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Why do we leap day? We remind you (so you can forget for another 4 years)

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Why do we leap day? We remind you (so you can forget for another 4 years)

A clock showing February 29, also known as leap day. They only happen about once every four years.

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Olivier Le Moal/Getty Images


A clock showing February 29, also known as leap day. They only happen about once every four years.

Olivier Le Moal/Getty Images

Nearly every four years, the Gregorian calendar — which is used in the majority of countries around the world — gets an extra day: February 29.

For some people, leap day means frog jokes and extravagant birthday parties. For many, it may conjure memories of the 2010 rom-com Leap Year, which harkens back to the Irish tradition by which women can propose to men on that one day. And others likely see it merely as a funny quirk in the calendar, or just another Thursday.

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Leap day means several different things to Alexander Boxer, a data scientist and the author of A Scheme of Heaven: The History of Astrology and the Search for Our Destiny in Data.

Literally speaking, he says, it’s an “awkward calendar hack” aimed at making up for the fact that a year isn’t a flat number of days, but more like 365 and a quarter. But there’s more to it than that.

“I think the significance of the leap year is that it’s a great reminder that the universe is really good at defying our attempts to devise nice and pretty and aesthetically pleasing systems to fit it in,” he told NPR’s Morning Edition.

Boxer says it’s also a great reminder that the calendar most people rely on every day is actually the product of multiple civilizations, building off each other as they share in what he calls “this great undertaking of trying to understand time.”

So where did leap year come from, and what are we supposed to do with our extra day? NPR’s Morning Edition spoke with experts in astronomy, history and economics to find out.

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Why do we have leap years?

Most people know that a single day is about 24 hours long, and that there are 365 days in a year.

But it actually takes Earth 365.242190 days to orbit the sun, says Jackie Faherty, an astronomer at the American Museum of Natural History in New York.

“And that .242190 days to go around the sun is the entire reason why we have a leap year,” she explained.

Centuries ago, people kept track of the sun’s position — such as for a solstice or the longest day of the year — to know when to do things like plant and harvest. Over time, she says, the need grew for a centralized calendar system.

The Hebrew, Chinese and Buddhist calendars, among others, have long contained entire leap months. The West is no stranger to leap years either.

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The Julian Calendar, which Julius Caesar introduced in 45 BC, included an extra day every year. He borrowed the idea from the Egyptians, though his math wasn’t exactly correct. Caesar overestimated the solar year by about 11 minutes, leading to an overcorrection by about eight days each millennium. That explains why Easter, for example, fell further and further away from the spring equinox over time.

Pope Gregory XIII sought to address that problem in the 16th century with the Gregorian Calendar, which adds leap days in years divisible by four, unless the year is also divisible by 100. To make matters even more confusing, a leap day is still added in years divisible by 400.

Why add the extra day in February? Boxer, the data scientist, says the Romans considered it an unlucky month. On top of that, they were deeply suspicious of odd numbers. Because February only had 28 days to begin with, they “just shoved it into February,” though leap day used to be on the 24th.

Ultimately, says Boxer, the calendar is a compromise.

“On the one hand, you don’t want a calendar that makes it so complicated to know how many days it’s going to be from one year to the next,” he added. “But on the other hand, you want to make sure that winter holidays, too, in the winter and summer holidays, stay in the summer, especially if your holidays are related to things like agriculture, harvest holidays and whatnot.”

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What does leap day mean for birthdays?

One tangible impact of a leap year is that birthdays will fall on a different day of the week than their usual pattern.

“If your birthday was on a Tuesday last year, you’re going to skip over Wednesday and you’ll have a birthday on a Thursday,” said Faherty. “Not to mention those poor people that are born on February 29, a day that only exists every four years.”

There are about 5 million people worldwide with a Feb. 29 birthday, according to the History Channel. The list of so-called “leaplings” includes celebrities such as motivational speaker Tony Robbins and hip-hop artist Ja Rule. And peoples’ odds of joining their ranks are small — about 1-in-1,461, to be exact.

Several leaplings told NPR that there’s no set rule on which day to celebrate their birthday in a non-leap year. Some prefer Feb. 28, others March 1 and many do both.

“My answer to this question has evolved over the years,” said Michael Kozlowski Jr., a leap day baby based in Belgium. “It used to be February for the reasons that I identified more with that month compared to March. But these days I honestly like to celebrate both days or even the entire week. It seems only fair and it works and it feels great.”

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They acknowledged both pros and cons of having a leap day birthday. Several said that while they were teased about it in grade school, it helped them develop a thicker skin and gave them a fun fact for life — plus more days to celebrate.

Plus, many online forms — including for the DMV — don’t recognize Feb. 29 as a possible birth date. Raenell Dawn, the co-founder of the Honor Society of Leap Year Day Babies, told NPR in 2020 that those logistics can cause trouble, especially when it comes to things like driver’s license expirations. But she also said there’s no reason for leaplings to change their birth date.

“Humans program the computer, so the humans need to program it correctly,” she said. “‘Cause February 29 is everyone’s extra day. And it’s a day that started in 45 B.C. And it’s the most important date on the calendar because it keeps all the dates on the calendar in line with the seasons.”

What should you do — and not do — on Feb. 29?

There are lots of superstitions and traditions about leap day on the internet, and a few celebrations to look forward to IRL.

A decades-old French satirical newspaper, La Bougie du Sapeur, goes to print only on Feb. 29 — this year included. There are also festivities in the “Leap Year Capital of the World,” as Anthony, Texas, is known.

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Leapling Mary Ann Brown petitioned Congress to give Anthony, Texas — and Anthony, New Mexico, on the other side of the state line — that designation in 1988 because of the “numerous number of leap year births that happened within the two towns,” Mayor Anthony Turner told NPR over email.

In years past, he said, the community marked leap day with a parade that stretched between the two towns of Anthony. This year, the Texas side is hosting a two-day leap year festival, complete with live music, local vendors and an exclusive barbecue dinner for leap day babies.

“This is an opportunity for the community to take pride in the fact that they live in the leap year capital of the world, and a great chance for everyone from everywhere to join us and enjoy the true beauty of our lovely town,” Turner added.

Worldwide, most leap day lore revolves around romance and marriage, as the History Channel explains.

According to one legend, complaints from St. Bridget prompted St. Patrick to designate Feb. 29 as the one day when women can propose to men. The custom spread to Scotland and England, where the British said that any man who rejects a woman’s proposal owes her several pairs of fine gloves. In Greece and some other places, it’s considered bad luck to get married on leap day.

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Katherine Parkin, a history professor at Monmouth University, said she doesn’t believe any of the myths are true — but doesn’t think they had to be in order to take hold, which they did in America as early as the 1780s.

An example of one of many early 20th century postcards by cartoonist Clare Victor Dwiggins — “Dwig” — showing women pursuing men in a leap year.

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An example of one of many early 20th century postcards by cartoonist Clare Victor Dwiggins — “Dwig” — showing women pursuing men in a leap year.

Katherine Parkin

The real origin, she believes, is that people have historically liked to challenge gender and gender roles.

“And in the case of marriage, to have a reversal of that power, I think is really unusual,” she added. “And it ties perfectly with this unusual date. Where did it come from and where did it go? And so I think it really plays well into people’s imagination and playfulness.”

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But Parkin says her research points to darker undertones behind the tradition — namely, that it was actually intended to ridicule women.

She points to the proliferation of postcards in the 20th century — which people would send each other across all kinds of relationships — that portrayed women who proposed to men as desperate, unattractive and aggressive, such as holding butterfly nets and pointing guns at guys.

“It’s proving to … reinforce that it’s a leap year and that this tradition exists and yet at the same time telling women, you really don’t want to do this because it looks bad for you,” Parkin said. “As a historian, I look back to this tradition and see it as part of an American desire to offer women false empowerment.”

Of the more than 100 people who responded to an NPR callout about their leap day celebrations and traditions, several said they had gotten engaged or married on Feb. 29. Only one explicitly mentioned gender roles.

“I think this is the day that (traditionally) a woman was able to propose?” wrote Suzanne Forbes. “If so, I plan on proposing to myself in a beautiful southern setting (likely [Georgia], while solo kayaking)!”

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What if we didn’t have leap years?

Not everyone loves leap day.

Steve Hanke, a professor of applied economics at Johns Hopkins University, is one critic. He argues that the current calendar, in which dates occur on different days of the week each year, creates scheduling problems as well as confusion around holiday dates.

That’s why he and Johns Hopkins astrophysics professor Dick Henry have created the Hanke–Henry Permanent Calendar, a proposal for a new calendar that would implement an occasional leap week rather than leap day.

“The great thing about the permanent calendar is that it never changes,” Hanke explained. “The date would be on the same day. Every year, year after year after year … January 1st is always on a Monday. July 4th is always on a Thursday. December 25th, Christmas, is always on a Monday.”

Their calendar divides the year into four three-month quarters, each with the same number of days. The first two months of each quarter — including January and February — would always have 30 days, and the third month would have 31. Every six years, there would be an extra seven days at the end of December, which Hanke says would “eliminate calendar drift.”

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Hanke argues that his proposed calendar would save confusion and potentially money, pointing to studies in the United Kingdom that show the economic gains associated with having public holidays on weekends. And he believes it would be easy for a president to implement the new system by executive order, something that he and Henry have even drafted, just in case.

Still, he describes their lobbying efforts as more of a “soft sell” at the moment.

It seems like the current calendar system — with its leap days and years — may be here to stay, despite the many possible alternates. Faherty, the astronomer, says if someone truly wanted to keep track of their path around the sun, one could “build yourself a henge and know when the solstice is and carry on from that.”

“But we don’t do that,” she said. “We gave it an interval and we follow that, so now we’re stuck. And now you have to enter these leap days, to try and do our best to fix the human need to have a document that says where exactly you are in the position that the Earth is falling around.”

And that’s probably enough to think about for the year, maybe even the next three.

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Adam Bearne and Julie Depenbrock contributed reporting.

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Baz Luhrmann will make you fall in love with Elvis Presley

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Baz Luhrmann will make you fall in love with Elvis Presley

Elvis Presley in Las Vegas in Aug. 1970.

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“You are my favorite customer,” Baz Luhrmann tells me on a recent Zoom call from the sunny Chateau Marmont in Hollywood. The director is on a worldwide blitz to promote his new film, EPiC: Elvis Presley in Concert — which opens wide this week — and he says this, not to flatter me, but because I’ve just called his film a miracle.

See, I’ve never cared a lick about Elvis Presley, who would have turned 91 in January, had he not died in 1977 at the age of 42. Never had an inkling to listen to his music, never seen any of his films, never been interested in researching his life or work. For this millennial, Presley was a fossilized, mummified relic from prehistory — like a woolly mammoth stuck in the La Brea Tar Pits — and I was mostly indifferent about seeing 1970s concert footage when I sat down for an early IMAX screening of EPiC.

By the end of its rollicking, exhilarating 90 minutes, I turned to my wife and said, “I think I’m in love with Elvis Presley.”

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“I’m not trying to sell Elvis,” Luhrmann clarifies. “But I do think that the most gratifying thing is when someone like you has the experience you’ve had.”

Elvis made much more of an imprint on a young Luhrmann; he watched the King’s movies while growing up in New South Wales, Australia in the 1960s, and he stepped to 1972’s “Burning Love” as a young ballroom dancer. But then, like so many others, he left Elvis behind. As a teenager, “I was more Bowie and, you know, new wave and Elton and all those kinds of musical icons,” he says. “I became a big opera buff.”

Luhrmann only returned to the King when he decided to make a movie that would take a sweeping look at America in the 1950s, ’60s, and ’70s — which became his 2022 dramatized feature, Elvis, starring Austin Butler. That film, told in the bedazzled, kaleidoscopic style that Luhrmann is famous for, cast Presley as a tragic figure; it was framed and narrated by Presley’s notorious manager, Colonel Tom Parker, portrayed by a conniving and heavily made-up Tom Hanks. The dark clouds of business exploitation, the perils of fame, and an early demise hang over the singer’s heady rise and fall.

It was a divisive movie. Some praised Butler’s transformative performance and the director’s ravishing style; others experienced it as a nauseating 2.5-hour trailer. Reviewing it for Fresh Air, Justin Chang said that “Luhrmann’s flair for spectacle tends to overwhelm his basic story sense,” and found the framing device around Col. Parker (and Hanks’ “uncharacteristically grating” acting) to be a fatal flaw.

Personally, I thought it was the greatest thing Luhrmann had ever made, a perfect match between subject and filmmaker. It reminded me of Oliver Stone’s breathless, Shakespearean tragedy about Richard Nixon (1995’s Nixon), itself an underrated masterpiece. Yet somehow, even for me, it failed to light a fire of interest in Presley himself — and by design, I now realize after seeing EPiC, it omitted at least one major aspect of Elvis’ appeal: the man was charmingly, endearingly funny.

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As seen in Luhrmann’s new documentary, on stage, in the midst of a serious song, Elvis will pull a face, or ad lib a line about his suit being too tight to get on his knees, or sing for a while with a bra (which has been flung from the audience) draped over his head. He’s constantly laughing and ribbing and keeping his musicians, and himself, entertained. If Elvis was a tragedy, EPiC is a romantic comedy — and Presley’s seduction of us, the audience, is utterly irresistible.

Unearthing old concert footage 

It was in the process of making Elvis that Luhrmann discovered dozens of long-rumored concert footage tapes in a Kansas salt mine, where Warner Bros. stores some of their film archives. Working with Peter Jackson’s team at the post-production facility Park Road Post, who did the miraculous restoration of Beatles rehearsal footage for Jackson’s 2021 Disney+ series, Get Back, they burnished 50-plus hours of 55-year-old celluloid into an eye-popping sheen with enough visual fidelity to fill an IMAX screen. In doing so, they resurrected a woolly mammoth. The film — which is a creative amalgamation of takes from rehearsals and concerts that span from 1970 to 1972 — places the viewer so close to the action that we can viscerally feel the thumping of the bass and almost sense that we’ll get flecked with the sweat dripping off Presley’s face.

This footage was originally shot for the 1970 concert film Elvis: That’s The Way It Is, and its 1972 sequel, Elvis on Tour, which explains why these concerts were shot like a Hollywood feature: wide shots on anamorphic 35mm and with giant, ultra-bright Klieg lights — which, Luhrmann explains, “are really disturbing. So [Elvis] was very apologetic to the audience, because the audience felt a bit more self conscious than they would have been at a normal show. They were actually making a movie, they weren’t just shooting a concert.”

Luhrmann chose to leave in many shots where camera operators can be seen running around with their 16mm cameras for close-ups, “like they’re in the Vietnam War trying to get the best angles,” because we live in an era where we’re used to seeing cameras everywhere and Luhrmann felt none of the original directors’ concern about breaking the illusion. Those extreme close-ups, which were achieved by operators doing math and manually pulling focus, allow us to see even the pores on Presley’s skin — now projected onto a screen the size of two buildings.

The sweat that comes out of those pores is practically a character in the film. Luhrmann marvels at how much Presley gave in every single rehearsal and every single concert performance. Beyond the fact that “he must have superhuman strength,” Luhrmann says, “He becomes the music. He doesn’t mark stuff. He just becomes the music, and then no one knows what he’s going to do. The band do not know what he’s going to do, so they have to keep their eyes on him all the time. They don’t know how many rounds he’s going to do in ‘Suspicious Minds.’ You know, he conducts them with his entire being — and that’s what makes him unique.”

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Elvis Presley in Las Vegas in Aug. 1970.

Elvis Presley in Las Vegas in Aug. 1970.

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It’s not the only thing. The revivified concerts in EPiC are a potent argument that Elvis wasn’t just a superior live performer to the Beatles (who supplanted him as the kings of pop culture in the 1960s), but possibly the greatest live performer of all time. His sensual, magmatic charisma on stage, the way he conducts the large band and choir, the control he has over that godlike gospel voice, and the sorcerer’s power he has to hold an entire audience in the palm of his hands (and often to kiss many of its women on the lips) all come across with stunning, electrifying urgency.

Shaking off the rust and building a “dreamscape” 

The fact that, on top of it all, he is effortlessly funny and goofy is, in Luhrmann’s mind, essential to the magic of Elvis. While researching for Elvis, he came to appreciate how insecure Presley was as a kid — growing up as the only white boy in a poor Black neighborhood, and seeing his father thrown into jail for passing a bad check. “Inside, he felt very less-than,” says Luhrmann, “but he grows up into a physical Greek god. I mean, we’ve forgotten how beautiful he was. You see it in the movie; he is a beautiful looking human being. And then he moves. And he doesn’t learn dance steps — he just manifests that movement. And then he’s got the voice of Orpheus, and he can take a song like ‘Bridge Over Troubled Water’ and make it into a gospel power ballad.

“So he’s like a spiritual being. And I think he’s imposing. So the goofiness, the humor is about disarming people, making them get past the image — like he says — and see the man. That’s my own theory.”

Elvis has often been second-classed in the annals of American music because he didn’t write his own songs, but Luhrmann insists that interpretation is its own invaluable art form. “Orpheus interpreted the music as well,” the director says.

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In this way — as in their shared maximalist, cape-and-rhinestones style — Luhrmann and Elvis are a match made in Graceland. Whether he’s remixing Shakespeare as a ’90s punk music video in Romeo + Juliet or adding hip-hop beats to The Great Gatsby, Luhrmann is an artist who loves to take what was vibrantly, shockingly new in another century and make it so again.

Elvis Presley in Las Vegas in Aug. 1970.

Elvis Presley in Las Vegas in Aug. 1970.

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Luhrmann says he likes to take classic work and “shake off the rust and go, Well, when it was written, it wasn’t classical. When it was created, it was pop, it was modern, it was in the moment. That’s what I try and do.”

To that end, he conceived EPiC as “an imagined concert,” liberally building sequences from various nights, sometimes inserting rehearsal takes into a stage performance (ecstatically so in the song “Polk Salad Annie”), and adding new musical layers to some of the songs. Working with his music producer, Jamieson Shaw, he backed the King’s vocals on “Oh Happy Day” with a new recording of a Black gospel choir in Nashville. “So that’s an imaginative leap,” says Luhrmann. “It’s kind of a dreamscape.”

On some tracks, like “Burning Love,” new string arrangements give the live performances extra verve and cinematic depth. Luhrmann and his music team also radically remixed multiple Elvis songs into a new number, “A Change of Reality,” which has the King repeatedly asking “Do you miss me?” over a buzzing bass line and a syncopated beat.

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I didn’t miss Elvis before I saw EPiC — but after seeing the film twice now, I truly do.

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