One of the legacies of the guilds, the elevated Windsor Guildhall was originally a meeting place for guilds, as well as magistrates' seat and town hall.

A guild (German: Gilde) is an association of craftsmen in a particular trade. The earliest types of guild were formed as confraternities of workers. They were organized in a manner something between a trade union, a cartel, and a secret society. They often depended on grants of letters patent by a monarch or other authority to enforce the flow of trade to their self-employed members, and to retain ownership of tools and the supply of materials. A lasting legacy of traditional guilds are the guildhalls constructed and used as meeting places.

An important result of the guild framework was the emergence of universities at Bologna, Paris, and Oxford around the year 1200; they originated as guilds of students as at Bologna, or of masters as at Paris.^[1]

Early guildlike associations[link]

In pre-industrial cities, craftsmen tended to form associations based on their trades, confraternities of textile workers, masons, carpenters, carvers, glass workers, each of whom controlled secrets of traditionally imparted technology, the "arts" or "mysteries" of their crafts. Usually the founders were free independent master craftsmen.

During the Gupta period in India (AD 300M–600), craftmen's associations, which may have had archaic antecedents, were known as shreni. Greek organizations in Ptolemaic Egypt were called koinon, starting from their 3rd century BC origins of Roman collegia, spread with the extension of the Empire. The Chinese hanghui probably existed already during the Han Dynasty (206 BC - AD 220):, but certainly they were present in the Sui Dynasty (589 - 618 AD). Roman craftsman's organizations continued to develop in Italy of the Middle Ages under the name ars. In Germany they are first mentioned in the 10th century. The German name is Zunft (plural Zünfte) for guilds of craftsman and Gilde (plural Gilden) for guilds of merchants. Métiers in France and craft gilds in England emerged in the 12th century.

Craft organizations also emerged independently outside of Europe, such as those in 10th century in Iran (senf, sinf), and were seen to spread also in Arabia and Turkish regions under the name futuwwah or fütüvvet. 900 of the carvers of Benin are said to have founded their own organization. In the neighbouring tribes of Yoruba and Nupe the organizations were given the names egbe and efakó. Specifically, within the medieval Oyo Empire of present day southwestern Nigeria and Benin, separate guilds developed for professional dancers, mask carvers, and musicians associated with egungun ancestral masquerade performances often regarded as the predecessor to the traveling Alarinjo theatre.^[2]

Traditional wrought-iron guild sign of a glazier - in Germany. These signs can be found in many old European towns where guild members marked their places of business. Many survived through time or staged a comeback in industrial times. Today they are newly created or even restored, esp. in old town areas.

European history[link]

The word guild (c.1230, yilde) the spelling later influenced by O.N. gildi is a semantic fusion of O.E. gegyld "guild" and gild, gyld "payment, tribute, compensation," from P.Gmc. *gelth- "pay" (cf. O.Fris. geld "money," O.S. geld "payment, sacrifice, reward," O.H.G. gelt "payment, tribute"). The Saxon word gilden meant "to pay".

The connecting sense is of a tribute or payment to join a protective or trade society. But some see the root in its alternative sense of "sacrifice," as if in worship, and see the word as meaning a combination for religious purposes, either Christian or pagan. The Anglo-Saxon guilds had a strong religious component; they were burial societies that paid for masses for the souls of deceased members as well as paying fines in cases of justified crime. The continental custom of guilds of merchants arrived after the Norman Conquest, with incorporated societies of merchants in each town or city holding exclusive rights of doing business there. In many cases they became the governing body of a town (for example, Guildhall became London city hall). Trade guilds arose in the 14th century as craftsmen united to protect their common interest.

The early egalitarian communities called "guilds" (for the gold deposited in their common funds) were denounced by Catholic clergy for their "conjurations"—the binding oaths sworn among artisans to support one another in adversity and back one another in feuds or in business ventures. The occasion for the drunken banquets at which these oaths were made was December 25, the pagan feast of Jul: Bishop Hincmar, in 858, sought vainly to Christianize them.^[3]

In the Early Middle Ages, most of the Roman craft organizations, originally formed as religious confraternities, had disappeared, with the apparent exceptions of stonecutters and perhaps glassmakers. Gregory of Tours tells a miraculous tale of a builder whose art and techniques suddenly left him, but were restored by an apparition of the Virgin Mary in a dream. Michel Rouche^[4] remarks that the story speaks for the importance of practically transmitted journeymanship.

In France, guilds were called corps de métiers. According to Viktor Ivanovich Rutenburg, "Within the guild itself there was very little division of labour, which tended to operate rather between the guilds. Thus, according to Étienne Boileau's Book of Handicrafts, by the mid-13th century there were no less than 100 guilds in Paris, a figure which by the 14th century had risen to 350."^[5] The most striking example of an elaborate classification according to craft is found in the metal-workers: the farriers, knife-makers, locksmiths, chain-forgers, nail-makers, often formed separate and distinct corporations; the armourers were divided into helmet-makers, escutcheon-makers, harness-makers, harness-polishers, etc.^[6]

In England, specifically in the City of London Corporation, more than 100 guilds,^[7] referred to as livery companies survive today, and the oldest have been in existence for over a thousand years^{[citation needed]}. They continue to exist and several still play a role today.^[8] Membership in a livery company is expected for individuals participating in the governance of The City, as the Lord Mayor and the Remembrancer. A recent guild is the Worshipful Company of Tax Advisers.

The Syndics of the Drapers' Guild by Rembrandt, 1662.

The guild system reached a mature state in Germany circa 1300 and held on in the German cities into the 19th century, with some special privileges for certain occupations remaining today. In the 15th century, Hamburg had 100 guilds, Cologne 80, and Lübeck 70.^[9] The latest guilds to develop in Western Europe were the gremios of Spain: e.g., Barcelona (1301), Valencia (1332) and Toledo (1426).

Not all city economies were controlled by guilds; some cities were "free". Where guilds were in control, they shaped labour, production and trade; they had strong controls over instructional capital, and the modern concepts of a lifetime progression of apprentice to craftsman, journeyman, and eventually to widely-recognized master and grandmaster began to emerge. In order to become a Master, a Journeyman would have to go on a 3 year voyage called Journeyman years. This was also known as the Waltz and is the origin of the Australian song Waltzing Matilda^{[citation needed]}. The practice of the Journeyman years still exists in Germany.

As production became more specialized, trade guilds were divided and subdivided, eliciting the squabbles over jurisdiction that produced the paperwork by which economic historians trace their development: there were 101 trades in Paris by 1260,^[10] and earlier in the century the metalworking guilds of Nuremberg were already divided among dozens of independent trades, in the boom economy of the 13th century. In Ghent as in Florence the woolen textile industry developed as a congeries of specialized guilds. The appearance of the European guilds was tied to the emergent money economy, and to urbanization. Before this time it was not possible to run a money-driven organization, as commodity money was the normal way of doing business.

A center of urban government: the Guildhall, London (engraving, ca 1805)

The guild was at the center of European handicraft organization into the 16th century. In France, a resurgence of the guilds in the second half of the 17th century is symptomatic of the monarchy's concerns to impose unity, control production and reap the benefits of transparent structure in the shape of more efficient taxation.^{[citation needed]}

The guilds were identified with organizations enjoying certain privileges (letters patent), usually issued by the king or state and overseen by local town business authorities (some kind of chamber of commerce). These were the predecessors of the modern patent and trademark system. The guilds also maintained funds in order to support infirm or elderly members, as well as widows and orphans of guild members, funeral benefits, and a 'tramping' allowance for those needing to travel to find work. As the guild system of the City of London declined during the 17th century, the Livery Companies transformed into mutual assistance fraternities along such lines.

European guilds imposed long standardized periods of apprenticeship, and made it difficult for those lacking the capital to set up for themselves or without the approval of their peers to gain access to materials or knowledge, or to sell into certain markets, an area that equally dominated the guilds' concerns. These are defining characteristics of mercantilism in economics, which dominated most European thinking about political economy until the rise of classical economics.

The guild system survived the emergence of early capitalists, which began to divide guild members into "haves" and dependent "have-nots". The civil struggles that characterize the 14th century towns and cities were struggles in part between the greater guilds and the lesser artisanal guilds, which depended on piecework. "In Florence, they were openly distinguished: the Arti maggiori and the Arti minori—already there was a popolo grasso and a popolo magro".^[11] Fiercer struggles were those between essentially conservative guilds and the merchant class, which increasingly came to control the means of production and the capital that could be ventured in expansive schemes, often under the rules of guilds of their own. German social historians trace the Zunftrevolution, the urban revolution of guildmembers against a controlling urban patriciate, sometimes reading into them, however, perceived foretastes of the class struggles of the 19th century.

In the countryside, where guild rules did not operate, there was freedom for the entrepreneur with capital to organize cottage industry, a network of cottagers who spun and wove in their own premises on his account, provided with their raw materials, perhaps even their looms, by the capitalist who took a share of the profits. Such a dispersed system could not so easily be controlled where there was a vigorous local market for the raw materials: wool was easily available in sheep-rearing regions, whereas silk was not.

Organization[link]

This unreferenced section requires citations to ensure verifiability.

The structures of the craftsmen's associations tended everywhere in similar directions: a governing body, assisting functionaries and the members' assembly. The governing body consisted of the leader and deputies. In Ptolemeic Egypt the presidents were known as presbyter, in Roman Egypt as proestotes, egoymenos or archonelates, in Byzantine Egypt epistates, in the Roman Empire as decurio, in Florence of the Middle Ages as consul, officialis or rector, in France as consul, recteur, baile or surposé, in Germany Zunftmeister or Kerzenmeister, in England alderman, graceman or master, in Iran as rish safid or pishavaran, in India as adhyaksha, mukhya, pamukkha or jettaka, in Tibet as dbu chen mo, in China as hangshou, hangtou or hanglao, in the West African Yoruba region as bale or baba egbe and in the Nupe region as dakodza, muku or ndakó, depending on the type of craft.^{[citation needed]}

The guild was made up by experienced and confirmed experts in their field of handicraft. They were called master craftsmen. Before a new employee could rise to the level of mastery, he had to go through a schooling period during which he was first called an apprentice. After this period he could rise to the level of journeyman. Apprentices would typically not learn more than the most basic techniques until they were trusted by their peers to keep the guild's or company's secrets.

The Haarlem Painter's Guild in 1675, by Jan de Bray.

Like journey, the distance that could be travelled in a day, the title 'journeyman' derives from the French words for 'day' (jour and journée) from which came the middle English word journei. Journeymen were able to work for other masters, unlike apprentices, and generally paid by the day and were thus day labourers. After being employed by a master for several years, and after producing a qualifying piece of work, the apprentice was granted the rank of journeyman and was given documents (letters or certificates from his master and/or the guild itself) which certified him as a journeyman and entitled him to travel to other towns and countries to learn the art from other masters. These journeys could span large parts of Europe and were an unofficial way of communicating new methods and techniques, though by no means all journeymen made such travels - they were most common in Germany and Italy, and in other countries journeymen from small cities would often visit the capital.

After this journey and several years of experience, a journeyman could be received as master craftsman, though in some guilds this step could be made straight from apprentice. This would typically require the approval of all masters of a guild, a donation of money and other goods (often omitted for sons of existing members), and the production of a so-called masterpiece, which would illustrate the abilities of the aspiring master craftsman; this was often retained by the guild.

The medieval guild was established by charters or letters patent or similar authority by the city or the ruler and normally held a monopoly on trade in its craft within the city in which it operated: handicraft workers were forbidden by law to run any business if they were not members of a guild, and only masters were allowed to be members of a guild. Before these privileges were legislated, these groups of handicraft workers were simply called 'handicraft associations'.

The town authorities might be represented in the guild meetings and thus had a means of controlling the handicraft activities. This was important since towns very often depended on a good reputation for export of a narrow range of products, on which not only the guild's, but the town's, reputation depended. Controls on the association of physical locations to well-known exported products, e.g. wine from the Champagne and Bordeaux regions of France, tin-glazed earthenwares from certain cities in Holland, lace from Chantilly, etc., helped to establish a town's place in global commerce — this led to modern trademarks.

In many German and Italian cities, the more powerful guilds often had considerable political influence, and sometimes attempted to control the city authorities. In the 14th century, this led to numerous bloody uprisings, during which the guilds dissolved town councils and detained patricians in an attempt to increase their influence. In the early 14th century, some guilds in the cities of North-East Germany introduced statutes, under which persons of Wendish, i.e. Slavic, origin were forbidden from joining the guild.^[12] According to Wilhelm Raabe, "down into the eighteenth century no German guild accepted a Wend."^[13]

Fall of the guilds[link]

As Ogilvie (2004) argues, the guilds negatively affected quality, skills, and innovation. Through what economists now call "rent-seeking" they imposed deadweight losses on the economy. Ogilvie says they generated no demonstrable positive externalities and notes that industry began to flourish only after the guilds faded away. Guilds persisted over the centuries because they redistributed resources to politically powerful merchants. On the other hand, Ogilvie agrees, guilds created "social capital" of shared norms, common information, mutual sanctions, and collective political action. This social capital benefited guild members, even as they hurt outsiders.^[14]

The guild system became a target of much criticism towards the end of the 18th century and the beginning of the 19th century. They were believed to oppose free trade and hinder technological innovation, technology transfer and business development. According to several accounts of this time, guilds became increasingly involved in simple territorial struggles against each other and against free practitioners of their arts.

Two of the most outspoken critics of the guild system were Jean-Jacques Rousseau and Adam Smith, and all over Europe a tendency to oppose government control over trades in favour of laissez-faire free market systems was growing rapidly and making its way into the political and legal system. The Le Chapelier Law of 1791 abolished the guilds in France, which it called corporations, according to Fernand Braudel.^[15] Smith wrotes in The Wealth of Nations (Book I, Chapter X, paragraph 72):

It is to prevent this reduction of price, and consequently of wages and profit, by restraining that free competition which would most certainly occasion it, that all corporations, and the greater part of corporation laws, have been established. (...) and when any particular class of artificers or traders thought proper to act as a corporation without a charter, such adulterine guilds, as they were called, were not always disfranchised upon that account, but obliged to fine annually to the king for permission to exercise their usurped privileges.

Karl Marx in his Communist Manifesto also criticized the guild system for its rigid gradation of social rank and the relation of oppressor/oppressed entailed by this system. From this time comes the low regard in which some people hold the guilds to this day. In part due to their own inability to control unruly corporate behavior, the tide turned against the guilds.

Because of industrialization and modernization of the trade and industry, and the rise of powerful nation-states that could directly issue patent and copyright protections — often revealing the trade secrets — the guilds' power faded. After the French Revolution they fell in most European nations through the 19th century, as the guild system was disbanded and replaced by free trade laws. By that time, many former handicraft workers had been forced to seek employment in the emerging manufacturing industries, using not closely guarded techniques but standardized methods controlled by corporations.

Influence of guilds[link]

This unreferenced section requires citations to ensure verifiability.

Guilds are sometimes said to be the precursors of modern trade unions, and also, paradoxically, of some aspects of the modern corporation. Guilds, however, were groups of self-employed skilled craftsmen with ownership and control over the materials and tools they needed to produce their goods. Guilds were, in other words, small business associations and thus had very little in common with trade unions. Guilds were more like cartels than they were like trade unions (Olson 1982). However, the journeymen organizations, which were at the time illegal^{[citation needed]}, may have been influential.

The exclusive privilege of a guild to produce certain goods or provide certain services was similar in spirit and character with the original patent systems that surfaced in England in 1624. These systems played a role in ending the guilds' dominance, as trade secret methods were superseded by modern firms directly revealing their techniques, and counting on the state to enforce their legal monopoly.

Some guild traditions still remain in a few handicrafts, in Europe especially among shoemakers and barbers. Some of the ritual traditions of the guilds were conserved in order organizations such as the Freemasons, alleging deriving from the Masons Guild. These are, however, not very important economically except as reminders of the responsibilities of some trades toward the public.

Modern antitrust law could be said to derive in some ways from the original statutes by which the guilds were abolished in Europe.

Economic consequences[link]

The economic consequences of guilds have led to heated debates among economic historians. On the one side, scholars say that since merchant guilds persisted over long periods they must have been efficient institutions (since inefficient institutions die out). Others say they persisted not because they benefited the entire economy but because they benefited the owners, who used political power to protect them. Ogilvie (2011) says they regulated trade for their own benefit, were monopolies, distorted markets, fixed prices, and restricted entrance into the guild.^[16] Ogilvie (2008) argues that their long apprenticeships were unnecessary to acquire skills, and their conservatism reduced the rate of innovation and made the society poorer. She says their main goal was rent seeking, that is, to shift money to the membership at the expense of the entire economy.^[17]

Epstein and Prak's book (2008) rejects Ogilvie's conclusions.^[18] Specifically, Epstein argues that guilds were cost-sharing rather than rent-seeking institutions. They located and matched masters and likely apprentices through monitored learning. Whereas the acquisition of craft skills required experience-based learning, he argues that this process necessitated many years in apprenticeship.^[19]

Modern guilds[link]

Modern guilds exist in different forms around the world. In many European countries guilds have had a revival as local organizations for craftsmen, primarily in traditional skills. They may function as forums for developing competence and are often the local units of a national employer's organization.

In the United States guilds exist in several fields. The Screen Actors Guild, Writers Guild of America, East and the Writers Guild of America, West are capable of exercising very strong control in Hollywood because a very strong and rigid system of intellectual property rights exists. These guilds exclude other actors and writers who do not abide by the strict rules for competing within the film and television industry in America. The Newspaper Guild is a labor union for journalists and other newspaper workers, with over 30,000 members in North America.

Real estate brokerage is an example of a modern American guild. Signs of guild behavior in real estate brokerage include: standard pricing (6% of the home price), strong affiliation among all practitioners, self-regulation (see National Association of Realtors), strong cultural identity (see Realtor), little price variation with quality differences, and traditional methods in use by all practitioners. In September 2005, the U.S. Department of Justice filed an antitrust lawsuit against the National Association of Realtors challenging NAR practices that, DOJ asserts, prevent competition from practitioners who use different methods. The DOJ and the Federal Trade Commission in 2005 advocated against state laws, supported by NAR, that disadvantage new kinds of brokers.^[20] U.S. v. National Assoc. of Realtors, Civil Action No. 05C-5140 (N.D. Ill. Sept. 7, 2005).

The practice of law in the United States is also an example of modern guilds at work. Every state maintains its own bar association, supervised by that state's highest court. The court decides the criteria for entering and staying in the legal profession. In most states, every attorney must be a member of that state's bar association in order to practice law. State laws forbid any person from engaging in the unauthorized practice of law and practicing attorneys are subject to rules of professional conduct that are enforced by the state's high court.^{[citation needed]}

Medical associations that might be compared to guilds are the state Medical Boards, American Medical Association, and the American Dental Association. Medical licensing in most states require specific training, tests and years of low paid apprenticeship (internship and residency) under harsh working conditions. Even qualified international or out of state doctors are not allowed to practice without acceptance to by the local medical guild (Medical board). Similarly, nurses and physician's practitioners have their own guilds. A doctor cannot work as a physician's assistant unless (s)he separately trains, tests and apprentices as one.^{[citation needed]}

Academia is also a guild. Apprentices (Ph.D.) student must work for years at very low wages assisting their Masters (faculty) and must produce an approved master work (Dissertation) before they can go work for others (tenure track appointments virtually require a Ph.D., and any Ph.D. candidate who leaves their master prior to getting their Ph.D.-trying to transfer to another Ph.D. program-will have to start all over again, or give up ever becoming a guild member with the result of permanent impovrishment in the insecure life of an adjunct faculty member). Adjuncts teach a large percentage of undergraduate students and are often paid less than janitors.^{[citation needed]}

Scholars from the history of ideas have noticed that consultants play a part similar to that of the journeymen of the guild systems: they often travel a lot, work at many different companies and spread new practices and knowledge between companies and corporations.^{[citation needed]}

Many professional organizations similarly resemble the guild structure. Professions such as architecture, engineering, geology, and land surveying require varying lengths of apprenticeships before one can be granted a 'professional' certification. These certifications hold great legal weight and are required in most states as a prerequisite to doing business there.^{[citation needed]}

Thomas W. Malone of the Massachusetts Institute of Technology champions a modern variant of the guild structure for modern "e-lancers", professionals who do mostly telework for multiple employers. Insurance including any professional liability, intellectual capital protections, an ethical code perhaps enforced by peer pressure and software, and other benefits of a strong association of producers of knowledge, benefit from economies of scale, and may prevent cut-throat competition that leads to inferior services undercutting prices.^{[citation needed]} And, as with historical guilds, will resist foreign competition. The free software community has from time to time explored a guild-like structure to unite against competition from Microsoft, e.g. Advogato assigns journeyer and master ranks to those committing to work only or mostly on free software.^{[citation needed]}

In the City of London, the ancient guilds survive as Livery Companies, most of which play a ceremonial role. Guilds also survive in the UK in Preston, Lancashire as the Preston Guild Merchant where among other celebrations descendants of Burgesses are still admitted into membership. In 1878 the London Livery companies established the City and Guilds of London Institute the forerunner of the engineering school (still called City and Guilds college) at Imperial College London. The aim of the City and Guilds of London Institute was the Advancement of Technical Education. Today City and Guilds is an examining and accreditation body for vocational, managerial and engineering qualifications from entry level craft and trade skills up to post doctoral achievement.^{[citation needed]}

In Australia, there exists the Guild of Commercial Filmmakers, a collection of commercial, short film and feature filmmakers.^{[citation needed]}

In some online computer games, players can form groups called player guilds, wherein people can socialize and organize various in-game activities.^{[citation needed]}

See also[link]

Organized labour portal

• Catholic Police Guild
• Guild of Saint Luke - Painter's Guilds
• Guild of St. Bernulphus
• Guild socialism
• Hanseatic League
• Jāti -guilds (of mediaeval origin) in India
• Timpani Guilds
• Trade union

Notes[link]

References[link]

• Braudel, Fernand: The Wheels of Commerce 1982, vol. II of Civilization and Capitalism
• Epstein, S. R. and Maarten Prak, eds. Guilds, Innovation, and the European Economy, 1400–1800 (2008) 360pp essays by scholars covering German and Italian territories, the Netherlands, France, and England; plus guilds in cloth spinning, painting, glass blowing, goldsmithing, pewterware, book-selling, and clock making.
• Grafe, Regina, and Oscar Gelderblom. "The Rise and Fall of the Merchant Guilds: Re-thinking the Comparative Study of Commercial Institutions in Premodern Europe," Journal of Interdisciplinary History, Spring 2010, Vol. 40 Issue 4, pp 477–511. Comparative study of the origins and development of merchant guilds in Europe, esp. their emergence during the late Middle Ages and their decline in the Early Modern era
• Ogilvie, Sheilagh. Institutions and European Trade: Merchant Guilds, 1000-1800 Cambridge University Press, 2011) 493 pp. ISBN:978-0-521-74792-9 online review
• Prak, Maarten. Craft Guilds in the Early Modern Low Countries: Work, Power and Representation (2006). ISBN 978-0-7546-5339-4 excerpt and text search
• Rouche, Michel, "Private life conquers state and society," in A History of Private Life vol I, Paul Veyne, editor, Harvard University Press 1987 ISBN 0-674-39974-9
• Weyrauch, Thomas. Craftsmen and their Associations in Asia, Africa and Europe (Wettenberg/Germany, VVB Laufersweiler; 1999) ISBN 3-89687-537-X

Further reading[link]

• Gordon Emery, Curious Chester (1999) ISBN 1-872265-94-4
• Liza Picard, Elizabeth's London (2003) ISBN 0-297-60729-4
• Lujo Brentano. On the History and Development of Gilds and the Origin of Trade-Unions Burt Frankin: Research & Source Works Series. New York: Burt Franklin, 1969.
• Steven Epstein, Wage Labor & Guilds In Medieval Europe (1991) ISBN 0-8078-4498-5
• Mancur Olson, The rise and decline of nations: economic growth, staglaction, and social rigidities (New Haven & London 1982).
• St. Eloy's Hospice, the last Guild House in Utrecht, Netherlands
• The Spacing Guild from the Dune series, created by Frank Herbert.

External links[link]

Wikimedia Commons has media related to: Coats of arms of Guilds

Wikimedia Commons has media related to: Guild houses

• Medieval guilds
• St. Eloy's Hospice The last Guild House in Utrecht, Netherlands

Felicia Day
Born	Kathryn Felicia Day (1979-06-28) June 28, 1979 (age 32)[1] Huntsville, Alabama, United States
Residence	Los Angeles, California
Nationality	American
Occupation	Actress/Writer/Singer
Years active	2001-present
Website
http://www.feliciaday.com/

Kathryn Felicia Day^[2] (born on June 28, 1979^[1]) is an American actress and singer, known for her work as "Vi" on the TV series Buffy the Vampire Slayer and for parts in movies such as Bring It On Again and June, as well as the Internet musical, Dr. Horrible's Sing-Along Blog. Day is also the star, script writer and producer of the original web series The Guild, a show loosely based on her life as a gamer. She also starred in the Dragon Age web series Dragon Age: Redemption, which she wrote. She is a member of the Board of Directors of the International Academy of Web Television.^[3]

Personal life and education[link]

Day began her acting career at the age of 7 when she starred as Scout in a local production of To Kill a Mockingbird. She studied operatic singing and ballet professionally, performing at concerts and competitions nationwide. Home-schooled throughout much of her childhood, she began college at the age of 16.^[4]

She was a National Merit Scholar (1995)^[5] and graduated as valedictorian of her class. ^[4][6] An accomplished violinist,^[4] Day was accepted to the Juilliard School of Music but chose to attend the University of Texas at Austin on a full scholarship in violin performance. She double majored in mathematics and music performance.^[7][6]

Day is an avid player of a wide variety of video game genres. Much of her work on The Guild web series was based on her personal experience with video games.^[8]

Career[link]

Early career[link]

After graduation, Day moved to Los Angeles to pursue a career in acting. She landed several roles in various short and independent films, as well as commercials and guest spots on television shows, including Undeclared and Maybe It's Me. These parts propelled her to larger roles: a part in the film Bring It On Again, the starring role in June, and a recurring guest spot as potential Slayer Vi on television's Buffy the Vampire Slayer, a recurring role that is still occasionally utilized in that show's eighth season comic book series.

[edit] The Guild

Felicia Day

Day is the creator, writer, and star of The Guild, a web series which started airing its fifth season in July 2011. The first season was primarily hosted on YouTube where it garnered millions of views.^[9] Its second season premiered on Microsoft's three major video channels Xbox Live, MSN Video and The Zune Marketplace after Microsoft made a deal with The Guild, allowing Day, her cast, and her crew to be paid for their work. Day also created a song and music video called "(Do You Wanna Date My) Avatar", featuring the cast dressed up as their in-game personae. The final moments of the music video itself also detailed that the release date for the 3rd season of Day's The Guild would be August 25, 2009. A second song and video "Game On" was released prior to the premiere of the 4th season of The Guild.

The Guild has won multiple awards, including the Greenlight Award for Best Original Digital Series Production at the South by Southwest festivals,^[10] the YouTube Video Award for Best Series,^[11] the Yahoo! Video Award for Best Series,^[12] and 2009 Streamy Awards for Best Comedy Web Series, Best Female Actor in a Comedy Web Series, and Best Ensemble Cast in a Web Series.^[13]

Other work[link]

In July 2008, Day starred as Penny in the three-part web-based musical Dr. Horrible's Sing-Along Blog (created by Joss Whedon, who also created Firefly and Buffy the Vampire Slayer in which Day has a minor role as the potential slayer Vi during the seventh season).^[14] Day was featured as a patient in the episode "Not Cancer" of the medical drama House,^[15] and had a guest starring role in the sci-fi drama Dollhouse's unaired episode "Epitaph One",^[16] as well as its series finale "Epitaph Two."^[17] In 2008, Day was featured in a series of commercials for Sears.^[18][19] She also appeared in the first of the revitalized Cheetos commercials.^[20] In the series Lie to Me, on the episode called "Tractor Man", airing December 14, 2009, Day sang a song called "White Lie" alongside Brendan Hines.^{[citation needed]} Day starred in the Syfy film adaption of the saga Little Red Riding Hood, called Red;^[21] it was produced by Angela Mancuso.^[22] Day also played the continuing role of Dr. Holly Marten in the Syfy channel's original series, Eureka, appearing for 10 episodes until episode 2 of series 5.

Day also starred in Guild co-star Sandeep Parikh's web-series The Legend of Neil, in which she portrayed a Fairy. She sings in the second season musical episode, in which she obliquely references her history of internet musicals.

Day lent her voice to the character Veronica Santangelo in the video game Fallout: New Vegas.

In February 2011, Day announced that she would be starring in a new web miniseries. Called Dragon Age: Redemption, it is based on the Dragon Age video games made by BioWare^[23] and aired on October 10, 2011.^[24] She also voices the elf Tallis, the protagonist of the Dragon Age downloadable content "Mark of the Assassin".

In March 2012, Day announced that she would be launching a premium YouTube channel, "Geek & Sundry," on April 2. ^[25]

In April 2012 it was announced that Day will host the 2012 IndieCade Awards Ceremony on October 4th, 2012. ^[26]

On April 29, 2012 she also appeared on the YouTube show MyMusic as a Norwegian Black Metal singer named Gorgol^[27].

Awards[link]

In September 2008, TV Week included her in their list of Top 10 Web Video Creators.^[28]

During the inaugural Streamy Awards held in Los Angeles on March 28, 2009, Day received the award for the "Best Female Actor in a Comedy" for her work as protagonist Cyd Sherman in The Guild, and won the same award again in 2010.^[29] She was also recognized for her work on Dr. Horrible's Sing-Along Blog in 2009.

Filmography[link]

TV series/internet productions[link]

Video games[link]

References[link]

Further Reading

• Schramm, Mike. (Aug. 24, 2009) BlizzCon 2009: WoW.com interviews Felicia Day. (part 2)

External links[link]

Wikimedia Commons has media related to: Felicia Day

• Felicia Day Online - official website and blog
• Felicia Day at the Internet Movie Database

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (October 2009)

Jed Whedon
Jed Whedon in July 2008
Born	Jed Tucker Whedon (1974-07-18) July 18, 1974 (age 37)
Occupation	writer, musician
Spouse	Maurissa Tancharoen

Jed Tucker Whedon (born July 18, 1974) is a screenwriter and musician. Jed is from a family of writers: he is the son of screenwriter Tom Whedon, grandson of screenwriter John Whedon, and the brother of screenwriter Zack Whedon and producer/director/writer Joss Whedon. On April 19, 2009, he married fellow screenwriter Maurissa Tancharoen.

Alongside his brothers Joss and Zack and his then fiancée Maurissa Tancharoen, he co-created and co-wrote the parody musical Dr. Horrible's Sing-Along Blog. It was the subject of a salute by The Paley Center for Media ^[1] and won an Emmy Award for Outstanding Special Class - Short-format Live-Action Entertainment Programs.^[2]

Prior to Dr. Horrible, Jed composed scores for video games, and was a member of the now defunct Los Angeles-based band The Southland. In 2010, he released an album entitled History of Forgotten Things under the band name "Jed Whedon and the Willing". Assisting him on the album were his wife, Maurissa Tancharoen and their mutual friend Felicia Day.

With Felicia Day, he composed the music to the song "(Do You Wanna Date My) Avatar" for the web series The Guild, the video for which he also directed.^[3]

He and his wife Maurissa were staff writers on Dollhouse, the Fox series created by his older brother Joss, prior to its cancellation. They have since joined the staffs of Spartacus: Blood and Sand, co-created by former Mutant Enemy writer Steven S. DeKnight, and Drop Dead Diva.

Jed worked with Maurissa Tancharoen and Joss Whedon on The Avengers (2012 film).

Awards[link]

In 2009, Jed won a Streamy Award for Best Writing for a Comedy Web Series for Dr. Horrible's Sing-Along Blog.

See also[link]

• Radio Askew interview of Jed Whedon.

References[link]

External links[link]

• Jed Whedon at the Internet Movie Database

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