 2020 Abu Dhabi International Petroleum Exhibition and Conference, Abu Dhabi, held virtually 9–12 November. The paper has not been peer reviewed. Fields in the Bolivian Sub-Andean Basin are remote and difficult to access. The producing zones include the country’s most challenging wells, with depths of up to 26,000 ft, with high pressure/high temperature (HP/HT), high gas cut, crossflow, dogleg severity, and well-access restrictions. The complete paper reviews 25 coiled tubing rigless well interventions (CTRWI) to extend the life of those wells, including operations involving nitrogen (N2) lift, acid wash, milling, shifting sleeves, setting packers, stimulation, velocity strings (VS), and fishing. Introduction CTRWI in Sub-Andean Basin fields had not been implemented historically because of limited road access to the fields, lack of available equipment with high technical capabilities, high pressure, and well depth. Beginning in 2017, however, operators evaluated the risk and elected to perform CTRWI involving stimulation, cleanout, N2 lift, fishing, VS jobs, and other techniques. Equipment with specialized capabilities was requested to address the operational requirements and the ability to travel on the remote roads while respecting transit regulations limiting maximum weight to 55 tons. The challenges to transporting equipment economically include - Transportation of large reels of 2⅞-in. coiled tubing (CT) string to complete dual-sectioned VS installations - Transportation of CT unit with 6,600 m of 1¾-in. CT string (weight of less than 55 tons) - Continuously moving large volumes of N2 to the field Wells in these fields were drilled no more than 10 years ago. The majority were built with smart completions, several production layers separated with swell packers and flowing through sliding sleeves configured with the same direction of actuation for opening and closure. Completions are configured with production tubing sizes of 7, 5, 4½, and 3 in. The tubing and accessories are made from chrome 13 because of the presence of carbon dioxide in the production fluids. The region includes some exploratory fields having HP/HT conditions and mature fields with declining production. These wells are important for both the operators and the local government because their production represents more than 50% of national production. On-Site Laboratory Testing Characteristics of produced formation water and mineralogy tests of water samples helped identify a calcium carbonate (CaCO3) scale type. Because CaCO3 scale is known to be acid-soluble, a tailored acid-treatment system was selected with a static formation temperature between 220 to 286°F. On-site laboratory tests using a combination of 13% acetic and 9% formic retarded acid treatment systems were applied to the samples obtained, and results of a solubility test were observed. The selected treatment was demonstrated to be highly effective at dissolving CaCO3 scale according to the test made at the wellsite. High confidence was placed in the test results of the acid-treatment sample because dissolution was above 85% in a 4-hour test period under static well temperature.

Shared parking is an effective means to alleviate the shortage of parking spaces in urban central areas during the morning peak hours. Meanwhile, walking time cost and parking fees are two critical factors affecting shared parking efficiency. Firstly, based on the classic bottleneck model, walking time cost and shared parking fees are added to the model, then the user equilibrium solutions are obtained considering two choices of parking lots: accessorial parking and shared parking. Next, taking the minimum total social cost and the minimum total queue time as the management goals, respectively, the quantitative relationship between parking fee as well as the dispersion degree of the shared parking spaces with the optimal travel pattern is proved. Besides, the rules and methods for the reasonable setting of shared parking fee and the dispersion degree of shared parking spaces layout are proposed. Through the research, it was demonstrated that: (1) differentiated shared parking fee based on the capacity of the accessorial parking lot can reduce both the total social cost and road congestion, while total social cost increases with the dispersion of the layout of shared parking spaces and road congestion decreases with the dispersion of the layout of shared parking spaces; and (2) when derived the optimal travel pattern, it is found that there is an inert zone of shared parking fee, i.e., regardless of adjusting shared parking fee, it had no impact on the determination of the optimal travel pattern. Finally, we put forward policy recommendations combining the numerical examples. Considering the total social cost and congestion, managers can improve the utilization efficiency of shared parking spaces while taking into account social benefits by reasonably setting shared parking fee and the dispersion degree of shared parking spaces layout.

Both the glance as a starting point and the film «Rear window», by A. Hichcock, as a guide will take us to the study of the roles played by different tools in the act of seeing. Binoculars, windows, photographic cameras and their accessories will all reduce the difficulties found while trying to apprehend the reality in a game where the voyeur is the protagonist. The paper also remarks the fact that the communicative process won´t be fulfilled unless the duality of looking at/being looked at appears. La mirada como punto de partida y la película «La ventana indiscreta» de A. Hitchcock como eje vertebrador, darán paso al estudio de los roles que desempeñan diversos instrumentos que influyen en el acto de ver. Prismáticos, ventanas, cámaras fotográficas y sus accesorios limitarán las dificultades que se encuentran al intentar aprehender la realidad en un juego en el que el «voyeur» es la figura protagonista, sin olvidar que la comunicación no se considerará plena mientras el binomio ver y ser visto no se materialice.

The proportion of people aged 65 years and older regularly traveling in motor vehicles continues to grow worldwide. In a previous convenience sample, we observed many older people using comfort accessories when traveling in vehicles, and these may contribute to the known increased risk of injury in crashes among older people. In this study, we aimed to estimate population-level use of these devices and examine associations between demographic, health, and travel behavior factors and their use. The point estimate of self-reported use of comfort accessories was 25.7% (95% confidence interval [CI] = [19.6%, 31.9%]). Cushions on the vehicle seat were the most common type used (14.3%, 95% CI = [9.7%, 19.0%]), and increasing age, female gender, and frequent vehicle travel were significantly associated with their use. Less frequently used were seat belt padding (10.5%, 95% CI = [6.3%, 14.6%]) and back/neck supports (6.5%, 95% CI = [2.7%, 10.2%]). Back/neck and multiple area pain were significantly associated with the use of the latter.

In the opening section of his 2017 memoir An Odyssey, the American writer and scholar Daniel Mendelsohn aptly notes that the English language has a number of nouns to describe the act of moving in space from one point to another. While “voyage,” due to its Latin provenance is “saturated in the material”2 (Lat. viaticum, i.e. provisions for a journey), and “journey,” which originates in the Old French word jornee (meaning day or its portion), points to the temporal dimension of moving, the word “travel” (also French in origin, travail) refers to effort and pain (Mendelsohn 20). “Travel,” Mendelsohn asserts, “suggests the emotional dimension of travelling: not its material accessories, or how long it may last, but how it feels. For in the days when these words took their shape and meaning, travel was above all difficult, painful, arduous, something strenuously avoided by most people” (20–21).

The effects of the Covid-19 pandemic process on the sectoral distribution of card payment transactions made over the internet in the country were analyzed with the variance decomposition model, and the differences between the pre-Covid (June 2019 - March 2020) period and the post-Covid (April 2020 - January 2022) period were revealed. The sectors with the highest increase in domestic use (transaction amount) of domestic cards (in terms of their share in the total card usage) were electrical, electronic goods, computers, markets and shopping centers, while the sectors that decreased the most were petrol and fuel stations, airlines, travel agencies and transportation. telecommunications industries. The sectors that showed the highest increase in domestic use of domestic cards (number of transactions) (in terms of their share in total card usage) were various food, electrical, electronic goods, computers, markets and shopping centers, while the sectors that decreased the most were clothing and accessories, airlines, services. sectors, travel agencies, transportation and telecommunication sectors.

In the days following the onslaught of the COVID-19 global pandemic, it became clear that this humanitarian health crisis would be accompanied by a financial crisis. In response to these inevitabilities, the industries that make up the consumer design sector – interior design, decor, architecture, fashion and so on – quickly turned their attention to aestheticizing our new, increasingly private and isolationist realities, launching advertising campaigns and editorials to address these new realities. Work-from-home edits, new ‘home office’ collections, wardrobes for video conferencing and ‘digital gallery hopping’ campaigns all began encouraging consumers to accessorize their domestic spaces as a bulwark against the threats marking urban environments and their contaminated bodies; bodies that, through the notion of ‘contamination’, drag along a set of inescapable racial and class-based assumptions. Echoing the ways in which interior design, architecture and media enabled America’s ‘white flight’ and suburbanization in the 1950s, luxury retailers are again inviting privileged populations to retreat and design their homes as comfortable bunkers, full of the accessories of art, travel and public life, without the risk of actual encounter. In this article, I argue that these luxury industries are complicit in renewing a post-pandemic racialization of urban space. In the contemporary moment, the luxury design industry’s entreaties to (re)design our homes to accommodate a newly public life led in private amounts to a symbolic suburbanization founded in the fear of ‘contaminated’ racialized bodies.

AbstractGlobal warming caused by increased greenhouse gas (GHG) emissions has a direct impact on human health. Gastrointestinal (GI) endoscopy contributes significantly to GHG emissions due to energy consumption, reprocessing of endoscopes and accessories, production of equipment, safe disposal of biohazardous waste, and travel by patients. Moreover, GHGs are also generated in histopathology through tissue processing and the production of biopsy specimen bottles. The reduction in unnecessary surveillance endoscopies and biopsies is a practical approach to decrease GHG emissions without affecting disease outcomes. This narrative review explores the role of precision medicine in GI endoscopy, such as image‐enhanced endoscopy and artificial intelligence, with a focus on decreasing unnecessary endoscopic procedures and biopsies in the surveillance and diagnosis of premalignant lesions in the esophagus, stomach, and colon. This review offers strategies to minimize unnecessary endoscopic procedures and biopsies, decrease GHG emissions, and maintain high‐quality patient care, thereby contributing to sustainable healthcare practices.

Objective: To determine whether remotely-monitored transcranial alternating current stimulation (tACS) may be a viable and safe treatment option for Mal de Débarquement Syndrome (MdDS).Background: Mal de Débarquement Syndrome is a neurotological disorder characterized by persistent oscillating vertigo that is triggered by entrainment to passive oscillatory motion such as occurs during water-based travel. Treatment options for MdDS are limited, variably effective, and can be undone by further travel.Design and Methods: This was a remotely-monitored open-label optional extension phase of a double-blind randomized onsite study of tACS for medically refractory MdDS. The primary goal was to determine safety, feasibility, and blinded participant feedback. The secondary goal was to determine efficacy. Thirteen participants (all women), aged 22–67 years, experiencing a duration of illness of 11–72 months, were a subset of 24 individuals who participated in an on-site study of tACS. They had either not responded to the on-site protocol or had relapsed after travel home. Treatment accessories and a tablet controlled tACS stimulator (Pulvinar XCSITE-100) were mailed to participants. Three teaching sessions were performed via webcam followed by on-going remote monitoring of treatment logs and participants' reports through a daily on-line diary and weekly questionnaires. Treatment continued until an effective protocol was administered for 4 weeks and then tapered over 4 weeks. Participants completed a blinded feedback survey and a debriefing interview at the completion of the entire study.Results: Treatment duration ranged from 4 to 31 weeks followed by a 4-week taper accounting for 578 verified sessions. Of the 13 total participants, seven agreed or agreed strongly in the blinded survey that tACS treatment was beneficial; 2) Twelve were comfortable utilizing tACS on their own; 3) Eleven preferred stimulation above their individual alpha frequency; 4) Side effects were generally mild and typical of tACS. In the debriefing interview completed 2–9 months after the last stimulation, five participants reported doing “great,” with no to minimal symptoms, four reported doing “good,” with moderate symptoms, and four reported no change compared to pre-study baseline.Conclusion: Remotely-monitored tACS may be a safe treatment option for MdDS with the potential for lasting outcomes, increased accessibility, and reduction in travel-related treatment reversal.

This paper explores the branding strategies and design approaches of two leading luxury brands, Gucci and Louis Vuitton, to understand their unique impact on the industry and consumers. By examining their historical development, marketing strategies, and design philosophies, the analysis seeks to determine which brand is better suited to today’s market and poised for continued growth. Founded in 1921, Gucci has evolved from a premium leather goods company into a full-fledged luxury brand known for its adaptability and focus on sustainability. In contrast, Louis Vuitton, established in 1854, has built its reputation on craftsmanship and luxury travel trunks, expanding into fashion and accessories while maintaining strict control over quality and distribution. The comparison reveals that Gucci excels in embracing digital platforms and engaging younger audiences through innovative marketing campaigns, whereas Louis Vuitton relies more on traditional marketing, celebrity endorsements, and exclusive access to enhance desirability. Both brands demonstrate a commitment to quality and heritage, but their differing strategies reflect their responses to contemporary consumer expectations and market dynamics. This analysis concludes that while both Gucci and Louis Vuitton have strong brand identities, Gucci’s dynamic approach and focus on innovation may offer a better fit for today’s market, appealing to a younger, trend-conscious consumer base.

If you are planning to travel to North Dakota for your next travel adventure, you will surely want to find the best travelling service in Williston. This is where the &#39;Welcome to Canada&#39; sign is located. With all the excitement and tourist appeal of the state, there are several travelling companies that offer the best travelling experience. These professional travelling companies can make your trip hassle free with some unique tips on how to plan your travelling experience in the best way possible. First and foremost, you must contact a professional travel service provider in Williston before you leave for your trip. This is one of the most important pre-planning activities that you must do so as not to waste valuable time before you actually leave for your journey. In this regard, you will be provided with a comprehensive itinerary which details all the necessary travel elements that you need to take with you. Such information will also include all the accommodation facilities that are available with reference to your accommodations. You must ensure that you have planned all the necessary travel components such as airfare, lodging and car rentals before you embark on your journey. In addition to this, the best travelling professionals will provide you with an orientation package which should contain all the required documents required for crossing the border. These documents include your passport and driver&#39;s license. It is always better to carry these important things along with you in order to avoid any hassles later on. As a visitor, it is imperative that you must carry an insurance policy covering you and your vehicle as well as some cash. You must also be provided with pamphlets and brochures that contain all the relevant information regarding your driving and parking permits. It is essential to note that all the professional travelling companies in Williston will have their own set of rules and regulations. For instance, if you are travelling across the International Border, the policy must state that you will be liable for traffic fines incurred while crossing the border. If you are travelling between Canada and the United States, the professional travel service provider should also ensure that you are adhering to all the rules of the country you are entering into. If you are travelling to Canada from the United States, you may have to adhere to different customs and immigration requirements. This means that the professional travel service provider you choose must be knowledgeable about all the requirements related to crossing the border. You must be able to cross the border by foot only. You may have to produce your valid driver&#39;s license, or other proof of identity such as your social security card and passport in order to pass through the inspection. The professional Travelling Agents in Williston will also ensure that you do not incur any extra charges when crossing the border. For instance, you must not carry items in excess of the maximum weight allowable for your vehicle. You must also ensure that you are not carrying goods or luggage in excess of the maximum size that is allowed by the country in which you are travelling. Finally, you must not leave the vehicle for longer than is necessary. When crossing into Canada, it is important to remember that you are entering into a completely new area. Therefore, you must be prepared to take immediate measures to dress appropriately for the weather conditions. If you are travelling on the international side, you must have the proper clothing, footwear and accessories for the climate, and must wear an appropriate climate appropriate jacket and boots. In addition to this, the professional Travelers in Williston will often provide you with a customized sweater and coat to wear and may also supply a map of the crossing route. The colors and symbols on this customized sweater and coat will ensure that you are able to identify it easily should any issues or concerns arise during the crossing. As you can see, hiring the best travelling service in Williston is not difficult or expensive. In fact, you can save money if you employ the assistance of a professional company as opposed to arranging everything yourself. The company will not only act as your representative, but they will provide you with various other services that are designed to make the crossing easier and safer for you. In addition, the professional Travelers in Williston will provide you with the assistance that is needed to get to your final destination. By travelling through this area, you can be sure to arrive safely and have a more comfortable travel experience.

Some chronic respiratory diseases can cause hypoxemia and, in such cases, long-term home oxygen therapy (LTOT) is indicated as a treatment option primarily to improve patient quality of life and life expectancy. Home oxygen has been used for more than 70 years, and support for LTOT is based on two studies from the 1980s that demonstrated that oxygen use improves survival in patients with COPD. There is evidence that LTOT has other beneficial effects such as improved cognitive function, improved exercise capacity, and reduced hospitalizations. LTOT is indicated in other respiratory diseases that cause hypoxemia, on the basis of the same criteria as those used for COPD. There has been an increase in the use of LTOT, probably because of increased life expectancy and a higher prevalence of chronic respiratory diseases, as well as greater availability of LTOT in the health care system. The first Brazilian Thoracic Association consensus statement on LTOT was published in 2000. Twenty-two years la-ter, we present this updated version. This document is a nonsystematic review of the literature, conducted by pulmonologists who evaluated scientific evidence and international guidelines on LTOT in the various diseases that cause hypoxemia and in specific situations (i.e., exercise, sleep, and air travel). These recommendations, produced with a view to clinical practice, contain several charts with information on indications for LTOT, oxygen sources, accessories, strategies for improved efficiency and effectiveness, and recommendations for the safe use of LTOT, as well as a LTOT prescribing model.

Background: Online shopping is one of the common modes of purchase among students; at the same time, it can cause a significant impact on them. Objective: To assess the online shopping behavior and its impact among undergraduate students. Methods: 150 undergraduate students from various professional and non-professional colleges in Rachi, Jharkhand, participated in this cross-sectional study. Samples were selected using a simple random sampling method. We collected data using a demographic proforma, a self-structured questionnaire, and a five-point rating scale. The data were analysed using SPSS version 16.0 and Jamovi version 2.3.28. Frequency and percentage, mean and standard deviation, and the Kruskal-Wallis test were used. Results: The study showed that the majority of the samples shopped more than twice annually (78%) and favored Flipkart (65.3%) over other online shopping platforms, with fashion accessories accounting for the majority of purchases (42.7%). The study's findings indicate that the majority of the sample made purchases based on product quality (74.0%), while 56.0% expressed a preference for online shopping because it eliminated the need for travel. The study also found online shopping sites that provide high security have the highest mean and standard deviation (11.4 + 2.20), closely followed by convenience (11.1 + 2.47). The study also found a substantial psychological impact due to online shopping among undergraduate male and female students. (χ² 4.443, p 0.035, ε² 0.02982). Conclusion: Online shopping has become a ubiquitous part of undergraduate life, offering both benefits and challenges. By fostering financial literacy and responsible consumer habits, students can enjoy the advantages of e-commerce without compromising their well-being.

Introduction Australia has embraced Barbie since the doll was launched at the Toy Fair in Melbourne in 1964, with Mattel Australia established in Melbourne in 1969. Barbie was initially sold in Australia with two different hairstyles and 36 separately boxed outfits. As in the US, the initial launch range was soon followed by a constant stream of additional outfits as well as Barbie’s boyfriend Ken and little sister Skipper, pets, and accessories including her dreamhouse and vehicles. Also released were variously themed Barbies (including those representing different careers and nationalities) and a seemingly ever-expanding group of friends (Gerber; Lord, Forever). These product releases were accompanied by marketing, promotion, and prominent placement in toy, department, and other stores that kept the Barbie line in clear sight of Australian consumers (Hosany) and in the forefront of toy sales for many decades (Burnett). This article focusses on a thread of subversion operating alongside the purchase of these Barbie dolls in Australia, when the phenomenon of handmade ‘do-it-yourself’ intersected with the dolls in the second half of the 1960s. Do-It-Yourself ‘Do-it-yourself’ (often expressed as DIY) has been defined as “anything that people did for themselves” (Gelber 283). The history of DIY has been researched in academic disciplines including sociology, cultural studies, musicology, architecture, marketing, and popular culture. This literature charts DIY practice across such domestic production as making clothes, furniture, and toys, growing food, and home improvements including renovating and even building entire houses (Carter; Fletcher) to more externally facing cultural production including music, art, and publications (Spencer). While DIY behaviour can be motivated by such factors as economic necessity or financial benefit, a lack of product availability or its perceived poor quality, and/or a desire for customisation, it can also be linked to the development of personal identity (Wolf and McQuitty; Williams, “A Lifestyle”; Williams, “Re-thinking”). While some mid-century considerations of DIY as a phenomenon were male-focussed (“Do-It”), women and girls were certainly also active at this time in home renovation, house building, and other projects (‘Arona’), as well as more traditionally gendered handicraft activities such as sewing and knitting. Fig. 1: Australian Home Beautiful magazine cover, November 1958, showing a woman physically engaged in home renovation activities. Australia has a long tradition of women crafting (by sewing, knitting, and crocheting, for instance) items of clothing for themselves and their families, as well as homewares such as waggas (utilitarian quilts made of salvaged or other inexpensive materials such as old blankets and grain sacks) and other quilts (Burke; Gero; Kingston; Thomas). This making was also prompted by a range of reasons, including economic or other necessity and/or the pursuit of creative pleasure, personal wellbeing, or political activism (Fletcher; Green; Lord, Vintage). It is unsurprising, then, that many have also turned their hands to making dolls’ clothes from scraps of fabrics, yarns, ribbons, and other domestic materials, as well as creating entire dolls’ houses complete with furniture and other domestic items (Benson). In the late eighteenth and nineteenth centuries, many Australian dolls themselves were handmade, with settlers and migrants importing European traditions of doll-making and clothing with them (Cramer). In the early twentieth century, mass-produced dolls and clothing became more available and accessible, however handmade dolls’ clothes continued to be made and circulated within families (Elvin and Elvin, The Art; Elvin and Elvin, The Australian). An article in the Weekly in 1933 contained instructions for making both cloth dolls and clothes for them (“Home-Made”), with many such articles to follow. While the 1960s saw increased consumer spending in Australia, this research reveals that this handmade, DIY ethos (at least in relation to dolls) continued through this decade, and afterwards (Carter; Wilson). This making is documented in artefacts in museum and private collections and instructions in women’s magazines, newspapers, and other printed materials including commercially produced patterns and kits. The investigation scans bestselling women’s magazine The Australian Women’s Weekly (the Weekly) and other Australian print media from the 1960s that are digitised in the National Library of Australia’s Trove database for evidence of interest in this practice. Do-It-Yourself Barbie Doll Patterns for Barbie clothes appeared in Australian women’s magazines almost immediately after the doll was for sale in Australia, including in the Weekly from 1965. The first feature included patterns for a series of quite elaborate outfits: a casual knitted jumpsuit with hooded jacket, a knitted three-piece suit of skirt, roll-necked jumper and jacket, a crocheted afternoon dress, tied with a ribbon belt and accessorised with a knitted coat and beret, and a crocheted full length evening gown and opera coat (“Glamorous”). A sense of providing the Weekly’s trusted guidance but also a reliance on makers’ individuality was prominent in this article. Although detailed instructions were provided in the feature above, for example, readers were also encouraged to experiment with yarns and decorative elements. Fig. 2: Crocheted and knitted ‘afternoon ensemble’ in “Glamorous Clothes for Teenage Dolls” feature in the Weekly, 1965. Another richly illustrated article published in 1965 focussed on creating high fashion wigs for Barbie at home. The text and photographs guided readers through the process of crafting five differently styled wigs from one synthetic hair piece: a “romantic, dreamy” Jean Shrimpton-style coiffure, deep-fringed Sassoon hairdo, layered urchin cut, low set evening bun, and pair of pigtails (Irvine, “How”). Again, makers were encouraged to express their creativity and individuality in decorating these hairstyles, with suggestions (but not directions) to personalise these styles using ribbons, tiny bows and artificial flowers, coloured pins, seed pearls, and other objects that might be to hand. Fig. 3: Detailed instructions for creating one of the wigs. Three Barbie dolls (identified as ‘teen dolls’ rather than by the brand) were featured on the cover of the Weekly on 5 January 1966, for a story about making dolls’ outfits from handkerchiefs (Irvine, “New”). This was framed as a “novel” way to use the excess of fancy hankies often received at Christmas, promising that the three ensembles could thriftily and cleverly be made from three handkerchiefs in a few hours. The instructions detail how to make a casual two-piece summer outfit accessorised with a headscarf, a smart town ensemble highlighted with flower motifs cut from broderie anglaise, and a lavish evening gown. Readers were assured this would be an engaging, “marvellous fun” as well as creative activity, as each maker needed to individually design each garment in terms of working with the individual features of the handkerchiefs they had, incorporating such elements as floral or other borders, lace edging, and overall patterns such as spots or checks (Irvine, “New”). The long-sleeved evening gown was quite an ambitious project. The gown was not only fashioned from a fine Irish linen, lace-bordered hankie, meaning some of the cutting and sewing required considerable finesse, but the neckline and hemline were then hand-beaded, as were a circlet of tiny pearls to be worn around the doll’s hair. Such delicacy was required for all outfits, with armholes and necklines for Barbie dolls very small, requiring considerable dexterity in cutting, sewing, and finishing. Fig. 4: Cover of The Australian Women’s Weekly of 5 January 1966 featuring three Barbie dolls. Only two issues later, the magazine ran another Barbie-focussed feature, this time about using oddments found around the home to make accessories for Barbie dolls. Again, the activity is promoted as thrifty and creative: “make teen doll outfits and accessories economically—all you need is imagination and a variety of household oddments” (“Turn”). Included in the full coloured article is a ‘hula’ costume made from a short length of green silk fringe and little artificial flowers sewn together, hats fashioned from a bottle top and silk flower decorated with scraps of lace and ribbon, a cardboard surfboard, aluminium foil and ice cream stick skis, and miniature ribbon-wound coat hangers. This article ended with an announcement commonly associated with calls for readers’ recipes: “what clever ideas have you got? … we will award £5 for every idea used” (“Turn”). This was a considerable prize, representing one-third of the average minimum weekly wage for full-time female workers in Australia in 1966 (ABS 320). Fig. 5: Brightly coloured illustrations making the Weekly’s “Turn Oddments into Gay Accessories”, 1966, a joyful read. This story was reinforced with a short ‘behind the scenes’ piece, which revealed the care and energy that went into its production. This reported that, when posing the ‘hulagirl’ on a fountain in Sydney’s Hyde Park, the doll fell in. While her skirt was rescued by drying in front of a fan, the dye from her lei ran and had to be scrubbed off the doll with abrasive sandsoap and the resulting stain then covered up with make-up. After the photographer built the set (inside this time), the shoot was finally completed (“The Doll”). A week later, the Weekly advertised a needlework kit for three new outfits: a beach ensemble of yellow bikini and sundress, red suit with checked blouse, and blue strapless evening gown. The garment components, with indicated gathering, seam, stitching, and cutting lines, were stamped onto a piece of fine cotton. The kit also included directions “simple enough for the young beginner seamstress” (“Teenage Doll’s”). Priced at 8/6 (85¢ in the new decimal currency introduced that year) including postage, this was a considerable saving when compared to the individual Mattel-branded clothing sets which were sold for sums ranging from 13/6 to 33/6 in 1964 (Burnett). Reader demand for these kits was so high that the supplier was overwhelmed and the magazine had to print an apology regarding delays in dispatching orders (“The Weekly”). Fig. 6: Cotton printed with garments to cut out and sew together and resulting outfits from the Weekly’s “Teenage Doll’s Wardrobe” feature, 1966. This was followed by another kit offer later in the year, this time explicitly promoted to both adult and “little girl” needleworkers. Comprising “cut out, ready to sew [material pieces] … and easy-to-follow step-by-step instructions”, this kit made an embroidered white party dress with matching slip and briefs, checked shorts and top set, and long lace and net trimmed taffeta bridesmaid dress and underclothes (“Three”). Again, at $1.60 for the kit (including postage), this was much more economical (and creative) than purchasing such outfits ready-made. Fig. 7: Party dress from “Three Lovely Outfits for Teenage Dolls” article in the Weekly, 1966. Making dolls’ clothes was an educationally sanctioned activity for girls in Australia, with needlecraft and other home economics subjects commonly taught in schools as a means of learning domestic and professionally transferable skills until the curriculum reforms of the 1970s onwards (Campbell; Cramer; Issacs). In Australia in the 1960s, Barbie dolls (and their clothing and furniture) were recommended for girls aged nine-years-old and older (Dyson), while older girls obviously also continued to interact with the dolls. A 1968 article in the Weekly, for example, praised a 13-year-old girl’s efforts in reinterpreting an adult dress pattern that had appeared in the magazine and sewing this for her Barbie (Dunstan; Forde). It was also suggested that the dolls could be used by girls who designed their own clothes but did not have a full-sized dressmaker’s model, with the advice to use a Barbie model to test a miniature of the design before making up a full-sized garment (“Buy”). Making Things for Barbie Dolls By 9 February 1966, the ‘using oddments’ contest had closed and the Weekly filled two pages with readers’ “resourceful” ideas (“Prizewinning”). These used such domestic bits and pieces as string, wire, cord, cotton reels, egg cartons, old socks, toothpicks, dried leaves, and sticky tape to create a range of Barbie accessories including a mob cap from a doily, hair rollers from cut drinking straws and rubber bands, and a suitcase from a plastic soap container with gold foil locks. A party dress and coat were fashioned from an out-of-date man’s tie and a piece of elastic. There was even a pipe cleaner dog and cardboard guitar. A month later, fifty more winning entries were published in a glossy, eight-page colour insert booklet. This included a range of clothing, accessories, and furniture which celebrated that “imagination and ingenuity, rather than dollars and cents” could equip a teen doll “for any occasion” (“50 Things”, 1). Alongside day, casual, and evening outfits, rainwear, underwear, jewellery, hats, sunglasses, footwear, a beauty case, hat boxes, and a shopping trolley and bags, readers submitted a skilfully fashioned record player with records in a stand as well as a barbeque crafted from tiny concrete blocks, sun lounge, and deckchairs. Miniature accessories included a hairdryer and lace tissue holder with tiny tissues and a skindiving set comprising mask, snorkel, and flippers. The wide variety of negligible-cost materials utilised and how these were fashioned for high effect is as interesting as the results are charming. Fig. 8: Cover of insert booklet of the entries of the 50 winners of the Weekly’s making things for Barbie from oddments competition, 1966. That women were eager to learn to make these miniature fashions and other items is evidenced by some Country Women’s Association groups holding handicraft classes on making clothes and accessories for Barbie dolls (“CWA”). That they were also eager to share the results with others is revealed in how competitions to dress teenage dolls in handmade outfits rapidly also became prominent features of Australian fetes, fairs, agricultural shows, club events, and other community fundraising activities in the 1960s (“Best”; “Bourke”; “Convent”; “Fierce”; “Frolic”; “Gala”; “Guide”; “Measles”; “Parish”; “Personal”; “Pet”; “Present”, “Purim”; “Successful”; “School Fair”; “School Fair Outstanding”; “School Fete”; “Weather”; Yennora”). Dressing Barbie joined other traditional categories such as those to dress baby, bride, national, and bed dolls (the last those dolls dressed in elaborate costumes designed as furniture decorations rather than toys). The teenage doll category at one primary school fete in rural New South Wales in 1967 was so popular that it attracted 50 entries, with many entries in this and other such competitions submitted by children (“Primary”). As the dolls became more prominent, the categories using them became more imaginative, with prizes for Barbie doll tea parties (“From”), for example. The category of dressing Barbie also became segmented with separate prizes for Barbie bride dolls, both sewn and knitted outfits (“Hobby and Pet”) and day, evening, and sports clothes (“Church”). There is no evidence from the sources surveyed that any of this making concentrated on producing career-focussed outfits for Barbie. Do-It-Yourself Ethos A do-it-yourself ethos was evident across the making discussed above. This refers to the possession of attitudes or philosophies that encourage undertaking activities or projects that involve relying on one’s own skills and resources rather than consuming mass-produced goods or using hired professionals or their services. This draws on, and develops, a sense of self-reliance and independence, and uses and enhances problem-solving skills. Creativity is central in terms of experimentation with new ideas, repurposing materials, or finding unconventional solutions to challenges. While DIY projects are often pursued independently and customised to personal preferences, makers also often collaboratively draw on, and share, expertise and resources (Wilson). It is important to note that the Weekly articles discussed above were not disguised advertorials for Barbie dolls or other Mattel products with, throughout the 1960s, the Barbies illustrated in the magazine referred to as ‘teen dolls’ or ‘teenage dolls’. However, despite this and the clear DIY ethos at work, women in Australia could, and did, make such Barbie-related items as commercial ventures. This included local artisanal dressmaking businesses that swiftly added made-to-measure Barbie doll clothes to their ranges (“Arcade”). Some enterprising women sold outfits and accessories they had made through various non-store venues including at home-based parties (“Hobbies”), in the same way as Tupperware products had been sold in Australia since 1961 (Truu). Other women sought sewing, knitting, or crocheting work specifically for Barbie doll clothes in the ‘Work wanted’ classified advertisements at this time (‘Dolls’). Conclusion This investigation has shown that the introduction of the Barbie doll unleashed more than consumer spending in Australia. Alongside purchases of the branded doll, clothes, and associated merchandise, Australians (mostly, but not exclusively, women and girls) utilised (and developed) their skills in sewing, knitting, crochet, and other crafts to make clothes for Barbie. They also displayed significant creativity and ingenuity in using domestic oddments and scraps to craft fashion accessories ranging from hats and bags to sunglasses as well as furniture and many of the other accoutrements of daily life in the second half of the 1960s in Australia. This making appears to have been prompted by a range of motivations including thrift and the real pleasures gained in crafting these miniature garments and objects. While the reception of these outfits and other items is not recorded in the publications sourced during this research, this scan of the Weekly and other publications revealed that children did love these dolls and value their wardrobes. In a description of the effects of a sudden, severe flood which affected her home south of Cairns in North Queensland, for instance, one woman described how amid the drama and terror, one little girl she knew packed up only “her teenage doll and its clothes” to take with her (Johnstone 9). The emotional connection felt to these dolls and handcrafted clothes and other objects is a rich area for research which is outside the scope of this article. Whether adult production was all ultimately intended to be gifted (or purchased) for children, or whether some was the work of early adult Barbie collectors, is also outside the scope of the research conducted for this project. As most of the evidence for this article was sourced from The Australian Women’s Weekly, a similarly close study of other magazines during the 1960s, and of whether any DIY clothing for Barbie also included career-focussed outfits, would add more information and nuance to these findings. This investigation has also concentrated on what happened in Australia during the second half of the 1960s, rather than in following decades. It has also not examined the DIY phenomenon of salvaging and refurbishing damaged Barbie dolls or otherwise altering and customising their appearance in the Australian context. These topics, as well as a full exploration of how women used Barbie dolls in their own commercial ventures, are all rich fields for further research both in terms of practice in Australia and how they were represented in popular and other media. Alongside the global outpouring of admiration for Barbie as a global icon and the success of the recent live action Barbie movie (Aguirre; Derrick), significant scholarship and other commentary have long criticised what Barbie has presented, and continues to present, to the world in terms of her body shape, race, activities, and career choices (Tulinski), as well as the pollution generated by the production and disposal of these dolls (“Feminist”; Pears). An additional line of what can be identified as resistance to the consumer-focussed commercialism of Barbie, in terms of making her clothes and accessories, seems to be connected to do-it-yourself culture. The exploration of handmade Barbie doll clothes and accessories in this article reveals, however, that what may at first appear to reflect a simple anti-commercial, frugal, ‘make do’ approach is more complex in terms of how it intersects with real people and their activities. References “50 Things to Make for Teen Dolls.” The Australian Women’s Weekly 9 Mar. 1966: insert booklet. Aguirre, Abby. “Barbiemania!” Vogue 24 May 2023. 7 Apr. 2024 &lt;https://www.vogue.com/article/margot-robbie-barbie-summer-cover-2023-interview&gt;. “Arcade Sewing Centre [advertising].” The Australian Jewish News 29 Apr. 1966: 15. ‘Arona’, ed. The Practical Handywoman. Melbourne: Arbuckle, Waddell, c.1946. Australian Bureau of Statistics [ABS]. Year Book Australia 1967. Canberra: Australian Bureau of Statistics, 1968. &lt;https://www.abs.gov.au/AUSSTATS/abs@.nsf/DetailsPage/1301.01967&gt;. Barbie. Dir. Greta Gerwig. Warner Bros., 2023. Benson, Wendy, Robyn Christie, Robert Holden, and Catriona Quinn. Dolls’ Houses in Australia 1870–1950. Sydney: Historic Houses Trust of NSW, 1999. “Best Teenage Doll.” Western Herald 28 Jul. 1967: 5. “Bourke Parents and Citizens Association.” Western Herald 10 Jun. 1966: 2. Burke, Sheridan. Sydney Quilt Stories, 1811–1970 Elizabeth Bay House. Sydney: Historic Houses Trust, 1998. Burnett, Jennifer. “The History of Barbie in Australia—The Early Years.” 2007. Reprinted in Dolls Dolls Dolls 18 Jul. 2016. 7 Apr. 2024 &lt;https://dollsdollsdolls.net/2016/07/18/the-history-of-barbie-in-australia-the-early-years&gt;. “Buy a Doll.” The Australian Women’s Weekly 5 Oct. 1966: 57. Campbell, Craig. “Home Economics incl. Domestic Science, Domestic Arts and Home Science: Australia 1888–2010.” Dictionary of Educational History in Australia and New Zealand. Sydney: Australian and New Zealand History of Education Society, 18 Apr. 2022. 7 Apr. 2024 &lt;https://dehanz.net.au/entries/home-economics-incl-domestic-science-domestic-arts-and-home-science&gt;. Carter, Nanette. “Man with a Plan: Masculinity and DIY House Building in Post-War Australia.” Australasian Journal of Popular Culture 1.2 (2011): 165–80. “Church Fete a Success.” The South-East Kingston Leader 20 Nov. 1969: 1. “Convent School Fete Highly Successful.” Western Herald 3 Nov. 1967: 3. Cramer, Lorinda. Needlework and Women’s Identity in Colonial Australia. London: Bloomsbury, 2019. “CWA Query Decimals.” Port Lincoln Times 10 Mar. 1966: 16. Derrick, Ruby. “Barbie-Mania Australia.” Ad News 20 Jul. 2023. 7 Apr. 2024 &lt;https://www.adnews.com.au/news/barbie-mania-australia-the-ultimate-brand-campaign&gt;. “Do-It-Yourself: The New Billion-Dollar Hobby.” Time 2 Aug. 1954: cover. ‘Dolls’. “Wanted [advertising].” Port Lincoln Times 25 Aug. 1966: 27. Dunstan, Rita. “The Happy Dress.” The Australian Women’s Weekly 31 Jan. 1968: 16–17. Dyson, Lindsay. “Buying Toys for Children.” The Australian Women’s Weekly 13 Dec. 1967: 53. Elvin, Pam, and Jeff Elvin, eds. The Art of Doll Making: Australian &amp; International, 1&amp;2 (1994). Elvin, Pam, and Jeff Elvin, eds. The Australian Doll Artists Magazine, 1 (1993). “‘Feminist Nightmare’: Full-Size Barbie Dreamhouse Set to Open.” The Sydney Morning Herald 14 May 2013. 8 Apr. 2024 &lt;https://www.smh.com.au/traveller/travel-news/feminist-nightmare-full-size-barbie-dreamhouse-set-to-open-20130514-2jj2h.html&gt;. Fletcher, Marion. Needlework in Australia: A History of the Development of Embroidery. Melbourne: Oxford UP, 1989. “Fierce Winds Knock Show Flower Entries.” Port Lincoln Times 10 Oct. 1968: 16. Forde, Ann. “A Very Happy Doll.” The Australian Women’s Weekly 20 Mar. 1968: 7. “Frolic, Pet Show at Mission.” Port Lincoln Times 27 Apr. 1967: 16. “From Port Elliot.” Victor Harbour Times 20 Jan. 1967: 6. “Gala Day Aids Salt Creek School.” The South-East Kingston Leader 15 Dec. 1966: 1. Gelber, Steven M. Hobbies: Leisure and the Culture of Work in America. New York: Columbia UP, 1999. Gerber, Robin. Barbie and Ruth: The Story of the World’s Most Famous Doll and the Woman Who Created Her. New York: HarperCollins, 2009. Gero, Annette. Historic Australian Quilts. Sydney: Beagle P/National Trust of Australia, 2000. “Glamorous Clothes for Teenage Dolls.” The Australian Women’s Weekly 24 Nov. 1965: 56–59. Green, Sue. “Knitting in Australia.” PhD. Diss. Melbourne: Swinburne U of Technology, 2018. “Guide and Brownie Doll Show and Carnival.” Western Herald 28 Jul. 1967: 1. “Hobbies Party.” The Coromandel 23 Jun. 1966: 7. “Hobby and Pet Show Aids Cubs.” Port Lincoln Times 20 Jul. 1967: 11. “Home-Made Toys in Fabric.” The Australian Women’s Weekly 9 Dec. 1933: 41. Hosany, Sameer. “The Marketing Tricks That Have Kept Barbie’s Brand Alive for over 60 Years.” The Conversation 8 Mar. 2023. 7 Apr. 2024 &lt;https://theconversation.com/the-marketing-tricks-that-have-kept-barbies-brand-alive-for-over-60-years-200844&gt;. Irvine, Jenny. “How to Make: Five Wigs for Teenage Dolls.” The Australian Women’s Weekly 29 Dec. 1965: 12–13. ———. “New Use for Gift Hankies.” The Australian Women’s Weekly 5 Jan. 1966: 23–25. Isaacs, Jennifer. The Gentle Arts: 200 Years of Australian Women’s Domestic &amp; Decorative Arts. Sydney: Lansdowne, 1987. Johnstone, M. “Kitchen Furniture Floated from Wall to Wall.” The Australian Women's Weekly 5 Apr. 1967: 9. Kingston, Beverley. My Wife, My Daughter and Poor Mary Ann: Women and Work in Australia. Melbourne: Nelson, 1975. Lord, Melody, ed. Vintage Knits. Canberra: National Library of Australia, 2022. Lord, M.G. Forever Barbie: The Unauthorized Biography of a Real Doll. New York: Avon Books, 1995. “Measles Affected Doll and Toy Show.” Windsor and Richmond Gazette 22 Sep. 1965: 19. “Parish School Fete Most Successful.” Western Herald 15 Nov. 1968: 9. Pears, Alan. “In a Barbie World” The Conversation 17 Jul. 2023. 7 Apr. 2024 &lt;https://theconversation.com/in-a-barbie-world-after-the-movie-frenzy-fades-how-do-we-avoid-tonnes-of-barbie-dolls-going-to-landfill-209601&gt;. “Personal.” Western Herald 19 Aug. 1966: 12. “Pet Show Raises $150 For Scouts.” The Broadcaster 22 Nov. 1966: 2. “‘Present’ Problems Solved.” The Coromandel 20 Oct. 1966: 3. “Primary School Fete Raises $356.38.” The Berrigan Advocate 28 Feb. 1967: 3. “Prizewinning Teenage Doll Ideas.” The Australian Women’s Weekly 9 Feb. 1966: 29, 31. “Purim Panto.” The Australian Jewish Herald 25 Feb. 1966: 17. “School Fair.” Western Herald 9 Jun. 1967: 4. “School Fair Outstanding Success.” Western Herald 21 Jun. 1968: 1. “School Fete.” The Biz 6 Nov. 1963: 10. Spencer, Amy. DIY: The Rise of Lo-Fi Culture. London: Marion Boyars, 2008. “Successful ‘Gala Day’ Held for Kindergarten.” The South-East Kingston Leader 7 Apr. 1966: 3. “Teenage Doll’s Wardrobe.” The Australian Women’s Weekly 26 Jan. 1966: 17. “The Doll Fell In!” The Australian Women’s Weekly 19 Jan. 1966: 2. “The Weekly Round.” The Australian Women’s Weekly 9 Feb. 1966: 2. Thomas, Diana Mary Eva. “The Wagga Quilt in History and Literature.” The Social Fabric: Deep Local to Pan Global: Proceedings of the Textile Society of America 16th Biennial Symposium 19–23 Sep. 2018. Vancouver: Textile Society of America, 2018. 7. Apr. 2024 &lt;https://digitalcommons.unl.edu/tsaconf/1117&gt;. “Three Lovely Outfits for Teenage Dolls.” The Australian Women’s Weekly 9 Nov. 1966: 37. Trove. National Library of Australia 2024. 7 Apr. 2024 &lt;http://trove.nla.gov.au&gt;. Truu, Maani. “The Rise and Fall of Tupperware’s Plastic Empire and the Die-Hard Fans Desperate to Save It.” ABC News 16 Apr. 2023. 7 Apr. 2024 &lt;https://www.abc.net.au/news/2023-04-16/tupperware-plastic-container-inspired-generations-of-fans/102224914&gt;. Tulinski, Hannah. “Barbie as Cultural Compass: Embodiment, Representation, and Resistance Surrounding the World’s Most Iconized Doll.” Hons. Diss. Worchester: College of the Holy Cross, 2017. “Turn Oddments into Gay Accessories.” The Australian Women’s Weekly 19 Jan. 1966: 3. “Weather Crowns Tenth Lock Show Success.” Port Lincoln Times 29 Sep. 1966: 15. Williams, Colin C. “A Lifestyle Choice? Evaluating the Motives of Do-It-Yourself (DIY) Consumers.” International Journal of Retail &amp; Distribution Management 32.5 (2004): 270–78. ———. “Re-Thinking The Motives of Do-It-Yourself (DIY) Consumers.” The International Review of Retail, Distribution and Consumer Research 18.3 (2008): 311–23. Wilson, Katherine. Tinkering: Australians Reinvent DIY Culture. Clayton: Monash UP, 2017. Wolf, Marco, and Shaun McQuitty. “Understanding the Do-It-Yourself Consumer: DIY Motivations and Outcomes.” Academy of Market Science Review 1 (2011): 154–70. “Yennora Pupils’ Show Results.” The Broadcaster 25 Jul. 1967: 2.

A portrait by Sir Joshua Reynolds of an unidentified female sitter depicts only a face and a diamond breast jewel. Once owned by John Ruskin and then by Kenneth Clark, the portrait offers an opportunity to examine assumptions we make when discussing historic portraiture. What may we infer from the collectors who were drawn to this enigmatic object? How do judgements about sitters’ identities change? What is meant by finish? How might traces of ownership of a particular work - what we call ‘provenance’ - contribute to our understanding of the work itself? What can we tell from the material of a painting, that is, from its pigments and support, about how an artist ran his studio? How might accessories determine meaning? I disentangle and identify some of the assumptions taken for granted when discussing portraiture while at the same time re-evaluating a disputed and neglected work.

Abstract Motivation Traditionally, an individual can only query and retrieve information from a genome browser by using accessories such as a mouse and keyboard. However, technology has changed the way that people interact with their screens. We hypothesized that we could leverage technological advances to use voice recognition as an interactive input to query and visualize genomic information. Results We developed an Amazon Alexa skill called Gene Tracer that allows users to use their voice to find disease-associated gene information, deleterious mutations and gene networks, while simultaneously enjoy a genome browser-like visualization experience on their screen. As the voice can be well recognized and understood, Gene Tracer provides users with more flexibility to acquire knowledge and is broadly applicable to other scenarios. Availabilityand implementation Alexa skill store (https://www.amazon.com/LT-Gene-tracer/dp/B08HCL1V68/) and a demonstration video (https://youtu.be/XbDbx7JDKmI). Supplementary information Supplementary data are available at Bioinformatics online.

The article deals with innovative understanding of basic properties and specific division of individual sources of anti-criminal information. The essence of such basic properties regarding individual sources of anti-criminal information as their anti-criminal significance, mental capacity, being conscience and age restrictions have been defined. A single age specific division of individual sources of anti-tort information for all types of anti-tort proceeding has been proposed. They are divided in juveniles, adults and aged. The juveniles are divided, in turn, on infants, preschool children, minors and teenagers.&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The essence and specific division of witnesses on eye-witnesses, para-eye witnesses, para-witnesses and poly-witnesses, and division of victims on de facto victim, de facto para-victim, de jure victim and de jure victim have been disclosed. Special attention has been paid to a specific division of the chased persons on a suspect, accused person, defendant, convicted person, acquitted person, accessorial person (when a neutral decision is taken which means that all the opportunities for making an internal belief of the main subject of anti-criminal proceeding about the guilt or innocence of a person without the influence of external factors have been exhausted), para-accessorial person (who has not attained the age of bringing to liability), quasi-accessorial person (mentally defective person or partially insane), and quasi-para-accessorial person (a person who committed a criminal offence not provided for by the Special Part of the Anti-Criminal Code). The essence and specific division of traces and substances as objective sources of anti-criminal information have been addressed. Attention has been drawn to the essence of such traces as finger prints, diagnostic and situational reflections. Innovative understanding of the essence of objects, items, devices, mechanisms, appliances, and essences as types of substances has been proposed.&nbsp; &nbsp; The essence and specific division of documents as subjective, objective and mixed sources of anti-criminal information on written documents, photo documents, documentary films, video documents, phonodocument, holograf document, graphic electronic document, electronic document, plastic document, computer document, poly documents and other types of documents which can appear with the development of information technologies have been provided.

Abstract: Environmental protection and the rational use of energy also require a place in shipping. Battery technology has undergone incredible development in recent years. Thanks to the new types of batteries, electric-powered boats have become stronger and faster, while also protecting their environment. In the spring of 2018, the successor to the Calandra yacht came to the planning table and a new shipbuilding project called Calistra was launched. Calistra made its debut at the Budapest International Ship Exhibition in the spring of 2020. With its unique structural elements, it provides a high degree of variability in terms of dimensions, its sleek, modern design world simultaneously provides an aesthetic experience and a high degree of functionality. A ship with a modern appearance, which, despite its special shape, offers a huge interior space for any type of navigation, is ergonomically carefully designed, and its propulsion is not only strong, but also quiet, environmentally friendly. After the successful debut of the prototype, the elements of the ancient template are currently being manufactured, in parallel with which the components of the first ships will be made. The first ships are expected to be completed in early summer 2021. With its versatility, the resulting vessel is a multi-purpose, low-cost, and economically viable vessel that meets environmental standards and related societal expectations, and is part of sustainable development through its forward-looking, environmentally friendly operation. <strong>Calistra 700 EP</strong> New winds are blowing in the waters. But now they are not kneading sails. Is gasoline steam, horsepower rumbling, and roaring engine noise slowly became the past? We are not here yet, but environmental protection and the rational use of energy in shipping are also taking their place, and manufacturers are reacting quickly. Battery technology has undergone incredible advances in recent years, and small engines that used to move only fishing boats have become energy bombs flying serious boats. Thanks to the new type of batteries, electric boats have not only become strong and fast - feel free to believe your eyes in the video below, they really water ski with it - but they can stay out on the water for significantly more time thanks to the favorable consumption of the engines. So maybe we are slowly changing style and yet Lake Balaton will become a motorboat paradise? Calistra program, 2018-2020. After the highly successful Calandra yacht, it is time for us to meet the challenges of the age, but above all the needs of our customers. In the spring of 2018, the electric successor came to the design table, and our new shipbuilding project called Calistra was launched. After an army of variations that came to light at the idea exchange, the final version was completed. The debut of a ship in the spring of 2020 at the Budapest International Ship Exhibition, which with its unique structural elements provides a high degree of variability in terms of dimensions, its clean, modern design world simultaneously provides an aesthetic experience and a high degree of functionality. The end result has been a ship with a modern look that, despite its distinctive shape, provides a huge interior for any type of sailing, is ergonomically carefully designed, and is propelled not only strong but also quiet and environmentally friendly. After the successful debut of the prototype, the elements of the ancient template were manufactured, in parallel with which the components of the first ships were made. The first ships were completed in the spring of 2021. Compared to the prototype, the final ship received a higher level of equipment, rounded glossy plastic surfaces instead of aluminum edges, and an upper sun deck. <strong>Technical parameters:</strong> Hull length: 700 cm Hull length with bathing platform: 760 cm Hull width: 250 cm Maximum hull height: 280 cm Total weight with 20 hp electric motor: 1500 kg Dive: Up to 35 cm Propulsion: electric outboard Category: C Number of persons that can be transported: 6 Number of beds: 3 Water displacement at full load: 2500 kg Rated power of solar panels: 720W Batteries: Drive system: 2x50Ah (48V) Convenience and auxiliary equipment: 100Ah (12V) Expected maximum speed: 12-15 km / h Average number of operating hours with one charge without solar cell replacement: &bull; Eco mode: 2.5 hours &bull; Normal mode: 1.5 hours Recommended motor power with electric motor: 20 - 50 HP Recommended engine power with petrol engine: 50-70 hp Standard equipment: Hull, deck: &bull; Gelcoat coated, colored catamaran hull &bull; Walk-around deck with non-slip cover &bull; Rear, water-level, non-slip double bath platform with storage compartment &bull; Walkable solar-powered nasal cabin &bull; Four cabin windows, full deck divider, 3-member tinted plexiglass aluminum sliding door &bull; Push-back darkened plexiglass windscreen &bull; Two-member, 22 mm stainless steel railing system &bull; 4 stainless steel harbor bulls &bull; 360 degree navigation circle light &bull; Full travel / storage tarpaulin with transparent elements and mosquito net Cabin: &bull; Fully upholstered sleeping cabin with fabric upholstery mattress &bull; Storage compartment &bull; Washbasin cabin with porcelain flush toilet &bull; Kitchen panel with cold water stainless steel sink and single burner stainless steel gas cooker &bull; 3 operating modes, 60 l refrigerator &bull; Packing shelves &bull; 1 leatherette seat &bull; Ergonomically designed leatherette Flip-up driver&#39;s seat &bull; Steering wheel position, with instrument panel switches, electric indicators, remote control, steering wheel &bull; 2 leatherette seats on the outer deck &bull; Full carpeting &bull; Three-element partition aluminum / plexiglass sliding door &bull; Rear storage compartments Electronics: &bull; Solar panels have a total rated power of 720w o Cab roof: 2 x 60W o Roof: 4 x 150W &bull; 48V solar charge controller with Mppt functionality. All batteries in the boat can only be charged with solar energy. &bull; Batteries: o 2 48V 50Ah LifePO batteries provide power to the drive. The batteries are connected in parallel so the system capacity is 100Ah. Capacity can be optionally expanded up to 200Ah. o 1 12V 100Ah lead-acid working battery for auxiliary equipment and convenience consumers. &bull; 240W 48/12 DC-DC converter charges the auxiliary battery from the main battery &bull; 230V charging is provided by 3 on-board chargers for the batteries: o 2 7A LiFePO chargers o 1 7A lead-acid charger &bull; Digital instruments on the dashboard: o Solar cell: voltage and output current o Main battery: Capacity, voltage and current output o Auxiliary battery: voltage &bull; 6 meters non-contact LED lighting. &bull; 2 double USB connectors each with a load capacity of 10W &bull; 2 x 12 V cigarette lighter sockets with a load capacity of 100 W each &bull; FUSION audio head unit, tuner, bluetooth audio transmission, 2 speakers Available accessories: &bull; Custom colored hull &bull; Custom upholstery &bull; Halradar with gps navigation and software &bull; LCD TV with digital tuner and antenna &bull; Deck window for sleeping cabin &bull; Additional solar panels &bull; Side lights &bull; Search light &bull; Deck shower - with external water system &bull; Mandatory equipment &bull; Body, nose and tail fenders &bull; Anti-algae paint &bull; Boat administration, transport, launching <strong>Time schedule:</strong> February - April 2018: plans, models May - August 2018: prototype and testing of gliding surfaces Autumn - winter 2018: production of the lower part of the hull Winter-spring 2019: interior design, propulsion system design, deck production Summer 2019: empty body launch, sharp tests on the water Autumn - winter 2019: implementation of experiential changes, examination of modularity, interior architecture, cabin design March 2020: Official introduction at the Budapest Boatshow. <strong>What is certain:</strong> With its versatility, the resulting vessel is a multi-purpose, low-cost, and economically viable vessel that meets environmental standards and related societal expectations, and is part of sustainable development through forward-looking operation. The development of the Calistra ship was implemented with the support of the Government of Hungary and the European Union, with the help of the GINOP-2.1.7-15-2016-01547 R&amp;D tender.

Introduction In September 2022, American retail giant Walmart launched two new gaming experiences onto popular multi-platform gaming experience Roblox, entitled Walmart Land and Walmart Universe of Play. First released in 2006, Roblox is an online multiplayer programme and a virtual gaming world that is part of a rise of other similar programmes, including Minecraft (2009), Pokémon GO (2016), and Fortnite (2013). Like these other games, it is also a multi-platform program, which means that “it can be played on computers, tablets, mobiles or video consoles, thus enabling its ubiquitous access” (Meier et al. 269). In that sense, these games and programmes have inherited the ubiquity that occurred through the popularity of mobile devices, smart phones, and tablets, where “games are never further than arm’s length” (Leaver &amp; Wilson 2). It is believed that the COVID-19 pandemic in 2020-2021 ended up intensifying user interest in Roblox as it became a site for virtual and online socialisation through its multiplayer construction and play (Cucco). Recently, Roblox has earned the reputation of being the “children’s metaverse”: as Andrew Hutchinson has noted, in the gaming worlds of Roblox “we do already have basic templates for what the metaverse may look like… where youngsters interact via digital avatars, and move from experience to experience in a 3D environment”. Roblox is essentially a host to a compendium of user-generated content games that fit into many game genres, including role player games, obbys (obstacle course games), tycoon, fantasy, adventure, strategy, simulations, and many others. In Roblox, users create personal avatars that can move and negotiate in first person through online worlds. While Roblox is aimed at players of all ages, it has been especially targeted towards younger children and teenage users, and research suggests that the programme predominantly hosts child players (Geffen). Meier et al. suggest that Roblox “is a program that offers the possibility of creating and sharing three-dimensional virtual environments easily and has an interface suitable for children” (269). Walmart’s two Roblox games demand critical attention because the virtual worlds that have been created for Roblox present knowledge about the way that a “metaverse” might be imagined for young players on the system. This is especially important due to the troubling vision of commodified and fully themed corporate shopping experiences (e.g., Ernest Cline’s dystopian novel Ready Player One (2011) of virtual worlds owned by a billionaire). An examination of these games means also examining the ways that children are exposed to commodity culture, and understanding the ways that children’s culture has been commodified through gamified experiences and technologies. As I demonstrate in this article, concern about the games‘ function as advertising for Roblox has seen action from consumer watchdog groups labelling the games as “advergames”, and recently one of the games has been removed from Roblox by Walmart. As Natalie Coulter has argued, there is a long history of consumer culture’s link with children’s media, but from the mid-twentieth century and beyond, the marketplace “has become more tightly enmeshed with children and their culture” (410). While “youth” has become a marketing category – fractured into smaller and smaller marketing niches – Coulter argues that in the twenty first century the rise of Websites and Web games have worked to “link toys and the virtual world together”, where children’s online time can now be considered “basically commercial time where there is no distinction between content and an advertisement for the toy” (419). This has been simultaneous with converged technologies that also merge storytelling with consumer products. Jason Bainbridge has noted that “merchandising is now regularly used to extend and enrich narratives, to personalise media properties, increase the cultural circulation (or shelf-life) of properties and occasionally even enable them to jump media platforms and survive in entirely new textual environments” (24). Given that Roblox is already a space of enmeshed commercial activity, play and financial transaction – especially through its internal currency of “Robux” that is used for avatar and in-game purchases – the Walmart games present yet another complex layering of these personal and corporate dimensions as an aspect of gameplay. The two Walmart games are designed to appeal to different age groups and users – Walmart Land is aimed at older children and young adults, through its creation of a live pop music virtual world, while Walmart Universe of Play is clearly marketed toward younger children through its focus on showcasing major toy brands (these included L.O.L. Surprise!, Jurassic World, Paw Patrol, Magic Mixies and Razor Scooters). In this article, I examine the two Walmart Roblox games through formal analysis of their gameplay, focussing on the ways that both games are incentivising play and how they link to in-game purchases and the Walmart brand. I argue that both games are designed to link gameplay with a highly personalised shopping experience, which blurs the boundaries between games and branded advertising. For this reason, I suggest that close attention should be given to contemporary corporate games that develop visions of a “metaverse”, as they may not have the user’s interests in mind so much as their organisation’s profit margin. Walmart’s Roblox games Walmart Land is a walk-through fantasy world that focusses on pop culture, fashion, and music: like many of the “worlds” of Roblox, it presents as a small archipelago, surrounded by sea, with the action taking place on the interconnected islands. The islands are shaped into the “spark” shape of the Walmart logo – there is one central island or “hub” (and starting point), surrounded by radiating longer islands connected by bridges. Users can walk along the series of pathways and bridges between the islands, or else shortcut via monorail to key stopovers, or finally use a portal to travel to whatever part of the “world” is most appealing (this is typical of the travel experience provided in Roblox games). There are also “obby” areas with parkour-like jumps to exciting places, and surreal locations such as a forest of broccoli and a maze of cut fruit slices. Across these islands, users are encouraged to participate, earn tokens, and explore all the areas in more detail: for example, at the “Food Truck Park”, you can find recipes for “Great Value” dishes such as “Skillet Beef Burrito”, where users are encouraged to “take a snapshot with your device” of the full recipe for making later. Tokens (visually, they are coins) are placed along the pathways of the islands, which when collected can be used as payment for in-game purchases. The tokens can be spent on Walmart fashion and accessories: for example, as I play the game there is a Free Assembly rugby polo that can be purchased for 110 tokens (Free Assembly is a Walmart fashion label). The other way to earn tokens is to participate in the various mini-games located at many of the Walmart Land’s sites. For example, there is a “Dance Off Challenge” where your avatar can try out a range of funky moves and “win” the dance-off, and a Netflix trivia challenge which grants credits to film and television knowledge. There is an “Electric Island” that according to Walmart’s marketing has been “inspired by the world’s greatest music festivals”, although the concert stage is empty as I visit. You can access the live music stage via a red carpet that is flanked by paparazzi figures clamouring to take your avatar’s photo. While the stage is typically inactive when I have accessed the game, according to Walmart’s marketing materials there have previously been musical performances from pop stars such as YUNGBLUD and Madison Beer. Then, there are singular mini-games on each island: such as a DJ booth where users can play at practicing beats; and a roller rink for blading tricks. Within Walmart Land, users can access virtual merchandise (“verch”) for the user avatar and earn tokens and games from competitions. There is a “House of Style” space with dressing rooms, which is the main location for purchase of avatar fashion with the earned tokens. As this description suggests, Walmart Land resembles in a retro way the kind of experience had in a supermarket store or a mega-mall / shopping centre, where there are “aisles/isles”, or segmented and themed areas of entertainment. The dream-like “land” aims to create a phantasmagoria, with idiosyncratic personal travel that constitutes a real-life shopping experience, hence it includes personally satisfying flânerie for distinctiveness and originality. Yet, this seems to be one of the failings of the experience: playing through this world, choices are limited, and the in-games feel simplistic, and unlikely to sustain interest across multiple visits. This game seems particularly in need of updates with novel content, such as the live concert experiences on the empty stage. The second game, Walmart Universe of Play, has a similar structure and format to Walmart Land, although the focus is squarely placed on bringing to life pre-existing toy franchises that are readily available at the retail company’s stores. For this reason, there is a much greater focus on Walmart’s brand partners in this game than in Walmart Land, except the separate themed areas seem to be fully “owned” by these brands. Again, it presents a magical wonderland full of surreal and fantastic games and events. The term “Universe of Play” is a direct reference to the name of Walmart’s real-life toy department from their bricks and mortar stores. In this game, the focus is on earning free verch that promotes either Walmart or its nominated brands (e.g. L.O.L. Surprise!, Jurassic World, Paw Patrol, Magic Mixies, and Razor Scooters). As users walk along in this world, large wrapped gift boxes appear on the pathways that can be opened through the “Interact” function. The virtual “gifts” end up being virtual images of real-life products, which arguably constitutes a pure, visual advertisement for the toy. As with Walmart Land, the game resembles the multi-world format of the retail chain itself, and the 3-D travel that is an in-built feature of Roblox’s gameplay allows users to explore “immersive worlds” connected to brand franchises, earn rewards through collection of tokens that can be redeemed for virtual merchandise and toys. There is also travel on special vehicles, such as flying hoverboards. Many of the updates in the game focus on the promotion of toy products, such as the virtual drone that can highlight the “hottest toy world of the season” (Walmart). In this way, the updates seem to emulate catalogue delivery, with the world itself a kind of virtual catalogue for purchasable products. Then, the real store’s catalogue becomes a way of learning about the game, as it offers readers codes to exclusive privileges within the Roblox game. So, there is a virtual-real crossover between the game and children’s experiences in the real-life store, inviting users to imagine that the virtual world is an extension of the real one. Through earning tokens, all of the games are designed for virtual purchases, and while these are free, they normalise the typical experience of Roblox where one’s presentation of identity (through the personal avatar) is strongly linked with in-game transactions. Discussion So, how do we make sense of these Walmart games on Roblox? Some commentators have observed that the new Walmart games do not seem to provide innovative or playful experiences, in contrast to many of the games on the Roblox platform. Writing for Forbes magazine, Paul Tassi has suggested that the Walmart logo of Walmart Land looms in the background “like a digital Eye of Sauron”, and questions the originality of the games: But who wants … Walmart Land? I’d argue nobody, and it’s just a branded, less interesting version of playspaces that already exist in Roblox a thousand times over, without a corporation attached. It is worth examining the motivation for the branded partnership from both organisations. For Roblox, the Walmart partnership was economically important: it represented one of its first major corporate partnerships with central intention to release virtual product into the Roblox game system. Typically, corporate partnerships with Roblox had led to the partnered brands creating tangible, “real life” ancillary Roblox toys and merchandise that could be purchased at toy stores (e.g., figurines, boardgames, and toy guns). (Some examples of Roblox’s recent brand toy partnerships: Hasbro created a Roblox 2022 edition of Monopoly; NERF has released NERF guns based upon particular Roblox games Adopt Me!, Arsenal, Jailbreak, Mad City, Murder Mystery 2, and Phantom Forces. Also, Roblox game studios have gone on to create their own toy lines: for example, Gamefam released a set of dolls based on their game Twilight Daycare.) In this case, the toy store (a.k.a. Walmart) has itself gone virtual, which means that Walmart is also investing into Roblox’s vision of a playable “metaverse” for its young users. This is clearly significant, as it represents what could be the beginning of a new, lucrative model for co-branded game creation for Roblox, adding to ways of diversifying revenue for the company beyond its in-game micro-transactions (Vanian). The metaverse has been a key concept in Roblox’s recent strategic vision, and they have benefitted from the wider global interest in the metaverse, popularised in the wake of Mark Zuckerberg’s presentation on metaverse futures for Facebook, sensationally renamed Meta at the Connect conference of October 2021. As Evans et al. have noted, 2021 was the year that the metaverse “truly hit the mainstream”, and Meta/Facebook is “arguably the current leader in the race to build the metaverse” (1). Yet, earlier that year Roblox also mentioned their own version of a metaverse at their first Investor Day video published on YouTube in February 2021 (Roblox Investor Day). In this video, CEO and co-founder David Baszucki specifically mentions that Roblox are evolving to become the “shepherds of the metaverse”, and that their vision includes the tenets of “identity”, “friends”, “immersiveness”, “frictionless”, “variety”, “anywhere”, “a vibrant economy”, and “trust and civility”. The Walmart games, then, present a part of the rich variety of content available on the Roblox system, although Baszucki is quick to emphasise the rich user-generated content provided by non-businesses and ordinary gamers: the content created by billion-dollar companies does not receive a mention as part of this revolutionary and utopian vision. In this way, we can see how Walmart – a megacorporation that has aggressively competed for the e-commerce of major retail rival Amazon since 2016 (Del Rey) – might choose to create content and join this virtual diversity with its large network of young users. Walmart’s investment demonstrates how companies are currently choosing to test out strategies across a range of virtual online worlds: investing into many different forms of the metaverse. The investment into the virtual play of Roblox represents the company’s new strategy of engagement with virtual e-commerce, as well as investigating metaverse futures. According to a CNBC interview with Walmart’s Chief Marketing Officer William White, the two Walmart games released onto Roblox were marketing tests of new kinds of consumer engagement for online and virtual shopping experiences, helping to learn about and gauge the changing shopping habits in the wake of the COVID-19 pandemic (Repko). Part of the rationale for production of the games was for Walmart to learn about new ways to reach consumers, with developing metaverse technologies in mind: Roblox will serve as a testing ground for Walmart as it considers moves in the metaverse and beyond, said William White, Walmart’s chief marketing officer. He said the experiences are designed with the next generation of shoppers in mind, particularly Gen Z, generally defined as around age 25 or younger. White said the company is looking to learn from the partnership. “How are we driving relevance in cultural conversation? How are we developing community and engagement? How are we moving the needle from a brand favourability [standpoint] with younger audiences?” he said. “That’s what we’re trying to accomplish here.” (Repko) Yet, as this analysis of the gameplay in the two games reveals, advertising product seems key to the experiences gained in Walmart Land and Walmart Universe of Play. After the release of the games in 2022, critical media attention quickly turned to concerns about the blurred lines between games and marketing, and in January 2023 US media watchdogs Truth in Advertising.org (TINA.org) released a complaint about the Walmart Roblox games’ lack of disclosure that they were a form of children’s advertising and therefore constituted an “advergame” (Karabus; Perez). An “advergame” is defined as a “popular marketing tool used by companies to sell products to children” (Cho &amp; Riddle 1309). Referring to the Walmart games, TINA.org noted that the games were “blurring the distinction between advertising content and organic content, and failing to provide any clear or conspicuous disclosures that the game (or contents within the game) are ads” (Truth in Advertising). Their concern was linked to the vulnerability of young children on Roblox, especially after academic research has suggested that younger and older children have difficulty in distinguishing between advertising and computer games; for example, Waiguny and Terlutter have indicated that children have more difficulty doing this than distinguishing between television programmes and advertising. In March 2023, Walmart closed down Walmart Universe of Play, although they have officially stated that the closure was a “planned part of its strategy” (Adams). In a statement, they noted that “the intent of our presence on Roblox is to continuously innovate … . Taking down some experiences to work on new [ones] is part of that innovation” (Adams). Walmart Land is still in operation on Roblox. The closure of one of the games demonstrates the level of experimentation that is taking place as companies invest in “metaverse” games: there are still fundamental concerns to iron out about virtual branded property and its links to advertising, especially in content that is specifically created for children. Conclusion This – and other – early case studies of toy brand partnerships on Roblox should be given attention because the ways that corporations link in with the socialisation and play factors of the game may have lasting impact upon the development and construction of online identities in 3-D immersive contexts. My hope is that the issues raised in this article link to broader debates in media-focussed cultural studies about the commodification of children’s experiences, the creation of “toyetic” media texts, and the broader and extensive discourse of media effects research and impacts on children and young people. Investigating the Walmart games also has implications for emerging research on the “metaverse” and the ways by which it will be commodified. Utilising methods such as formal game analysis helps to show how users may interact with games and brands in these fledgeling metaverse experiences. It may also demonstrate how some of the utopian ideals of the concept are compromised through the company’s bottom line, which for Roblox seems particularly linked to the creation of the virtual avatar, and the production of a unique online identity troublingly linked to purchase and consumption. Acknowledgment Many thanks to Louis Joseph Jeffs for our ongoing conversations about Roblox. References Adams, Peter. “Walmart Winds Down Roblox Play as Metaverse Lands in Privacy Crosshairs.” Marketing Dive, 28 Mar. 2023. Bainbridge, Jason. “From Toyetic to Toyesis: The Cultural Value of Merchandising.” Entertainment Values. Ed. S. Harrington. London: Palgrave, 2017. 23-29. Cho, Eunji, and Karyn Riddle. “Protecting Children: Testing a Stop-and-Take-a-Break Advergame Intervention Strategy.” International Journal of Consumer Studies 45 (2021): 1309-1321. Coulter, Natalie. “From the Top Drawer to the Bottom Line: The Commodification of Children’s Cultures.” Mediascapes: New Patterns in Canadian Communication. 2013. 409-426. Cucco, Jackie. “Jump into the ‘Roblox’ Metaverse for a New Era of Play.” The Toy Book, 20 Feb. 2022. &lt;https://toybook.com/jump-into-the-roblox-metaverse-for-a-new-era-of-play/&gt;. Del Rey, Jason. Winner Sells All: Amazon, Walmart, and the Battle for Our Wallets. HarperCollins, 2023. Evans, Leighton, Jordan Frith, and Michael Saker. From Microverse to Metaverse: Modelling the Future through Today’s Virtual Worlds. Bingley: Emerald Publishing, 2022. Geffen, Jonathan. “Improving Co-Play between Parents and Children in a Roblox Game.” KTH Royal Institute of Technology School of Electrical Engineering and Computer Science, 2021. Hutchinson, Andrew. “The Development of Roblox Provides a Framework for the Metaverse Vision.” Social Media Today, 9 Sep. 2022. Karabus, Jude. “Walmart Runs Creepy ‘Advergame’ on Roblox, Where Kids Can Make Toy Wish Lists.” The Register, 25 Jan. 2023. &lt;https://www.theregister.com/2023/01/25/walmarts_advergame_on_roblox_pushes/&gt;. Leaver, Tama, and Michele Willson. “Social Networks, Casual Games and Mobile Devices: The Shifting Contexts of Gamers and Gaming.” Social, Casual and Mobile Games: The Changing Gaming Landscape. Eds. T. Leaver and M. Willson. New York: Bloomsbury, 2016. 1-12. Meier, Cecile, Jose Luis Saorin, Alejandro Bonnet de Leon, and Alberto Guerrero Cobos. “Using the Roblox Video Game Engine for Creating Virtual Tours and Learning about the Sculptural Heritage.” International Journal of Emerging Technologies in Learning 15.20 (2020): 268-280. Perez, Sarah. “Consumer Advocacy Groups Want Walmart’s Roblox Game Audited for ‘Stealth Marketing’ to Kids.” Tech Crunch, 25 Jan. 2023. &lt;https://techcrunch.com/2023/01/24/consumer-advocacy-groups-want-walmarts-roblox-game-audited-for-stealth-marketing-to-kids/&gt;. Repko, Melissa. “Walmart Enters the Metaverse with Roblox Experiences Aimed at Younger Shoppers.” CNBC, 26 Sep., 2022. &lt;https://www.cnbc.com/2022/09/26/walmart-enters-the-metaverse-with-roblox.html&gt;. Roblox. “Roblox Investor Day / February 26 2021.” 26 Feb. 2021. &lt;https://www.youtube.com/watch?v=A1joSc0mRVg&gt;. Tassi, Paul. “Roblox’s ‘Walmart Land’ Is Horseman of the Metaverse Apocalypse.” Forbes, 27 Sep., 2022. &lt;https://www.forbes.com/sites/paultassi/2022/09/27/robloxs-walmart-land-is-horseman-of-the-metaverse-apocalypse/?sh=59e12a961419&gt;. Truth in Advertising. “Letter to CARU re. Walmart Universe of Play.” 23 Jan. 2023. &lt;https://truthinadvertising.org/wp-content/uploads/2023/01/1_23_23-Letter-to-CARU-re-Walmart-Universe-of-Play.pdf&gt;. Vanian, Jonathan. “Roblox Jumps into Online Advertising as Revenue Growth Slows.” CNBC, 9 Sep.2022. &lt;https://www.cnbc.com/2022/09/09/roblox-jumping-into-ads-in-effort-to-diversify-beyond-virtual-goods-.html&gt;. Waiguny, Martin, and Ralf Terlutter. “Differences in Children’s Processing of Advergames and TV Commercials.” Advances in Advertising Research 2 (2011): 35-51. Walmart.“Walmart Jumps into Roblox with Launch of Walmart Land and Walmart’s Universe of Play.” 26 Sep. 2022. &lt;https://corporate.walmart.com/newsroom/2022/09/26/walmart-jumps-into-roblox-with-launch-of-walmart-land-and-walmarts-universe-of-play&gt;.

Introduction The sensational appearance of kawaii fashion in Tokyo’s Harajuku neighborhood—full of freedom, fun, and frills— has captivated hearts and imaginations worldwide. A key motivational concept for this group is “kawaii” which is commonly translated as “cute” and can also be used to describe things that are “beautiful”, “funny”, “pretty”, “wonderful”, “great”, “interesting”, and “kind” (Yamane 228; Yomota 73; Dale 320). Representations in media such as the styling of Harajuku street model and J-pop star Kyary Pamyu Pamyu, directed by Sebastian Masuda, have helped bring this fashion to a wider audience. Of this vibrant community, decora fashion is perhaps best known with its image well documented in in street-fashion magazines such as Shoichi Aoki’s FRUiTS (1997–2017), Websites such as Tokyo Fashion (2000–present), and in magazines like KERA (1998–2017). In particular, decora fashion captures the “do-it-yourself” approach for which Harajuku is best known for (Yagi 17). In this essay we draw on New Materialism to explore the ways in which decora fashion practitioners form kawaii affective assemblages with the objects they collect and transform into fashion items. We were motivated to pursue this research to build on other qualitative studies that aimed to include the voices of practitioners in accounts of their lifestyles (e.g. Nguyen; Monden; Younker) and respond to claims that kawaii fashion is a form of infantile regression. We—an Australian sociologist and kawaii fashion practitioner, a Japanese decora fashion practitioner and Harajuku street model, and a Japanese former owner of a tearoom in Harajuku—have used an action-led participatory research method to pool our expertise. In this essay we draw on both a New Materialist analysis of our own fashion practices, a 10-year longitudinal study of Harajuku (2012–2022), as well as interviews with twelve decora fashion practitioners in 2020. What Is Decora Fashion? Decora is an abbreviation of “decoration”, which reflects the key aesthetic commitment of the group to adorn their bodies with layers of objects, accessories, and stickers. Decora fashion uses bright clothing from thrift stores, layers of handmade and store-bought accessories, and chunky platform shoes or sneakers. Practitioners enjoy crafting accessories from old toys, kandi and perler beads, weaving, braiding, crocheting novelty yarn and ribbon, and designing and printing their own textiles. In addition to this act of making, decora practitioners also incorporate purchases from specialty brands like 6%DOKI DOKI, Nile Perch, ACDC Rag, YOSUKE USA, and minacute. According to our interviewees, whom we consulted in 2020, excess is key; as Momo told us: “if it’s too plain, it’s not decora”. Decora uses clashing, vibrant, electric colours, and a wild variety of kawaii versions of monsters, characters, and food which appear as motifs on their clothing (Groom 193; Yagi 17). Clashing textures and items—such as a sweat jackets, gauzy tutus, and plastic toy tiaras—are also a key concept (Koga 81). Colour is extended to practitioners’ hair through colourful hair dyes, and the application of stickers, bandaids, and jewels across their cheeks and nose (Rose, Kurebayashi and Saionji). These principles are illustrated in fig. 1, a street snap from 2015 of our co-author, Kurebayashi. Working with the contrasting primary colours across her hair, clothes, and accessories, she incorporates both her own handmade garments and found accessories to form a balanced outfit. Her Lisa Frank cat purse, made from a psychedelic vibrant pink faux fur, acts as a salient point to draw in our eyes to a cacophony of colour throughout her ensemble. The purse is a prized item from her own collection that was a rare find on Mercari, an online Japanese auction Website, 15 years ago. Her sweater dress is handmade, with a textile print she designed herself. The stickers on the print feature smiley faces, rainbows, ducks, and candy—all cheap and cheerful offerings from a discount store. Through intense layering and repetition, Kurebayashi has created a collage that is reminiscent of the clips and bracelets that decorate her hair and wrists. This collage also represents the colour, fun, and whimsy that she immerses herself in everyday. Her platform shoes are by Buffalo London, another rare find for her collection. Her hair braids are handmade by Midoroya, an online artist, which she incorporates to create variety in the textures in her outfit from head to toe. Peeking beneath her sweater is a short colourful tutu that floats and bounces with each step. Together the items converge and sing, visually loud and popping against the urban landscape. Fig. 1: Kurebayashi’s street snap in an decora fashion outfit of her own styling and making, 2015. Given the street-level nature of decora fashion, stories of its origins draw on oral histories of practitioners, alongside writings from designers and stores that cater to this group (Ash). Its emergence was relatively organic in the early 1990s, with groups enjoying mixing and combining found objects and mis-matching clothing items. Initially, decorative styles documented in street photography used a dark colour palette with layers of handmade accessories, clips, and decorations, and a Visual-kei influence. Designers such as Sebastian Masuda, who entered the scene in 1995, also played a key role by introducing accessories and clothes inspired by vintage American toys, Showa era (1926-1989) packaging, and American West Club dance culture (Sekikawa and Kumagi 22–23). Pop idols such as Tomoe Shinohara and Kyary Pamyu Pamyu are also key figures that have contributed to the pop aesthetic of decora. While decora was already practiced prior to the release of Shinohara’s 1995 single Chaimu, her styling resonated with practitioners and motivated them to pursue a more “pop” aesthetic with an emphasis on bright colours, round shapes, and handmade colourful accessories. Shinohara herself encouraged fans to take on a rebelliously playful outlook and presentation of self (Nakao 15–16; Kondō). This history resonates with more recent pop idol Kyary Pamyu Pamyu’s costuming and set design, which was directed by Sebastian Masuda. Kyary’s kawaii fashion preceded her career, as she regularly participated in the Harajuku scene and agreed to street snaps. While the costuming and set design for her music videos, such as Pon Pon Pon, resonate with the Harajuku aesthetic, her playful persona diverges. Her performance uses humour, absurdity, and imperfection to convey cuteness and provide entertainment (Iseri 158), but practitioners in Harajuku do not try to replicate this performance; Shinohara and Kyary’s stage persona promotes ‘immaturity’ and ‘imperfection’ as part of their youthful teenage rebellion (Iseri 159), while kawaii fashion practitioners prefer not to be seen in this light. When considering the toys, stickers, and accessories incorporated into decora fashion, and the performances of Shinohara and Kyary, it is understandable that some outsiders may interpret the fashion as a desire to return to childhood. Some studies of kawaii fashion more broadly have interpreted the wearing of clothing like this as a resistance to adulthood and infantile regression (e.g., Kinsella 221–222; Winge; Lunning). These studies suggest that practitioners desire to remain immature in order to “undermin[e] current ideologies of gender and power” (Hasegawa 140). In particular, Kinsella in her 1995 chapter “in Japan” asserts that fashion like this is an attempt to act “vulnerable in order to emphasize … immaturity and inability to carry out social responsibilities” (241), and suggests that this regression is “self-mutilation [which denies] the existence of a wealth of insights, feelings and humour that maturity brings with it” (235). This view has spread widely in writing about kawaii fashion, and Steele, Mears, Kawamura, and Narumi observe for instance that “prolonging childhood is compelling” as an attractive component of Harajuku culture (48). While we recognise that this literature uses the concept of “childishness” to acknowledge the rebellious nature of Harajuku fashion, our participants would like to discourage this interpretation of their practice. In particular, participants highlighted their commitment to studies, paying bills, caring for family members, and other markers they felt indicated maturity and responsibility. They also found this belief that they wanted to deny themselves adult “insights, feelings and humour” deeply offensive as it disregards their lived experience and practice. From a Sociological perspective, this infantilising interpretation is concerning as it reproduces Orientalist framings of Japanese women who enjoy kawaii culture as dependent and submissive, rather than savvy consumers (Bow 66–73; Kalnay 95). Furthermore, this commentary on youth cultures globally, which points to an infantilisation of adulthood (Hayward 230), has also been interrogated by scholars as an oversimplistic reading that doesn’t recognise the rich experiences of adults who engage in these spaces while meeting milestones and responsibilities (Woodman and Wyn; Hodkinson and Bennett; Bennett). Through our lived experience and work with the decora fashion community, we offer in this essay an alternative account of what kawaii means to these practitioners. We believe that agency, energy, and vibrancy is central to the practice of decora fashion. Rather than intending to be immature, practitioners are looking for vibrant ways to exist. A New Materialist lens offers a framework with which we can consider this experience. For example, our informant Momota, in rejecting the view that her fashion was about returning to childhood, explained that decora fashion was “rejuvenating” because it gave them “energy and power”. Elizabeth Groscz in her essay on freedom in New Materialism encourages us to consider new ways of living, not as an expression of “freedom from” social norms, but rather “freedom to” new ways of being, as expression of their “capacity for action” (140). In other words, rather than seeking freedom from adult responsibilities and regressing into a state where one is unable to care for oneself, decora fashion is a celebration of what practitioners are “capable of doing” (Groscz 140–141) by finding pleasure in collecting and making. Through encounters with kawaii objects, and the act of creating through these materials, decora fashion practitioners’ agential capacities are increased through experiences of elation, excitement and pleasure. Colourful Treasures, Fluttering Hearts: The Pleasures of Collecting kawaii Matter Christine Yano describes kawaii as having the potential to “transform the mundane material world into one occupied everywhere by the sensate and the sociable” (“Reach Out”, 23). We believe that this conceptualisation of kawaii has strong links to New Materialist theory. New Materialism highlights the ways in which human subjects are “are unstable and emergent knowing, sensing, embodied, affective assemblages of matter, thought, and language, part of and inseparable from more-than human worlds” (Lupton). Matter in this context is a social actor in its own right, energising and compelling practitioners to incorporate them into their everyday lives. For example, kawaii matter can move us to be more playful, creative, and caring (Aiwaza and Ohno; Nishimura; Yano, Pink Globalization), or help us relax and feel calm when experiencing high levels of stress (Stevens; Allison; Yano, “Reach Out”). Studies in the behavioral sciences have shown how kawaii objects pique our interest, make us feel happy and excited, and through sharing our excitement for kawaii things become kinder and more thoughtful towards each other (Nittono; Ihara and Nittono; Kanai and Nittono). Decora fashion practitioners are sensitive to this sensate and sociable aspect of kawaii; specific things redolent with “thing-power” (Bennett) shine and twinkle amongst the cultural landscape and compel practitioners to gather them up and create unique outfits. Decora fashion relies on an ongoing hunt for objects to upcycle into fashion accessories, thrifting second-hand goods in vintage stores, dollar stores, and craft shops such as DAISO, Omocha Spiral, and ACDC Rag. Practitioners select plastic goods with smooth forms and shapes, and soft, breathable, and light clothing, all with highly saturated colours. Balancing the contrast of colours, practitioners create a rainbow of matter from which they assemble their outfits. The concept of the rainbow is significant to practitioners as the synergy of contrasting colours expresses its own kawaii vitality. As our interviewee, Kanepi, described, “price too can be kawaii” (Yano, Pink Globalization 71); affordable products such as capsule toys and accessories allow practitioners to amass large collections of glistening and twinkling objects. Rare items are also prized, such as vintage toys and goods imported from America, resonating with their own “uniqueness”, and providing a point of difference to the Japanese kawaii cultural landscape. In addition to the key principles of colour, rarity, and affordability, there is also a personalised aspect to decora fashion. Amongst the mundane racks of clothing, toys, and stationary, specific matter twinkles at practitioners like treasures, triggering a moment of thrilling encounter. Our interviewee Pajorina described this moment as having a “fateful energy to it”. All practitioners described this experience as “tokimeki” (literally, a fluttering heart beat), which is used to refer to an experience of excitement in anticipation of something, or the elating feeling of infatuation (Occhi). Our interviewees sought to differentiate this experience of kawaii from feelings of care towards an animal or children through writing systems. While the kanji for “kawaii” was used to refer to children and small animals, the majority of participants wrote “kawaii” to express the vivid and energetic qualities of their fashion. We found each practitioner had a tokimeki response to certain items that and informed their collecting work. While some items fit a more mainstream interpretation of kawaii, such as characters like Hello Kitty, ribbons, and glitter, other practitioners were drawn to non-typical forms they believed were kawaii, such as frogs, snails, aliens, and monsters. As our interviewee Harukyu described: “I think people’s sense of kawaii comes from different sensibilities and perspectives. It’s a matter of feelings. If you think it is kawaii, then it is”. Guided by individual experiences of objects on the shop shelves, practitioners select things that resonate with their own inner beliefs, interests, and fantasies of what kawaii is. In this regard, kawaii matter is not “structured” or “fixed” but rather “emergent through relations” that unfold between the practitioner and the items that catch their eye in a given moment (Thorpe 12). This offers not only an affirming experience through the act of creating, but a playful outlet as well. By choosing unconventional kawaii motifs to include in their collection, and using more standard kawaii beads, jewels, and ribbons to enhance the objects’ cuteness, decora fashion practitioners are transforming, warping, and shifting kawaii aesthetic boundaries in new and experimental ways (Iseri 148; Miller 24–25). As such, this act of collecting is a joyous and elating experience of gathering and accumulating. Making, Meaning, and Memory: Creating kawaii Assemblages Once kawaii items are amassed through the process of collecting, their cuteness is intensified through hand-making items and assembling outfits. One of our interviewees, Momo, explained to us that this expressive act was key to the personalisation of their clothes as it allows them to “put together the things you like” and “incorporate your own feelings”. For example, the bracelets in fig. 2 are an assemblage made by our co-author Kurebayashi, using precious items she has collected for 10 years. Each charm has its own meaning in its aesthetics, memories it evokes, and the places in which it was found. Three yellow rubber duck charms bob along strands of twinkling pink and blue bubble-like beads. These ducks, found in a bead shop wholesaler while travelling in Hong Kong, evoke for Kurebayashi an experience of a bubble bath, where one can relax and luxuriate in self care. Their contrast with the pink and blue—forming the trifecta of primary colours—enhances the vibrant intensity of the bracelet. A large blue bear charm, contrasting in scale and colour, swings at her wrist, its round forms evoking Lorenz’s Kindchenschema. This bear charm is another rare find from America, a crowning jewel in Kurebayashi’s collection. It represents Kurebayashi’s interest in fun and colourful animals as characters, and as potential kawaii friends. Its translucent plastic form catches the light as it glistens. To balance the colour scheme of her creation, Kurebayashi added a large strawberry charm, found for just 50 Yen in a discount store in Japan. Together these objects resonate with key decora principles: personal significance, rarity, affordability, and bright contrasting colours. While the bear and duck reference childhood toys, they do not signify to Kurebayashi a desire to return to childhood. Rather, their rounded forms evoke a playful outlook on life informed by self care and creativity (Ngai 841; Rose). Through bringing the collection of items together in making these bracelets, the accessories form an entanglement of kawaii matter that carries both aesthetic and personal meaning, charged with memories, traces of past travels, and a shining shimmering vitality of colour and light. Fig. 2: Handmade decora fashion bracelet by Kurebayashi, 2022. The creation of decora outfits is the final act of expression and freedom. In this moment, decora fashion practitioners experience elation as they gleefully mix and match items from their collection to create their fashion style. This entanglement of practitioner and kawaii matter evokes what Gorscz would describe as “free acts … generated through the encounter of life with matter” (151). If we return to fig. 1, we can see how Kurebayashi and her fashion mutually energise each other as an expression of colourful freedom. While the objects themselves are found through encounters and given new life by Kurebayashi as fashion items, they also provide Kurebayashi with tools of expression that “expand the variety of activities” afforded to adults (Gorscz 154). She feels elated, full of feeling, insight, and humour in these clothes, celebrating all the things she loves that are bright, colourful, and fun. Conclusion In this essay, we have used New Materialist theory to illustrate some of the ways in which kawaii matter energises decora fashion practitioners, as an expression of what Gorscz would describe as “capacity for action” and a “freedom towards” new modes of expression. Practitioners are sensitive to kawaii’s affective potential, motivating them to search for and collect items that elate and excite them, triggering moments of thrilling encounters amongst the mundanity of the stores they search through. Through the act of making and assembling these items, practitioners form an entanglement of matter charged with their feelings, memories, and the vitality and vibrancy of their collections. Like shining rainbows in the streets, they shimmer and shine with kawaii life, vibrancy, and vitality. Acknowledgements This article was produced with the support of a Vitalities Lab Scholarship, UNSW Sydney, a National Library of Australia Asia Studies scholarship, as well as in-kind support from the University of Tokyo and the Japan Foundation Sydney. We also thank Deborah Lupton, Melanie White, Vera Mackie, Joshua Paul Dale, Masafumi Monden, Sharon Elkind, Emerald King, Jason Karlin, Elicia O’Reily, Gwyn McLelland, Erica Kanesaka, Sophia Saite, Lucy Fraser, Caroline Lennette, and Alisa Freedman for their kind input and support in helping bring this community project to life. Finally, we thank our decora fashion practitioners, our bright shining stars, who in the face of such unkind treatment from outsiders continue to create and dream of a more colourful world. We would not be here without your expertise. References Aizawa, Marie, and Minoru, Ohno. “Kawaii Bunka no Haikei [The Background of Kawaii Culture].” Shōkei gakuin daigaku kiyō [Shōkei Gakuin University Bulletin] 59 (2010): 23–34. Allison, Anne. “Cuteness as Japan’s Millennial Product.” Pikachu's Global Adventure: The Rise and Fall of Pokémon. Ed. Joseph Tobin. Durham: Duke UP, 2004. 34–49. Aoki, Shoichi. FRUiTS. Renzu Kabushikigaisha. 1997–2017. Ash. “The History of: Decora.” The Comm, 31 May. 2022. &lt;https://the-comm.online/blog/the-history-of-decora/&gt;. Bennett, Andy. Music, Style and Aging: Growing Old Disgracefully? Philadelphia: Temple UP, 2013. Bennett, Jane. Vibrant Matter: A Political Ecology of Things. London: Duke UP, 2010. Bow, Leslie. Racist Love: Asian Abstraction and the Pleasures of Fantasy. Durham: Duke UP, 2022. Dale, Joshua. “Cuteness Studies and Japan.” The Routledge Companion to Gender and Japanese Culture. Eds. Jennifer Coates, Lucy Fraser, and Mark Pendleton. New York: Routledge, 2020. 320–30. Groom, Amelia. “Power Play and Performance in Harajuku.” New Voices in Japanese Studies 4 (2011): 188–214. Groscz, Elizabeth. “Feminism, Materialism, and Freedom.” New Materialisms: Ontology, Agency, and Politics. Eds. Diana Coole and Samantha Frost. Durham: Duke UP, 2007. Hasegawa, Yuko. “Post-Identity Kawaii: Commerce, Gender, and Contemporary Japanese Art.” Consuming Bodies: Sex and Contemporary Japanese Art. Ed. Fran Loyd. London: Reaktion Books, 2002. 127–41. Hayward, Keith. “Life Stage Dissolution’ in Anglo-American Advertising and Popular Culture: Kidults, Lil’ Britneys and Middle Youths.” The Sociological Review 61.3 (2013): 525–48. Hodkinson, Paul, and Andy Bennett. Ageing and Youth Cultures: Music, Style and Identity. London: Berg, 2013. Ihara, Namiha, and Hiroshi Nittono. “Osanasa no Teido ni Yoru ‘Kawaii’ no Kategori Bunrui [Categorization of “Kawaii” by Levels of Infantility].” Studies in Human Sciences 6.13 (2011): 13–18. Iseri, Makiko. “Flexible Femininities? Queering kawaii in Japanese Girls’ Culture.” Twenty-First Century Feminism: Forming and Performing Femininity. Eds. Claire Nally and Angela Smith. London: Palgrave Macmillian, 2015. Kanai, Yoshihiro, and Hiroshi Nittono. “Kyōkansei to Shinwa Dōki ni Yoru ‘Kawaii’ Kanjō no Yosoku Moderu Kōchiku [Building a Predictive Model of ‘Cute’ Emotions Using Empathy and Affinity Motivation].” Sonariti kenkyū 23.3 (2015): 131–41. Kalnay, Erica Kanesaka. “Yellow Peril, Oriental Plaything: Asian Exclusion and the 1927 U.S.-Japan Doll Exchange.” Journal of Asian American Studies 23.1 (2020): 93–124. KERA. JInternational. 1998–2017. Kinsella, Sharon. “Cuties in Japan.” Women, Media, and Consumption in Japan. Eds. Brian Moeran and Lisa Skov. Richmond: Curzon Press, 1995. 220–54. Koga, Reiko. ‘Kawaii’ no Teikoku: Mōdo to Media to Onna-no-Ko Tachi [Empire of Kawaii: Mode, Media and Girls]. Tokyo: Seidosha, 2009. Kondō, Masataka. “Shinohara tomoe 40-sai ni shinorābūmu kara no henbō-buri kyōretsu kyara wa engidatta no ka [Shinohara Tomoe, 40 years Old, Changed from the Shinohara Boom: Was Her Strong Character a Performance?”].” Bunshun Online 3 Sep. 2019. &lt;https://bunshun.jp/articles/-/11297&gt;. Lorenz, Konrad. “Die angeborenen Formen möglicher Erfahrung [The Innate Condition of the Possibility of Experience].” Zeitschrift für Tierpsychologie 5.2 (1943): 245–409. Lunning, Frenchy.“Under the Ruffles: Shōjo and the Morphology of Power.” Mechademia 6 (2011): 63–19. Lupton, Deborah. “Toward a More-than-Human Analysis of Digital Health: Inspirations from Feminist New Materialism.” Qualitative Health Research 29.14 (2019): 1999–2009. Monden, Masafumi. Japanese Fashion Cultures: Dress and Gender in Contemporary Japan. Sydney: Bloomsbury, 2015. Miller, Laura. “Cute Masquerade and the Pimping of Japan.” International Journal of Japan 20.1 (2011): 18-29. Nakano, Atsumi. 2015. "The Formation and Commodification of Harajuku’s Image in Japan." Ritsumeikan Journal of Asia Pacific Studies. 34 (2016): 10–19. Ngai, Sianne. Our Aesthetic Categories: Zany, Cute, Interesting. Cambridge: Harvard UP, 2012. Nguyen, An. “Eternal Maidens: Kawaii Aesthetics and Otome Sensibility in Lolita Fashion.” Asian Journal of Popular Culture 2.1 (2016): 15–31. Nishimura, Mika. “Kawaii-ron Shiron II: Kawaii-ron no Shatei [Essay about Kawaii, II: The Limits of Kawaii Theory].” Dezain riron 73 (2019): 43–52. Nittono, Hiroshi. “Kawaiisa to Osanasa: Bebīsukīma o Meguru Hihan-teki Kōsatsu [Cuteness and Childhood: Critical Reflections of the Baby Schema].” VISION 25.2 (2013): 100–04. Nittono, Hiroshi. “The Two-Layer Model of ‘Kawaii’: A Behavioral Science Framework for Understanding Kawaii and Cuteness.” East Asian Journal of Popular Culture 2.1 (2016): 79–95. Occhi, Debra. “How to Have a HEART in Japanese.” Culture, Body, and Language: Conceptualizations of Internal Body Organs across Cultures and Languages. Eds. Farzad Sharifan, René Dirven, Ning Yu, and Susanne Niemeier. Berlin: De Gruyter Mouton, 2008. Rose, Megan Catherine. “Child’s Play? Exploring the Significance of Kawaii for Decora and Fairy-kei Fashion Practitioners in Harajuku through a Case-Focused Analysis.” New Voices in Japanese Studies 12 (2020): 80–102. Rose, Megan Catherine, Haruka Kurebayashi, and Rei Saionji. “Makeup in Decora Fashion, Harajuku, Tokyo.” Girls Museum, 2021. &lt;https://www.girlmuseum.org/project/more-than-pretty/&gt;. Sekikawa, Matoko, and Minori Kumagi. 6% DOKIDOKI Perfect Book. Tokyo: Takarajimasha, 2013. Steele, Valerie, Patricia Mears, Yuniya Kawamura, and Hiroshi Narumi, eds. Japan Fashion Now. New Haven: Yale UP, 2010. Stevens, Carolyn. “Cute But Relaxed: Ten Years of Rilakkuma in Precarious Japan.” M/C Journal 17.20 (2014): 1–10. Thorpe, Holly, Julie Brice, and Marianne Clark. Feminist New Materialisms, Sport and Fitness: A Lively Entanglement. London: Palgrave MacMillan, 2020. Tokyo Fashion. Tokyo Fashion. 23 Dec. 2021. &lt;https://www.tokyofashion.com&gt;. Winge, Theresa. “Undressing and Dressing Loli: A Search for the Identity of Japanese Lolita.” Mechademia 3 (2008): 347–63. Woodman, Dan, and Johanna Wyn. Youth and Generation. California: SAGE, 2015. Yagi, Yoko. Tokyo Street Style. New York: Abrams, 2018. Yamane, Kazuma. Hentai shōjo moji no kenkyū [Research on Girls’ Strange Handwriting]. Tokyo: Kōdansha, 1989. Yano, Christine. Pink Globalization: Hello Kitty's Trek across the Pacific. Durham: Duke UP, 2015. ———. “Reach Out and Touch Someone: Thinking through Sanrio’s Social Communication Empire.” Japanese Studies, 31.1 (2011): 23–36. Yomota, Inuhiko. Kawaii-ron [Theory of Cuteness]. Tokyo: Chikuma Shobo, 2006. Younker, Therese. “Japanese Lolita: Dreaming, Despairing, Defying.” Stanford Journal of East Asian Affairs, 11.1 (2012): 97–110.

Introduction On Saturday 6 February 1954, on the third day of the Australian leg of their tour of the Commonwealth, Queen Elizabeth II and Prince Philip, the Duke of Edinburgh, visited Sydney’s Bondi Beach. The specially-staged Royal Surf Carnival they witnessed—comprising a spectacular parade, surf boat races, mock resuscitations and even unscheduled surf rescues—generated extensive media coverage. Attracting attention from historians (Warshaw 134; Ford 194–196), the carnival lingers in popular memory as not only a highlight of the Australian tour (Conway n.p.; Clark 8) and among the “most celebrated events in Australian surf lifesaving history” (Ford et al. 5) but also as “the most spectacular occasion [ever held] at Bondi Beach” (Lawrence and Sharpe 86). It is even, for some, a “highlight of the [Australian] post-war period” (Ford et al. 5). Despite this, the fuller history of the Queen’s visit to Bondi, including the detailed planning involved, remains unexplored. A small round tin medal, discovered online, offered a fresh way to approach this event. 31mm in diameter, 2mm in depth, this dual-sided, smooth-edged medal hangs from a hoop on approximately 80mm of discoloured, doubled red, white, and blue striped ribbon, fastened near its end with a tarnished brass safety pin. The obverse features a relief portrait of the youthful Queen’s face and neck in profile, her hair loosely pulled back into a low chignon, enclosed within a striped symmetrical scrolled border of curves and peaks. This is encircled with another border inscribed in raised capitals: “Her Majesty Queen Elizabeth II. Royal Visit to Waverley N.S.W.” The reverse features a smooth central section encircled with the inscription (again in raised capitals), “Presented to the Children of Waverley N.S.W. 1954”, the centre inscribed, “By Waverley Municipal Council C.A. Jeppesen Mayor”. Figs. 1 &amp; 2: Medal, c.1954. Collection of the Author. Medals are often awarded in recognition of achievement and, in many cases, are worn as prominent components of military and other uniforms. They can also be made and gifted in commemoration, which was the case with this medal, one of many thousands presented in association with the tour. Made for Waverley Council, it was presented to all schoolchildren under 15 in the municipality, which included Bondi Beach. Similar medals were presented to schoolchildren by other Australian councils and States in Australia (NAA A462). This gifting was not unprecedented, with medals presented to (at least some) Australian schoolchildren to commemorate Queen Victoria’s 1897 Diamond Jubilee (The Age 5; Sleight 187) and the 1937 coronation of King George VI and Queen Elizabeth (“Coronation Medals” 6). Unable to discover any provenance for this medal aside from its (probable) presentation in 1954 and listing for sale in 2021, I pondered instead Waverley Council’s motivation in sourcing and giving these medals. As a researcher, this assisted me in surmounting the dominance of the surf carnival in the history of this event and led to an investigation of the planning around the Bondi visit. Planning Every level of government was involved in planning the event. Created within the Prime Minister’s Department, the Royal Visit Organisation 1954—staffed from early 1953, filling positions from within the Commonwealth Public Service, armed services and statutory authorities—had overall authority over arrangements (NAA 127, 134). National planning encompassed itineraries, travel arrangements, security, public relations, and protocol as well as fly and mosquito control, the royals’ laundry arrangements, and advice on correct dress (NAA: A1533; NAA: A6122; NAA: A9708, RV/DD Annex.15; NAA: A1838, 1516/11 Parts 1&amp;2; NAA: A9708, RV/CD; NAA: A9708, RV/CQ; NAA: A9708, RV/T). Planning conferences were held with State officials who developed State visit programs and then devolved organisational responsibilities to Councils and other local organisations (NAA: A9708, RV/DD Annex.2; NAA: A9708, RV/DD Annex.3). Once the Bondi Beach location was decided, the Surf Life Saving Association of Australia received a Royal Command to stage a surf carnival for the royals. This command was passed to the president of the Bondi club, who organised a small delegation to meet with government representatives. A thirteen-member Planning Committee, all men (“The Queen to See” 12), was appointed “with full power to act without reference to any other body” (Meagher 6). They began meeting in June 1953 and, soon after this, the carnival was announced in the Australian press. In recognition, the “memorable finale” of a Royal Command Performance before the Queen in London in November 1953 marked the royal couple’s impending tour by filling the stage with people from Commonwealth countries. This concluded with “an Australian tableau”. Alongside people dressed as cricketers, tennis players, servicemen, and Indigenous people, a girl carrying a huge bunch of bananas, and a couple in kangaroo suits were six lifesavers dressed in Bondi march-past costumes and caps, carrying the club flag (Royal Variety Charity n.p.). In deciding on a club for the finale, Bondi was “seen the epitome of the surf lifesaving movement—and Australia” (Brawley 82). The Planning Committee worked with representatives from the police, army, government, local council, and ambulance services as well as the media and other bodies (Meagher 6). Realising the “herculean task” (Meagher 9) ahead, the committee recruited some 170 members (again all men) and 20 women volunteers from the Bondi and North Bondi Surf Clubs to assist. This included sourcing and erecting the carnival enclosure which, at over 200 meters wide, was the largest ever at the beach. The Royal dais that would be built over the promenade needed a canvas cover to shield the royal couple from the heat or rain. Seating needed to be provided for some 10,500 paying spectators, and eventually involved 17 rows of tiered seating set across the promenade, 2,200 deckchairs on the sand in front, and, on each flank, the Bondi Surf Club’s tiered stands. Accommodations also had to be provided at selected vantage points for some 100 media representatives, with a much greater crowd of 50–60,000 expected to gather outside the enclosure. Four large tents, two at each end of the competition area, would serve as both change rooms and shady rest areas for some 2,000 competitors. Two additional large tents were needed, one at each end of the lawns behind the beach, fitted out with camp stretchers that had to be sourced for the St John Ambulance Brigade to deal with first-aid cases, most of whom were envisaged to come from the crowds due to heat stroke (Meagher 6–7). The committee also had to solve numerous operational issues not usually associated with running a surf carnival, such as ensuring sufficient drinking water for so many people on what might be a very hot day (“The Queen to See” 12). With only one tap in the carnival area, the organisers had to lay a water line along the entire one-kilometre length of the promenade with double taps every two to three metres. Temporary toilets also had to be sourced, erected, and serviced. Self-financing and with costs adding up, sponsors needed to be secured to provide goods and services in return for advertising. An iced water unit was, for instance, provided on the dais, without cost, by the ElectrICE Commercial Refrigeration company. The long strip of red carpet laid from where the royals would alight from their car right through the dais was donated by the manufacturer of Feltex, a very popular Australian-made wool carpet. Prominent department store, Anthony Horden’s, loaned the intricately carved chairs to be used by the Royal couple and other officials, while The Bondi Diggers Club provided chrome plated chairs for other official guests, many of whom were the crew of royal yacht, the S.S. Gothic (Meagher 6). Fig. 3: “Feltex [Advertisement].” The Australian Home Beautiful Nov. 1954: 40. http://nla.gov.au/nla.obj-2985285882. The Ladies Committees of the Bondi and North Bondi surf clubs were tasked with organising and delivering lunch and drinks to over 400 officials, all of whom were to stay in position from early morning until the carnival concluded at 5 pm (Meagher 6). Girl members of the Bondi social clubs were to act as usherettes. Officials describe deciding who would meet, or even come in any close proximity to, the Queen as “most ticklish” and working with mayors and other officials a “headache” (“Socialites” 3). In Bondi, there were to be notably few officials sitting with the royal couple, but thousands of “ordinary” spectators seated around the carnival area. On her arrival, it was planned that the Queen would walk through a guard of honour of lifesavers from each Australian and New Zealand club competing in the carnival. After viewing the finals of the surf boat races, the Queen would meet the team captains and then, in a Land Rover, inspect the massed lifesavers and greet the spectators. Although these activities were not contentious, debate raged about the competitors’ uniforms. At this time, full-length chest-covering costumes were normally worn in march-past and other formal events, with competitors stripping down to trunks for surf races and beach events. It was, however, decided that full-length costumes would be worn for the entirety of the Queen’s visit. This generated considerable press commentary that this was ridiculous, and charges that Australians were ashamed of their lifesavers’ manly chests (“Costume Rule” 3). The president of the Bondi Life Saving Club, however, argued that they did not want the carnival spoiled by lifesavers wearing “dirty … track suits, football guernseys … old football shorts … and just about everything except proper attire” (ctd. in Jenkings 1). Waverley Council similarly attempted to control the appearance of the route through which the royals would travel to the beach on the day of the carnival. This included “a sequence of signs along the route” expressing “the suburb’s sentiments and loyalty” (“Queen in the Suburbs” 4; see also, “The Royal Tour” 9). Maintaining that “the greatest form of welcome will be by the participation of the residents themselves”, the Mayor sought public donations to pay for decorations (with donors’ names and amounts to be published in the local press, and these eventually met a third of the cost (“The Royal Tour” 9; Waverley Council n.p.). In January 1954, he personally appealed to those on the route to decorate their premises and, in encouragement, Council provided substantial prizes for the most suitably decorated private and commercial premises. The local Chamber of Commerce was responsible for decorating the transport and shopping hub of Bondi Junction, with many businesses arranging to import Coronation decorations from England (“Queen in the Suburbs” 4; “The Royal Tour” 9). With “colorful activity” providing the basis of Council’s plan (“Queen in the Suburbs” 4), careful choreography ensured that thousands of people would line the royal route through the municipality. In another direct appeal, the Mayor requested that residents mass along the roadsides, wearing appropriate rosettes or emblems and waving flags (“Queen in the Suburbs” 4; “The Royal Tour” 9). Uniformed nurses would also be released from duty to gather outside the War Memorial Hospital as the royals passed by (“Royal Visit” n.p.). At the largest greenspace on the route, Waverley Park, some 10,000 children from the municipality’s 18 schools would assemble, all in uniform and wearing the medal to be presented to them to commemorate the visit. Children would also be provided with large red, white, or blue rosettes to wave as the royals drove by. A special seating area near the park was to be set aside for the elderly and ex-servicemen (“Queen in the Suburbs” 4). Fostering Expectations As the date of the visit approached, preparation and anticipation intensified. A week before, a detailed visit schedule was published in local newspaper Bondi Daily. At this time, the Royal Tour Decorations Committee (comprised of Aldermen and prominent local citizens) were “erecting decorations at various focal points” throughout the municipality (“The Royal Tour” 9). On 4 February, the Planning Committee held their final meeting at the Bondi Beach clubhouse (Meagher 6). The next day, the entire beach was cleaned and graded (Wilson 40). The afternoon before the visit, the Council’s decoration competition was judged, with the winners a house alongside Waverley Park and the beachside Hotel Astra (“Royal Visit” n.p.), one of 14 Sydney hotels, and the only one in Bondi, granted permission to sell liquor with meals until the extended hour of 11.00 pm during the Royal visit (“State House” 5). On the day of the surf carnival, The Sydney Morning Herald featured a large photograph of the finishing touches being put to the official dais and seating the day before (“Stage Set” 15). In reality, there was still a flurry of activity from daybreak on the day itself (Meagher 7), with the final “tidying up and decorating still proceeding” (Meagher 7) as the first carnival event, the Senior boat race heats, began at 10.00 am (“N.Z. Surf” 15). Despite some resident anger regarding the area’s general dilapidation and how the money being spent on the visit could have been used for longstanding repairs to the Pavilion and other infrastructure (Brawley 203), most found the decorations of the beach area appealing (“Royal Visit” n.p.). Tickets to the carnival had sold out well in advance and the stands were filled hours before the Queen arrived, with many spectators wearing sundresses or shorts and others stripping down to swimsuits in the sunshine (“Royal Visit” n.p.). With Police Inspector Michael O’Neill’s collapse and death at a royal event the day before thought to be the result of heat exposure, and the thermometer reaching the high 80s°F (low 30s°C), a large parasol was sourced to be held over the Queen on the dais (Meagher 8). A little after 3:15 pm, the surf club’s P.A. system advised those assembled at the beach that the royal party had left Randwick Racecourse on time and were proceeding towards them (“Queen’s Visit to Races” 17), driving through cheering crowds all the way (“Sydney” 18). At Waverley Park, Council had ensured that the waiting crowds had been entertained by the Randwick-Coogee pipe band (“Royal Visit” n.p.) and spirits were high. Schoolchildren, wearing their medals, lined the footpaths, and 102-year-old Ernest Dunn, who was driven to the park in the morning by police, was provided with a seat on the roadway as well as tea and sandwiches during his long wait (“Royal Tour Highlights” 2; “Royal Visit” n.p.). The royal couple, driving by extremely slowly and waving, were given a rousing welcome. Their attire was carefully selected for the very warm day. The Queen wore a sunny lemon Dior-styled cap-sleeved dress, small hat and white accessories, the Duke a light-coloured suit and tie. It was observed that she wore heavier makeup as a protection against the sun and, as the carnival progressed, opened her handbag to locate her fashionable sunglasses (“Thrills” 1). The Duke also wore sunglasses and used race binoculars (Meagher 8). The Result Despite the exhaustive planning, there were some mishaps, mostly when the excitement of the “near-hysterical crowds” (Hardman n.p.) could not be contained. In Double Bay, for instance, as the royals made their way to Bondi, a (neither new nor clean) hat thrown into the car’s rear seat struck the Duke. It was reported that “a look of annoyance” clouded his face as he threw it back out onto the road. At other points, flags, nosegays, and flutter ribbons (long sticks tied with lengths of coloured paper) were thrown at, and into, the Royal car. In other places, hundreds raced out into the roadway to try to touch the Queen or the Duke. They “withstood the ordeal unflinchingly”, but the Duke was reportedly concerned about “this mass rudeness” (“Rude Mobs” 2). The most severe crowding of the day occurred as the car passed through the centre of Bondi Junction’s shopping district, where uniformed police had to jump on the Royal car’s running boards to hold off the crowds. Police also had to forcibly restrain a group of men who rushed the car as it passed the Astra Hotel. This was said to be “an ugly incident … resentment of the police action threatened to breed a riot” (“Rude Mobs” 2). Almost everything else met, and even exceeded, expectations. The Queen and Duke’s slow progress from Bondi Road and then, after passing under a large “Welcome to Bondi” sign, their arrival at the entrance to the dais only three minutes late and presence at the carnival went entirely to plan and are well documented in minute-by-minute detail. This includes in detailed press reports, newsreels, and a colour film, The Queen in Australia (1954). Their genuine enjoyment of the races was widely commented upon, evidenced in how they pointed out details to each other (Meagher 8), the number of times the Duke used his binoculars and, especially, in their reluctance to leave, eventually staying more than double the scheduled time (“Queen Delighted” 7). Sales of tickets and programs more than met the costs of mounting the event (Meagher 8–9) and the charity concert held at the beach on the night of the carnival to make the most of the crowds also raised significant funds (“Queen in the Suburbs” 4). Bondi Beach looked spectacularly beautiful and gained considerable national and international exposure (Landman 183). The Surf Life Saving Association of Australia’s president noted that the “two factors that organisation could not hope to control—weather and cooperation of spectators—fulfilled the most optimistic hopes” (Curlewis 9; Maxwell 9). Conclusion Although it has been stated that the 58-day tour was “the single biggest event ever planned in Australia” (Clark 8), focussing in on a single event reveals the detailed decentralised organisation which went into both each individual activity as well as the travel between them. It also reveals how significantly responsible bodies drew upon volunteer labour and financial contributions from residents. While many studies have discussed the warm welcome given to the monarch by Australians in 1954 (Connors 371–2, 378), a significant finding from this object-inspired research is how purposefully Waverley Council primed this public reception. The little medal discussed at the opening of this discussion was just one of many deliberate attempts to prompt a mass expression of homage and loyalty to the sovereign. It also reveals how, despite the meticulous planning and minute-by-minute scheduling, there were unprompted and impulsive behaviours, both by spectators and the royals. Methodologically, this investigation also suggests that seemingly unprepossessing material remnants of the past can function as portals into larger stories. In this case, while an object biography could not be written of the commemorative medal I stumbled upon, a thoughtful consideration of this object inspired an investigation of aspects of the Queen’s visit to Bondi Beach that had otherwise remained unexplored. References Brawley, Sean. “Lifesavers of a Nation.” 3 Feb. 2007: 82. [extract from The Bondi Lifesaver: A History of an Australian Icon. Sydney: ABC Books, 2007.] Clark, Andrew. “The Queen’s Royal Tours of Australia Remembered: Reflection.” The Australian Financial Review 10 Sep. 2022: 8. Connors, Jane. “The 1954 Royal Tour of Australia.” Australian Historical Studies 25 (1993): 371–82. Conway, Doug. “Queen’s Perennial Pride in Australia.” AAP General News Wire 26 Nov. 2021: n.p. “Coronation Medals Presented to School Children: 6000 Distributed in Rockhampton District.” Morning Bulletin 12 May 1937: 6. “Costume Rule for Queen’s Bondi Visit.” Barrier Miner 18 Dec. 1953: 3. Curlewis, Adrian. “Letter.” Bondi Surfer: Official Organ of the Bondi Surf Bathers’ Life Saving Club 2.7 (1954): 9. Ford, Caroline. Sydney Beaches: A History. Sydney: NewSouth Publishing, 2014. Ford, Caroline, Chris Giles, Danya Hodgetts, and Sean O’Connell. “Surf Lifesaving: An Australian Icon in Transition.” Australian Bureau of Statistics Year Book, Australia 2007. Ed. Dennis Trewin. Canberra: Australian Bureau of Statistics, 2007. 1–12. Hardman, Robert. Our Queen. London: Hutchinson, 2011. &lt;https://www.google.com.au/books/edition/OurQueen/DySbU9r0ABgC&gt;. Jenkings, Frank. “Editorial.” Bondi Surfer: Official Organ of the Bondi Surf Bathers’ Life Saving Club 2.6 (1954): 1. Landman, Jane. “Renewing Imperial Ties: The Queen in Australia.” The British Monarchy on Screen. Ed. Mandy Merck. Manchester: Manchester UP, 2016. 181–204. Lawrence, Joan, and Alan Sharpe. Pictorial History: Eastern Suburbs. Alexandria: Kingsclear Books, 1999. Maxwell, C. Bede. “Letter.” Bondi Surfer: Official Organ of the Bondi Surf Bathers’ Life Saving Club 2.7 (1954): 9. Meagher, T.W. “The Royal Tour Surf Carnival Bondi Beach, February 6, 1954.” Bondi Surfer: Official Organ of the Bondi Surf Bathers’ Life Saving Club 2.7 (1954): 6–9. National Archives of Australia (NAA): A462, 825/4/6, Royal tour 1954—Medals for School children—General representations, 1954. National Archives of Australia (NAA): A1533, 1957/758B, Royal Visit, 1953–1954. National Archives of Australia (NAA): A1838, 1516/11 Part 1, Protocol—Royal Visit, 1948–1954. National Archives of Australia (NAA): A1838, 1516/11 Part 2, Protocol—Royal Visit, 1954–1966. National Archives of Australia (NAA): A6122, 1861, Government Heads of State—Royal Visit 1954—ASIO file, 1953–1958. Canberra: Australian Security Intelligence Organization. National Archives of Australia (NAA): A9708, RV/CD, Fly and Mosquito Control. National Archives of Australia (NAA): A9708, RV/CQ, Laundry and Dry Cleaning and Pressing Arrangements. National Archives of Australia (NAA): A9708, RV/DD Annexure 2, Minutes of Conferences with State Directors, 22 January 1953–14 January 1954. National Archives of Australia (NAA): A9708, RV/DD Annexure 3, State Publications. National Archives of Australia (NAA): A9708, RV/DD Annexure 15, Report by Public Relations Officer. National Archives of Australia (NAA): A9708, RV/T, Matters Relating to Dress. National Archives of Australia (NAA). Royalty and Australian Society: Records Relating to The British Monarchy Held in Canberra. Research Guide. Canberra: Commonwealth of Australia, 1998. “N.Z. Surf Team in Dispute.” The Sydney Morning Herald 6 Feb. 1954: 15. “Queen Delighted by Carnival.” The Sun-Herald 7 Feb. 1954: 7. “Queen in the Suburbs: Waverley.” Sun 21 Jan. 1954: 4. “Queen’s Visit to Races: Drive in Suburbs.” The Daily Telegraph 6 Feb. 1954: 17. “Royal Tour Highlights.” The Mail 6 Feb. 1954: 2. Royal Variety Charity. “Coronation Year Royal Variety Performance.” London: London Coliseum, 2 Nov. 1953. &lt;https://www.royalvarietycharity.org/royal-variety-performance/archive/detail/1953-london-coliseum&gt;. “Royal Visit to Waverley.” Feb. 1954 [Royal Visit, 1954 (Topic File). Local Studies Collection, Waverley Library, Bondi Junction, LS VF] “Rude Mobs Spoil Happy Reception.” The Argus 8 Feb. 1954: 2. Sleight, Simon. Young People and the Shaping of Public Space in Melbourne, 1870–1914. Abingdon: Routledge, 2016. “Socialites in for Rude Shock on Royal Tour Invitations.” Daily Telegraph 3 Jan. 1954: 3. “Stage Set for Royal Surf Carnival at Bondi.” The Sydney Morning Herald 6 Feb. 1954: 15. “State House Rehearses Royal Opening.” The Sydney Morning Herald 27 Jan. 1954: 5. “Sydney.” Women’s Letters. The Bulletin 10 Feb. 1954: 18. The Age 24 Jun. 1897: 5. The Queen in Australia. Dir. Colin Dean. Australian National Film Board, 1954. “The Queen to See Lifesavers.” The Daily Telegraph 24 Aug. 1953: 12. “The Royal Tour.” Bondi Daily 30 Jan. 1954: 9. “Thrills for the Queen at Bondi Carnival—Stayed Extra Time.” The Sun-Herald 7 Feb. 1954: 1. Warshaw, Matt. The History of Surfing. San Fransisco: Chronicle Books, 2010. Wilson, Jack. Australian Surfing and Surf Lifesaving. Adelaide: Rigby, 1979.

Introduction "Barbie has a great day every day, but Ken only has a great day if Barbie looks at him", states the narrator in Barbie (2023). Directed by Greta Gerwig, the film not only claimed the title of the highest-grossing film of the year but also prompted its audience to reconsider a character they had previously mostly overlooked; another one of Barbie’s many accessories: Ken. Ken's identity as Barbie's companion is fundamentally dependent upon the presence and recognition of his more prominent female counterpart. This highlights Ken's secondary role, where he serves as a supporting figure to Barbie's idealised existence. Akin to a Manic Pixie Dream Boy (MPDB) overshadowed by Barbie, we realise Ken’s lack of identity. Throughout the film, Ken, initially depicted as identity-less, embarks on a journey of self-discovery, challenging the confines imposed by white patriarchy, although it doesn’t seem that way at first. This article will first establish Ken's MPDB status, highlighting traits such as (a) seeking to elevate and challenge the main character’s beliefs, (b) harbouring both gentleness and deviousness, while also engaging in playful yet mildly destructive mischief, (c) acting as a catalyst for change, (d) exhibiting a desire to escape, disappear, or transform, leaving valuable lessons behind, and (e) existing solely within the perception of or for the benefit of the main character. Subsequently, it will follow his journey, ultimately examining how a humanoid doll undergoes healing particularly concerning gender issues. Through the deconstruction of his narrative, this article aims to uncover the underlying power dynamics at play and to explore how Ken's transformation contributes to broader conversations surrounding gender fluidity and representation. By doing so, the article will provide an understanding of Ken's role and contribution to the feminist cause, while also offering insights into the broader cultural significance of the film. Manic Pixie Dream Girl In contemporary discourse, the term MPDGirl has gained recognition following its coinage by Nathan Rabin: “that bubbly, shallow, cinematic creature that exists solely in the fevered imaginations of sensitive writer-directors to teach broodingly soulful young men to embrace life and its infinite mysteries and adventures” (Rabin, "The Bataan"). It rapidly gained eminence within popular culture, precipitating a widespread societal fixation on the quest for mining more MPDGs, up to the point where Rabin himself voiced his regret about coining the term ("I’m Sorry"). However, the MPDG was already a presence among us. As Laurie Penny states in the article "I Was a Manic Pixie Dream Girl", “Like scabies and syphilis, Manic Pixie Dream Girls were with us long before they were accurately named”. Additionally, Gouck contends that “the Pixie is a descendant of the Classical Muse and also has roots in the Pygmalion myth” (527). Thus, tracing from these foundational mythical and ancient iterations to contemporary relatives such as the Earnest Elfin Dream Gay (EEDG) and the “Magical Negro”, popularised by Spike Lee, reveals a diverse family tree. Although various writers for online platforms have declared the demise of the MPDG (Eby; Harris; Stoeffel), the trope constantly found ways to revive itself. Harris, in her 2012 article "Is the Manic Pixie Dream Girl Dead?", claimed that the trope has been turned on its head with later iterations like Ruby Sparks, “depicting a writer (Paul Dano) whose idealistic, winsome female character comes to life and challenges patriarchal notions of what women actually want”. Tannenbaum, on the other hand, suggested that the MPDG isn’t dead but just evolved through a loophole: the tragic backstory. This article contends that as long as a concept remains in circulation, it cannot die. Thus, even this article itself contributes to the preservation of the phenomenon in question. Manic Pixie Dream Boy In 2012, Molly Lambert introduced a notable extension of the MPDG archetype: the MPDB. Lambert described the MPDB as a character who uplifts the heroine's self-confidence through comfort, inspiration, and nurturing support, without expecting anything in return. He … tamps down her … temper while appreciating her quirks … . He’s a nerd, but not an angry … one. He’s handsome, but he has no idea … . His … hobbies might be immature … but it doesn’t extend to his emotions … . He’s a selfless, responsible Peter Pan. (Lambert) The likening of the MPDB to a selfless and responsible Peter Pan is flawed. One of the main reasons that make Peter Pan Peter Pan is that he doesn’t want to become an adult and be burdened with responsibilities. Additionally, the notion of the MPDB wanting nothing in return is flawed, as the MPDB's actions are usually driven by a fixation obsession rather than genuine altruism. Consequently, rather than epitomising selflessness, the MPDB defined by Lambert aligns more closely with an idealised EveryWoman’sDreamBoy archetype. In 2015, Anna Breslaw introduced another definition, labelling the MPDB as a “self-mythologizing ‘free-spirited’ dude”; however, it still remains unclear and unsatisfactory. Since its inception, there has been a fundamental misunderstanding of the concept of the MPDB. Originally rooted in a female-centric trope, it requires careful interpretation. When the definitions of the MPDB are applied as previously stated, it effectively transforms into an archetype that conventionally represents many women's ideal. However, unlike the MPDG, who is characterised by her eccentricity, the previous definitions of the MPDB reject this norm. Drawing inspiration from figures such as Peter Pan, Puck, King Kong, the Amphibian Man, the Beast, and Edward Scissorhands, the MPDB embodies a blend of comfort and chaos. This dichotomy is exemplified in Ken, who fulfills the role of comfort and chaos for Barbie, yet finds himself unwanted and unneeded. The real MPDB is defined by five core features that distinguish it from the misinterpreted notion often associated with the trope. a) The MPDB seeks to elevate and challenge the main character’s beliefs: Ken consistently tries to alter Barbie’s perceptions, as evidenced by his persistent attempts to reshape her opinion of him beyond superficial interests. This is exemplified by his pursuits beyond conventional activities, such as his daring act of running into the plastic waves, a seemingly unprecedented action that surprises, shocks, or scares those around him. b) The MPDB harbours both gentleness and deviousness, while engaging in playful yet mildly destructive mischief: Ken exhibits a dual nature, demonstrating kindness and charm towards Barbie while simultaneously harbouring ulterior motives, including a deep-seated desire to become Barbie's romantic partner. This complexity in character can be likened to the “nice guy syndrome”, where benevolent actions may mask underlying intentions. Furthermore, upon his return to build patriarchy, this desire is accentuated, showcasing his multilayered personality. c) The MPDB acts as a catalyst for change: Ken serves as an important force in instigating transformation, as demonstrated by the significant shifts that occur in both Barbieland and Barbie's life due to Ken's presence. His actions challenge Barbie's beliefs, whether intentionally or inadvertently, leading her to perceive new perspectives and undergo personal growth. d) The MPDB exhibits a desire to escape, disappear, or transform, leaving valuable lessons behind: Throughout Ken's MPDB journey, his inclination towards escapism, disappearance, or transformation becomes evident. While his initial desire to accompany Barbie may stem from romantic aspirations, it is also fuelled by the rivalry among the Kens. Once Ken realises there is more than Barbieland and he can want different things, he expresses his desire for change. As Ken evolves and heals, he undergoes a transformation, ultimately becoming a changed entity, yet leaving behind significant lessons that pave the way for the transformation of Barbieland and Barbie. e) The MPDB exists solely within the perception of or for the benefit of the main character: Ken’s presence is exclusively crafted within the perspective of, or to serve the needs of, the main character. According to a 2017 GQ article, Michael Shore, the head of Mattel's global consumer insights at the time, states that, “Ken was really viewed as more of an accessory in Barbie’s world, to support the narrative of whatever was happening with the girls” (qtd. in Weaver). This perspective reinforces Ken's role as arm candy within Barbie's world, serving as a complement to her endeavors at a ratio of about 1:7 (Weaver). This aspect highlights the trope's function as a narrative construct intended to support and shape the protagonist's storyline and growth. The MPDB Ken Ken (Ryan Gosling) makes his debut appearance in the Barbie movie at the eight-minute mark. While the narrative primarily revolves around Barbie, Ken's introduction is a subtle but significant moment. As Barbieland unfolds before us, Ken's delayed entrance, as another inhabitant of Barbieland, draws attention. Barbie is everywhere, but where is Ken? Amidst the cheerful exchanges of “Hi Barbie, Hi Ken”, Ken's behavior stands out—he doesn't reciprocate the greeting with other Kens, he only greets Barbie. Ken's omission from acknowledging his fellow Kens seems like a deliberate choice—a denial of their existence, perhaps suggesting that he perceives himself as the sole Ken of significance in Barbieland. His exclusive greeting to Barbie highlights this notion; in his world, Barbie is paramount, and other Kens are unimportant in comparison. We understand that there is a rivalry going on between the Kens; there is no Kenship, mainly between Ken (Gosling) and Ken (Simu Liu). The same evening at the party, while all the Barbies wear complementary yet distinct clothes, the Kens are dressed uniformly in identical outfits. This lack of individuality strips them of identity, claims Roche, “it is a training, an element in the education of controlled individual power ... designed to shape the physique … of [an] individual” (228-9). Uniforms shape individuality into collectivity and thus cause a lack of identity. The white and gold motifs on Kens’ jumpsuits may symbolise collectivity. They are a team; they are minds that have never been shaped before, they are accessories. The 'K' emblem on their jackets further emphasises their lack of identity. Costume designer Jacqueline Durran “imagined Gosling’s character as ‘almost like an accessory’ where his main function is to just be there and match her look. The Kens could all be dressed the same because there wasn’t meant to be anything distinct about them” (Zemler, "Dressing Barbie"). This point is even more highlighted in a scene where Barbie and Ken are in the car going to the real world, where Ken has another jumpsuit that is covered with the letter “B”. In the absence of the other Kens he is even more of an accessory, and even wearing something with his initials is denied, he is Barbie’s property. Contact with Patriarchy Barbie and Ken enter the real world, and interestingly, while throughout the travel sequence, Barbie is in front of Ken, leading Ken, in the shot where they enter the real world, Ken is in front of Barbie. Ken, for the first time alone, somehow ends up at Century City: “it is the antithesis of Barbieland”, says Greenwood, “there is an homage to the male construction industry and the male gaze” (Zemler, "On Location"). Men who are passing him say “excuse me, sir, thanks man, what’s up bud”. This new world that he encounters in Century City is giving him an identity. For the first time, he is something more than an unwanted MPDB. He is sir, he is man, he is bud. Since the Kens exist as a second-class species whose sole purpose is to cheer the Barbies on, he cannot comprehend his actual yearning, he thinks common decency (someone saying excuse me) is what patriarchy is. A fish out of water, the manic pixie Ken creates a pastiche of everything he encounters to assume this new identity: male presidents, mini-fridges, golf, a fur coat, and even horses. His first interaction with horses is through two police officers riding horses. Believing that horses are an important part of patriarchy, Ken wearing a cowboy outfit too, internalises the bond between horse and man. Pickel-Chavelier, in a study about horse stories, states that “the horse has been a fundamental element in the evolution of Western civilization” (120). Robinson argues that historically “the human-horse relationship was male-dominated, reflecting the horses’ role as a work tool and the traditional placing of power and power sources under the control of men” (44). Thus, the rider has been considered to have “increased power and an increased sense of power” while evoking “a sense of inferiority and envy” in pedestrians (Robinson 43). Studying the human-horse relationship through the American mounted police, Lawrence claimed that the mounted police have close relationships with their horses. Robinson states that “the officers spend much time with their animals each day and develop a sense of trust” (43). Ken's admiration of horses likely symbolises his evolving understanding of masculinity and power dynamics within patriarchy. Being introduced to horses as symbols of authority and control, he understands them as companions embodying strength, loyalty, and trust. This explains how he understands masculinity as a realm where power is defined by mutual respect and partnership, rather than dominance, which is also probably the reason why he loses interest in patriarchy when he realises it’s not about horses. Nicholas, in their article "Ken’s Rights?", claims that “radicalization … is often motivated by feelings among … men of being left behind by a feminist world or system that doesn’t value them. This then leads them to long for an imagined natural order of patriarchy where women are back in their place and men regain their entitlements”. Ken’s frustration leads him to introduce patriarchy to his fellow Kens, envisioning a transformation of Barbieland into a new Century City. This shift reflects Ken’s Manic Pixie healing journey: rather than being solely an MPDB, Ken slowly constructs an identity under patriarchy for himself. Drawing from Connell's perspective on hegemonic masculinity, which posits that masculinity is always constructed in response to subordinated masculinities, we see how Ken's desire for change extends to altering the very fabric of Barbieland, from its constitution to its name, renaming it Kendom. This name change holds significance, echoing the concept of “Inceldom” within the larger misogynist ecosystem of the Manosphere, where men perceive themselves as deprived of love and intimacy due to feminist ideals. In addition to incels, the ‘Manosphere’ is comprised of Men’s Right Activists, Men Going Their Own Way (MGTOW), AND Pick-Up Artists (PUAs). Each of these groups subscribe to the same underlying philosophy, referred to as the ‘red pill’… When an individual has ‘taken the red pill’, they have enlightened themselves to a reality in which women wield feminism as a weapon against men, depriving them of sex and love. (Gothard et al. 1) Ken’s new outfit is another important change. As patriarchy leaks into Barbieland, Ken's outfit begins to reflect iconic images of masculinity, such as Sylvester Stallone in a mink coat. Previously, Ken's clothing complemented Barbie's, but now, his fanny pack displays his full name instead of just the letter K, positioned over his non-existent genitalia. This deliberate placement implies a newfound connection between his new identity and his imagined sex. When discontent Barbies strategise to disrupt the new order, they manipulate Kens' fragile egos, inciting conflict just before the crucial constitution vote. The fighting sequence starts with Ryan Gosling’s "I'm just Ken" song and imagery reminiscent of Rodin's iconic statue “The Thinker”. The Rodin Museum describes the figure as “a being with a tortured body, almost a damned soul, and a free-thinking man, determined to transcend his suffering through poetry”, mirroring Ken's current state of turmoil. In Rodin’s lifetime, there were “many marble and bronze editions in several sizes” that have been executed (Zelazko). Similarly, there are countless iterations of Ken, undermining his belief in his uniqueness. The general anticipation of the statue being impressive but then feeling let down when seeing its real size serves as a poignant metaphor for Ken's inflated self-importance, contrasted with his inherent fragility and insignificance. As the chorus “I’m just Ken” starts, Ken (Gosling) rides into the battle “on paddle boats reminiscent of cannon-loaded ships, while [Ken (Liu)]’s crew carries him over their shoulders, spinning umbrellas like wheels and holding stick horses as if they were human chariots” (Lee), having frisbees, tennis rackets, and other sports equipment in their hands. This imagery not only captivates the audience but also serves as a reflection of the sports and war imagery in media representations of men. The notion of hegemonic masculinity is intricately woven into such depictions. Jansen and Sabo point out “that the sport/war metaphor is embedded within a “deep structure” of patriarchal values, beliefs, and power relations that, in turn, reflect and advance the agendas of hegemonic masculinity” (2). This metaphor not only reflects but also advances the agendas of hegemonic masculinity. By glorifying competition and valorising traits associated with aggression and dominance, media representations perpetuate narrow and rigid norms of masculinity, reinforcing the hierarchical gender dynamics prevalent in society. However, through playful exploration of these notions, Barbie introduces a significant step in the healing journey of MPDBs, all while cleverly critiquing the inherent associations society makes between masculinity, competitive sports, and even aspects of warfare. Kenough As Ken continues his performance, seamlessly transitioning from a part-power ballad, part-battle sequence into a dream ballet, the narrative takes a profound turn. Connell's concept of “gender order”, referring to “a historically constructed pattern of power relations between men and women and definitions of femininity and masculinity” that emerge and are transformed within varying institutional contexts (98-99), becomes particularly relevant when applied to dancing, seen as an institutional context. Silvester, discussing how gender dynamics within dancing evolved, notes that in the 60s, with the twist and later with disco dancing, dancers did not have to have partners any more, which made the “presumptions about the effeminacy of professional male dancers” widespread (qtd. in Owen 18). Because in performance culture female dancers were the objects of desire for usually male spectators, dancing found itself a place inside the borders of femininity, “and homophobic prejudices against male dancers grew” (Owen 18). Initially, at the party, dancing symbolises their confinement to their identities as Barbie’s accessory, and later it serves as a catalyst for shedding the performative shackles of masculinity and patriarchy. Through dance, MPDB Ken embraces authenticity, breaking down the barriers of the embarrassment of showing admiration to his fellow Kens and fostering genuine connection and affection. The Kens help each other up, they giggle, and they kiss each other on the cheek; they are no longer threatened by each other or by showing affection. As the battle sequence comes to an end, one Ken acknowledges that they were only fighting because they didn’t know who they were. What initially began as a melodramatic expression of the insecurities of an incel, angry at his object of affection, transforms into a collective affirmation of self-worth, fostering unity and acceptance among the Kens. Lee aptly describes this transformation as an elevation from internal conflict to self-affirming validation, marking a pivotal shift away from self-destructive behaviours towards mutual respect and understanding. Ken finally has an identity that is not defined through Barbie’s gaze or patriarchal vision of masculinity. He is not an MPDB that only exists for the protagonist anymore. He finds an identity; however, one he does not know how to express. Connell and Messerschmidt state that “men can adopt hegemonic masculinity when it is desirable; but the same men can distance themselves strategically from hegemonic masculinity at other moments. Consequently, ‘masculinity’ represents not a certain type of man but, rather, a way that men position themselves through discursive practices” (841). Ken still does not abandon what he has found in the real world. Knowing he has been defeated he tries to “strategically” reposition himself. Like a toddler having a temper tantrum, he runs to his mojo dojo casa house, throws himself on his bed, and starts crying, while Barbie tries to comfort him. Myisha et al. suggest that Barbie, as a woman, again is cast in the role of nurturer and comforter, and thus the movie finds itself repeating gender stereotypes. However, missing the point that Ken is crying in this scene, these criticisms are themselves reinforcing gender stereotypes by mistaking common decency for an intrinsic association with women. Ken later denounces patriarchy and learns from Barbie not to define himself by his possessions, his relationship, or his job. Embracing his individuality, he declares, “I'm Ken, and I'm Kenough”, going down the slide, symbolizing a rebirth. In his final shot, Ken is seen with a sweatshirt proclaiming “I’m Kenough”. In embracing his past identities through the bandana and the color pink, he constructs a new identity, one that welcomes all colors. bell hooks defines feminism as “the struggle to end sexist oppression” for all women without “[privileging] women over men” (26). Greta Gerwig, in an interview with Time, acknowledges the struggles faced by both men and women throughout history, highlighting the universal pressure to meet unrealistic standards (Carlin). This suggests that while women face specific forms of oppression, men too are ensnared by other rigid societal norms, if not the same. By recognising these challenges, feminism advocates for the involvement of men in the movement. Whether it is standing in solidarity with women or confronting their own biases, men play a pivotal role in advancing gender equality. For feminism to thrive, it necessitates men's active participation, urging them to support women's rights and challenge patriarchal structures while remaining open to introspection and growth. Feminism has consistently aimed to dismantle the rigid gender binaries epitomised by the Barbie/Ken dichotomy, advocating for the separation of attributes from their gendered associations. From Barbie, we can glean the lesson that hierarchical and inflexible gender norms benefit no one and that power and social roles should not be determined by one's biological sex. Nicholas, in their article "Ken’s Rights?", claims that online antifeminist discourses reveal parallels between Ken's journey in the movie and themes found in Men’s Rights Activist spaces. Ken's transition from aggrievement to a more enlightened perspective on masculinity mirrors the narratives prevalent in such spaces. This underscores the importance of understanding and addressing men within the context of feminism, as their experiences are intertwined with broader societal structures and expectations. True progress cannot be achieved if we continue to view those who perpetuate patriarchy or toxic masculinity as “others”. We should see them as humanoid Ken dolls, and in doing so help them to help us trigger answers and solutions. Understanding and addressing these issues is crucial for healing and reducing harm inflicted by patriarchal norms. While Barbie may have its flaws, focussing solely on its shortcomings detracts from the opportunity to address deeper issues regarding society. MPDB Ken's portrayal as a subservient accessory to Barbie raises important questions about gender dynamics and the impact of societal expectations on individuals. Rather than vilifying Ken because he brought patriarchy to Barbieland, and reducing him only to a man, I advocate for understanding his journey and recognising him also as a brainwashed character, alongside the brainwashed Barbies, who needed the help of his friends to heal. By acknowledging and addressing the influence of patriarchal norms on all individuals, including men like Ken, we can work towards healing and progress for all. References Barbie. Dir. G. Gerwig. Warner Bros. Pictures, 2023. Breslaw, Anna. “Beware the Manic Pixie Dream Boyfriend.” The Cut, 13 Sep. 2015. &lt;https://www.thecut.com/2015/09/beware-the-manic-pixie-dream-boyfriend.html&gt;. Carlin, Shannon. “The History Behind Barbie’s Ken.” Time, 20 Jul. 2023. &lt;https://time.com/6296386/barbie-ken-history/&gt;. Connell, Raewyn. "The Social Organization of Masculinity." Feminist Theory Reader. Routledge, 2020. 192-200. ———. Gender and Power Cambridge. Polity, 1987. Connell, Raewyn, and James W. Messerschmidt. "Hegemonic Masculinity: Rethinking the Concept." Gender &amp; Society 19.6 (2005): 829-59. “Director Spike Lee Slams ‘Same Old’ Black Stereotypes in Today’s Films.” YALE Bulletin &amp; Calender 29.21 (2 Mar. 2001). &lt;http://archives.news.yale.edu/v29.n21/story3.html&gt;. Eby, Margaret. “The Death of the Manic Pixie Dream Girl.” Brooklyn, 15 Jul. 2014. &lt;https://www.bkmag.com/2014/07/15/the-death-of-the-manic-pixie-dream-girl/&gt;. Gothard, Kelly Caroline, et al. “The Incel Lexicon: Deciphering the Emergent Cryptolect of a Global Misogynistic Community.” University of Vermont and State Agricultural College, 2021. Gouck, Jennifer. “The Problematic (Im)persistence of the Manic Pixie Dream Girl in Popular Culture and YA Fiction.” Women's Studies 52.5 (2023): 525-44. Harris, Aisha. “Is the Manic Pixie Dream Girl Dead?” Slate, 5 Dec. 2012. &lt;https://slate.com/culture/2012/12/manic-pixie-prostitute-video-is-the-latest-critique-of-the-manic-pixie-dream-girl-archetype-video.html&gt;. hooks, bell. Feminist Theory: From Margin to Center. Pluto Press, 2000. Jansen, Sue Curry, and Don Sabo. “The Sport/War Metaphor: Hegemonic Masculinity, the Persian Gulf War, and the New World Order.” Sociology of Sport Journal 11.1 (1994): 1-17. &lt;https://journals.humankinetics.com/view/journals/ssj/11/1/article-p1.xml&gt;. Stoeffel, Kat. “The ‘Manic Pixie Dream Girl’ Has Died.” The Cut, 29 July 2013. &lt;https://www.thecut.com/2013/07/manic-pixie-dream-girl-has-died.html&gt;. Lambert, Molly. “1D Internet Fantasies: Liz Lemon, One Direction, and the Rise of the Manic Pixie Dream Guy.” Grantland: Hollywood Prospectus, 3 Dec. 2012. &lt;https://grantland.com/hollywood-prospectus/1d-internet-fantasies-liz-lemon-one-direction-and-the-rise-of-the-manic-pixie-dream-guy/&gt;. Lee, Ashley. “How Hilarious ‘Barbie’ Earworm ’I’m Just Ken’ Brings Toxic Masculinity to Its Knees.” Los Angeles Times, 28 Jul. 2023. &lt;https://www.latimes.com/entertainment-arts/movies/story/2023-07-28/barbie-movie-ryan-gosling-im-just-ken-lyrics-dance-moves-explained&gt;. Mason, Derrit. “The Earnest Elfin Dream Gay.” Public Books, 9 Nov. 2018. &lt;https://www.publicbooks.org/the-earnest-elfin-dream-gay/&gt;. Myisha, Nabila, et al. “Decoding the Perpetuation of Patriarchal Culture in the Barbie Movie.” Cultural Narratives 1.2 (2023): 71-82. Nicholas, Lucy. “Ken’s Rights? Our Research Shows Barbie Is Surprisingly Accurate on How ‘Men’s Rights Activists’ Are Radicalized.” The Conversation, 25 Jul. 2023. &lt;https://theconversation.com/kens-rights-our-research-shows-barbie-is-surprisingly-accurate-on-how-mens-rights-activists-are-radicalised-210273&gt;. Owen, Craig Robert. Dancing Gender: Exploring Embodied Masculinities. 2014. PhD dissertation. Bath: University of Bath. &lt;https://purehost.bath.ac.uk/ws/portalfiles/portal/187931069/OWEN_Craig_PhD_Thesis_1_6_2014.pdf&gt;. Penny, Laurie. “Laurie Penny on Sexism in Storytelling: I Was a Manic Pixie Dream Girl.” The New Statesman, 7 Aug. 2014. &lt;https://www.newstatesman.com/politics/2013/06/i-was-manic-pixie-dream-girl&gt;. Pickel-Chavalier, Sylvine. “Popular Horse Stories and the Invention of the Contemporary Human-Horse Relationship through an ‘Alter Ego’ paradigm.” Journal of Sports Science 5 (2017): 119-137. &lt;https://hal.science/hal-01571632/document&gt;. Rabin, Nathan. “The Bataan Death March of Whimsy Case File #1: Elizabethtown.” The A.V. Club, 25 Jan. 2007. &lt;https://www.avclub.com/the-bataan-death-march-of-whimsy-case-file-1-elizabet-1798210595&gt;. ———. “I’m Sorry for Coining the Phrase 'Manic Pixie Dream Girl'.” Salon, 16 Jul. 2014. &lt;https://www.salon.com/2014/07/15/im_sorry_for_coining_the_phrase_manic_pixie_dream_girl/&gt;. Robinson, I.H. “The Human‐Horse Relationship: How Much Do We Know?” Equine Veterinary Journal 31.S28 (Apr. 1999): 42–5. DOI: 10.1111/j.2042-3306.1999.tb05155.x. Roche, Daniel. The Culture of Clothing: Dress and Fashion in the Ancien Régime. Cambridge UP, 1996. Romero-Medina, Pablo, and Júlia Vilasís-Pamos. “Alt-Right, Neomasculinities and Video Games: A Narrative Review.” Digital Games Research Association (DiGRA), 2023. &lt;http://digra.org:9998/DiGRA_2023_CR_1583.pdf&gt;. Tannenbaum, Emily. “The ‘Manic Pixie Dream Girl’ Isn’t Dead – She Has Just Evolved.” Glamour, 25 Aug. 2020. &lt;https://www.glamour.com/story/the-manic-pixie-dream-girl-isnt-dead-shes-just-evolved&gt;. “The Thinker.” Musee Rodin, n.d. &lt;https://www.musee-rodin.fr/en/musee/collections/oeuvres/thinker&gt;. Weaver, Caity. “The Ken Doll Reboot: Beefy, Cornrowed, and Pan-Racial.” GQ, 20 Jun. 2017. &lt;https://www.gq.com/story/the-ken-doll-reboot-beefy-cornrowed-and-pan-racial&gt;. Zelazko, Alicja. “The Thinker.” Britannica, 20 Feb. 2024. &lt;https://www.britannica.com/topic/The-Thinker-sculpture-by-Rodin&gt;. Zemler, Emily. “On Location: Unboxing Barbie in Venice Beach.” Conde Nast: Traveler, 21 Jul. 2023. &lt;https://www.cntraveler.com/story/barbie-movie-venice-beach&gt;. ———. Dressing Barbie Was Always the Best Part: Just Ask Costume Designer Jacqueline Durran. Yahoo! Movies, 20 Feb. 2024. &lt;https://ca.movies.yahoo.com/dressing-barbie-always-best-part-130045950.html&gt;.