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"Megadeth: Dave Mustaine Talks About 'Sudden Death' Track".
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Consultado el 8 de junio de 2011. «Megadeth: Dave Mustaine Talks About 'Sudden Death' Track».
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how do golfers work out their handicap ?
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go here, it does it for you fast and easy, all you have to do is enter your scores:\n\nhttp://golf.sports.yahoo.com/tracker\n\nAlso see here for a detailed explanation:\n\nhttp://en.wikipedia.org/wiki/Golf_handicap
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was the 19th season of the PGA EuroPro Tour, one of four third-tier tours recognised by the European Tour. Schedule The season consisted
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by the European Tour. Schedule The season consisted of 15 events. Graduates The top five players (not otherwise exempt) earned Challenge Tour cards for
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William Yardley (cricketer)
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وليام ياردلى
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several multi colored umbrellas outdoors in a market place.
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a lot of people underneath many different opened umbrellas
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what to do when your tenant breaks their lease?
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Things get muddier if you seek to evict your tenant for breaking some other stipulation of your lease agreement. Start with some form of notice to a tenant that they have broken their lease agreement, and then try to work out a solution. Only when that fails should you seek to evict them.
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Republican David Jolly is battling to represent Florida's 13th Congressional District in a special election next month .
Reports re-surfaced on Monday that he had knocked over and killed a pedestrian, 30-year-old Blair Ropes, in Tampa in 1989 .
Florida Highway Patrol concluded Ropes was at fault for walking with the flow of traffic while wearing dark clothing, and Jolly was not charged .
Jolly has hit out at the person who leaked the story and called the incident 'a tragedy that continues to weigh heavy on my heart'
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By . Lydia Warren . PUBLISHED: . 19:43 EST, 25 February 2014 . | . UPDATED: . 10:41 EST, 26 February 2014 . A Florida congressional hopeful has revealed how fatally striking a pedestrian with his car when he was 16 'still weighs heavy on my heart'. David Jolly, a Republican battling to represent Florida's 13th Congressional District, questioned why stories about the 1989 crash had resurfaced so shortly ahead of the March 11 election. He was found not to be at fault for the death of 30-year-old Blair Ropes, who was struck on June 9, 1989 as he walked along the side of a busy road in Tampa after his motorcycle broke down. 'It was a human tragedy that occurred when I was a young man,' Jolly, 41, told WTSP when they first asked him about the accident. Speaking out: David Jolly, who is in a race for a special election in Florida, fatally hit a 30-year-old man with his car in 1989, but was not deemed to be at fault. He has said it took him a long time to find peace . 'It took several years for me to get . to a place of peace, but not something anybody would ever get over. I'll be honest, for several years it challenged my faith. I questioned how such things could happen, but tragedy occurs.' In a statement, he added: 'This was a tragic accident where a . man lost his life and a family lost a loved one. It continues to weigh heavy on my heart after 25 . years and we owe the family our deepest sympathies every day.' WTSP-TV in St Petersburg first reported about the crash on Monday and an anonymous note was sent to the Tampa Bay Times about the 25-year-old incident. 'The facts of this accident have been public record for years,' Jolly added. 'It is disrespectful and hurtful to the surviving family that someone would now dig this tragedy up to use for political gain. 'Out of respect for the family and friends who lost a loved one, I will have no further comment.' A 16-year-old Jolly was driving his father's car from a Tampa mall to Dade City, where he lived, with a female passenger at 9.30pm on the night of the crash. Scene: The crash occurred on what is now Bruce B Downs Boulevard in Tampa. A man was walking along the road after his motorcycle broke down when Jolly, who was heading home from the mall, hit him . At the same time, Blair Ropes and his girlfriend Sandra Vendl were returning from the mall but Ropes' motorcycle broken down and the pair started to walk for assistance. Ropes, who was wearing black and walking with the flow of the traffic, was struck by Jolly's right front bumper. The troopers' report noted that there was no sidewalk along the road. Ropes was thrown 147 feet and was pronounced dead on the scene. The report said that Jolly did not . stop and instead drove to a nearby convenience store to call emergency . workers. He then returned to the scene and told troopers he had not seen Ropes. Vendl told troopers at the . time that she was not hurt, but several weeks later she said she had been struck . and had an injured elbow. Troopers wrote in their report that Ropes was at fault in the crash because he was not facing oncoming traffic as he walked, a violation of Florida law. Jolly did not face any charges. Jolly is in a tight race with Democrat Alex Sink to replace the late Republican . Bill Young in the 13th Congressional District. The special election has spurred a multimillion-dollar ad war. At work: Jolly, who is pictured with supporters last November, slammed the person who brought the crash to the attention of the media, saying it would just cause the victim's family more hurt . Battle: He is fighting Democrat Alex Sink, pictured Tuesday, for the seat in the special election on March 11 . Republicans have attacked Sink over Obama's health care law, while Democrats have linked . Jolly to the GOP's far-right. Jolly believes the resurfacing of his crash story is yet another tactic. He added to WTSP: 'I . don't know who has pushed this story, but I believe it to be a . heartless individual who has clearly never lost anyone close to them or . experienced such a tragedy.' Deails also surfaced this week that Jolly took a homestead credit in the same year at his Florida condo and a home in Washington, D.C. Jolly campaign spokeswoman Sarah Bascom said that when Jolly bought his D.C. home in 2007, paperwork was mistakenly filed for a homestead exemption, but Jolly quickly fixed it. He returned a $264 tax credit and had the homestead credit removed, she said. Jolly has no children and is currently going through a divorce after being married for 15 years. See below for video .
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when is dancing with the stars junior 2020?
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The nine remaining celebrity kids will transform into some of the most magical Disney characters from their favorite Disney films and celebrate the magnificence of “Disney Night” on “Dancing with the Stars: Juniors,” SUNDAY, OCT. 21 (8:00-9:00 p.m. EDT), on The ABC Television Network, streaming and on demand.
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what is the theme song for last of the mohicans
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The Last of the Mohicans (soundtrack) The main theme of the movie is the tune "The Gael" by Scottish singer-songwriter Dougie MacLean from his 1990 album The Search.
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Why does Amazon Prime Video and Hulu have same or nearly the same 3rd part content? e.g. If Forrest Gump is available on Hulu, it'll be on Prime as well
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To give people more reasons to choose between the too and not just subscribe to both. Nobody wants you to give money to their business rival.
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In 1883, Archipov went to study at the Imperial Academy of Arts at Saint Petersburg, he would stay there two years, before returning to complete his studies in Moscow.
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Nel 1883 Archipov andò a studiare a San Pietroburgo all'Accademia Imperiale d'Arte, dove rimase per due anni prima di ritornare a Mosca per completare i suoi studi.
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village. Kamitaira is one of the three villages of the Gokayama region, famous for the World Heritage gassho houses. The traditional culture of Gokayama is extremely well preserved, especially the traditional dance, the Kokiriko. References
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km². The total area was 94.77 km². On November 1, 2004, Kamitaira, along with the towns of Fukuno, Inami and Jōhana, the villages of Inokuchi, Taira and Toga (all from Higashitonami District), and the town of Fukumitsu (from Nishitonami District), was merged to create the city of Nanto. The World Heritage Suganuma village is located in Kamitaira village. Kamitaira is one of the three villages of
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Through more than a century of interaction, First Nations view the Numbered Treaties as sacred.
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Attraverso oltre un secolo di interazioni le Prime Nazioni considerano i Trattati Numerati come sacri.
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How come taking anti-histamines does not make one more susceptible to infections when histamines are used as a defense mechanism against new infections?
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The role of histamine is described pretty well [ here ](_URL_0_). Basically it is a small signalling molecule used to trigger the action of certain types of immune system cells (and other unrelated types of cells). But the immune system is complex with multiple, somewhat redundant pathways for fighting pathogens. So blocking certain histamine responses does not have a major effect on the effectiveness of the immune system, overall. Instead it reduces hyper-sensitivity that leads to things like allergies.
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Where to ask a question about multiple websites running on the same codebase
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Is there a Stack Exchange community in which one can ask subjective and possibly open-ended programming questions?
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are batiste products cruelty free?
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Batiste Dry Shampoo does not have an expiration date. Is Batiste cruelty free? Batiste Dry Shampoo is vegetarian and vegan friendly.
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and PJ Harvey. A natural progression." Reception According to SonicScoop, "If the sonic purity and emotional intensity of Haunted sounds like it’s coming from somewhere very real, it’s because it is. Hearts broke in the making, as Janita split with her longtime collaborator/life partner Tomi Sachary even as he served as co-producer on the album. Along the way, Janita connected with co-producer Jamie Siegel and ultimately crafted a collection of songs that leaves her adult contemporary reputation – foisted on her by
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Company Records (now ECR Music Group) in 2010. Production For the album, Janita no longer worked with Tomi Sachary, instead working with Jamie Siegel, whose credits include the Smashing Pumpkins and Joss Stone. The album was first mastered and edited at Masterdisk in New York for the Finnish release, then later remastered and resequenced by Blake Morgan. According to Janita, interacting with Meshell Ndegeocello partially convinced her to try a new alternative direction with the album. "She exposed me to music I hadn't explored before. I loved it. Totally devoured it. I
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how to transfer contacts from windows phone to android using gmail?
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In the main Gmail window, click the "Mail" or "GMail" drop-down arrow on the top left of the screen, and choose "Contacts". In Contacts page, press "More" menu and select "Import". Now press the "Choose File" button. Navigate to the location where you saved the Windows Live Contacts file (OutlookContacts.
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The English language belongs to the German language group.
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La lingua inglese appartiene al gruppo linguistico germanico.
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The project RisAlto started in 2001 by an idea of Mari Brignolo and Marco Porta.
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La mostra RisAlto nasce nel 2001 da un'idea di Mari Brignolo e Marco Porta.
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Sancho Pansa in 1660. La mort de Brute et de Porcie (1637), on the deaths of Brutus and his wife Portia One novel External links http://www.answers.com/topic/maurice-de-gu-rin-2 1613 births 1657 deaths 17th-century French dramatists and playwrights 17th-century
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Selected works Oroondate (performed 1643), a parody of the widespread literary models of heroic courtship a trilogy based on Don Quixote (performed 1638-9), notable for its accomplished use of the burlesque and thought to have been adapted and played
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motile bacterium from the genus of Sedimentitalea which has been isolated
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bacterium from the genus of Sedimentitalea which has been isolated from sediments from the South
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However, repulsive forces between soil and fibers alone do not produce satisfactory washing results even at high pH.
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Bununla birlikte, kir ile lifler arasındaki itici güçler tek başına bile yüksek pH'ta tatmin edici yıkama sonuçları vermezler.
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Khaled Al-Dosari
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خالد الدوسري (رياضي)
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The pentode (called a "triple-grid amplifier" in some early literature) was developed from the tetrode tube by the addition of a third grid, the suppressor grid.
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Pentode (kaldes en "triple-grid amplifier" i noget tidligt litteratur) blev udviklet fra tetroden ved at tilføje et tredje gitter, fanggitteret.
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It makes as little sense as Sasha agreeing to Rosita's plan in the first place, when the sniper plan is so much better.
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Tiene tan poco sentido como Sasha aceptar el plan de Rosita en primer lugar, cuando el plan de francotirador es mucho mejor.
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several used trucks for hauling jobs. In 1939, he acquired Fageol Truck and Coach Company of Oakland, California, from Sterling Motor Truck Co. The first Peterbilt trucks were nearly identical in appearance to the former Fageol designs. Peterman died of cancer on November 16, 1944, in Tacoma, Washington, at the age of 51. References 1944 deaths
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Truck and Coach Company of Oakland, California, from Sterling Motor Truck Co. The first Peterbilt trucks were nearly identical in appearance to the former Fageol designs. Peterman died of cancer on November 16, 1944, in Tacoma, Washington, at the age of 51. References 1944 deaths 1893
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A woman is carving an animal.
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A woman is creating art.
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Questions about converting .ogm and other video files into smaller file size and kbps?
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If you want to convert them into another format ( mobile phone, iPods,psp,wmv, mp4...and anything else) use this awesome free program called Super http://www.erightsoft.com/SUPER.html
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also sometimes cleistogamous, so that the flowers pollinate themselves, especially under stressful conditions. It also reproduces vegetatively via tillers. This species is highly variable. It can be easily confused with B. catharticus and B. stamineus. Uses This grass is used for control of erosion and revegetation of damaged land, as well as a highly palatable forage for livestock; however, it has the capacity to become a noxious weed in agricultural settings. References External links Jepson Manual Treatment - Bromus carinatus USDA Plants Profile Forest Service Fire Ecology Bromus carinatus - Photo gallery carinatus Bunchgrasses of North America Native grasses of California Grasses of Mexico
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reproduces vegetatively via tillers. This species is highly variable. It can be easily confused with B. catharticus and B. stamineus. Uses This grass is used for control of erosion and revegetation of damaged land, as well as a highly palatable forage for livestock; however, it has the capacity to become a noxious weed in agricultural settings. References External links Jepson Manual Treatment - Bromus carinatus USDA Plants Profile Forest Service Fire Ecology Bromus carinatus - Photo gallery carinatus Bunchgrasses of North America Native grasses of California Grasses of Mexico Grasses of the United States Flora of Northwestern Mexico Flora of the
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Ivan, eight, and Noel, 10, live at Copenhagen Zoo, Denmark .
Their new enclosure has brought out their playful sides, says photographer .
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By . Daily Mail Reporter . PUBLISHED: . 11:28 EST, 15 March 2013 . | . UPDATED: . 12:14 EST, 15 March 2013 . Playing and splashing about, these polar bears took to their new home like, well, polar bears to water. Entertaining themselves at Copenhagen Zoo, Denmark, this pair have been spotted diving through the pool and enjoying breakfast in their swish new pad. Ivan, an eight-year-old male and Noel, a . 10-year-old female, have shown off their fun side since the move, according to senior adviser Frank Rønsholt, who took the pictures. Scroll down for video . Noel, a 10-year-old female polar bear at Copenhagen Zoo waves from within her new enclosure . The new enclosure, nicknamed the Arctic Circle, means visitors can see the magnificent creatures up close from the glass tunnel under the bears' pool . Noel and Ivan, two polar bears at Copenhagen Zoo, love exploring their new enclosure which gives them more room for playtime . He said: 'Playing like this is not something that . they ever seemed to do in their old enclosure, so you can clearly see . that the polar bears are enjoying their new habitat. 'The new enclosure for these bears is 6 metres deep, and we are able to see them from only 17 centimetres away. 'It's great because they can now see us as closely as we can see them, and they seem to absolutely love it.' Polar bears are often regarded as marine mammals, spending most of their time at sea, so it's no surprise that Ivan and Noel were keen to get in the water. With male polar bears growing as long as 10ft and females reaching between six to eight feet long, they need lots of room when it comes to play time. Ivan, an eight-year-old male, will share the enclosure with Noel and North Atlantic birds and seals . Photographer Frank Rønsholt said the larger enclosure had brought out Ivan, pictured, and Noel's playful sides . There are only 17 centimetres between the bears and visitors, thanks to the design of the Arctic Circle at Copenhagen Zoo . The bears live in the new enclosure, named the Arctic Circle, along with North Atlantic birds and seals. Visitors will be able to see the bears up close from a glass tunnel under the pool. At 3,200sqm, the Arctic Circle is not only far bigger than the existing enclosure, but will be able to satisfy the bears' urges to dig and seek food on land and in the water. No wonder these polar bears were thrilled to check out their new surroundings. Mr Rønsholt said: 'The bears were playing around with ease, it was almost like watching ballet. 'It was very impressive to see them act so calm.' Breakfast time: Ivan enjoys a fish . Polar bears are happy underwater - and Ivan and Noel were keen to splash about as they settled in to a new home .
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during the winters. This continued until Neem Karoli's death in 1973. After Neem Karoli's death, Mukerjee wrote two English-language books about him: By His Grace: A Devotee's Story, and The Near and the Dear: Stories of Neem Karoli Baba and His Devotees. These works are, in part, autobiographical as well. Mukerjee is also mentioned in passing in Ram Dass's book Miracle of Love: Stories about Neem Karoli Baba. Mukerjee and Jawaharlal Nehru were college classmates. There is at least one existing picture of them together, which is published in By His Grace: A Devotee's Story. Works The Near and the Dear: Stories of Neem Karoli Baba and His Devotees, Hanuman
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Miracle of Love: Stories about Neem Karoli Baba. Mukerjee and Jawaharlal Nehru were college classmates. There is at least one existing picture of them together, which is published in By His Grace: A Devotee's Story. Works The Near and the Dear: Stories of Neem Karoli Baba and His Devotees, Hanuman Foundation, 2000. . By His Grace: A Devotee's Story. Hanuman
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what is the difference between red and green cabbage?
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Red cabbage and green cabbage are two different varieties of cabbage, and have a similar flavor, although red cabbage tends to be more earthy in flavor and is usually smaller and denser than green cabbage.
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Cheyenne is situated on Crow Creek and Dry Creek.
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Cheyenne si trova sul Crow Creek e sul Dry Creek.
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Don't be a pest!
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¡No moleste!
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the fashion business and experience the glam and the glitter and also may some money. They find out that business has a dark side
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dark side and there are people who try to exploit the rookies. Cast Patricia Valley ... Veronica Antonio Ibáñez ... Miguel Ángel de Miguel ... Andrés Bárbara de Lema ... Diana References External
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what is pgpba course in iim?
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Email: pgpba[at]iimb[dot]ac[dot]in The Post Graduate Programme in Business Analytics is a 24-month fulltime program designed to give you the tools and techniques to become an expert in this evolving, high-demand field.
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for his "gallant and meritorious services". At the Battle of Five Forks on April 1, 1865, the 1st Brigade, including the 146th New York, led the 2nd Division's attack on the Confederate breastworks. Just after breaching the defenses, brigade commander Frederick Winthrop was mortally wounded. For a second time, Grindlay took over command of 1st Brigade. Under his leadership, the brigade took the Confederate defenses and captured more than one-thousand prisoners and four battle flags. Two of the flags were captured by his own regiment, the 146th New York. Again, Grindlay was brigade commander for only two days until another replacement was found. For his actions during the engagement, Grindlay was awarded the Medal of Honor twenty-six years later, on August 14, 1891. His official citation states that he was "[t]he first to enter the enemy's works, where he captured 2 flags." Grindlay and the rest of the 146th New York were mustered out of service on July 16, 1865, three months after the end of the war. Post-war life After the war, Grindlay lived in Utica, New York. He married twice, first to a Miss Anderson from Boonville and second to Mary Peckham from Utica. He was active in the Loyal Legion veterans' group and was president of the V Corps Veteran Association. In 1874 and 1875 he served as the U.S. consul to Kingston, Jamaica, and from 1891 onwards he worked at the New York State Comptroller's office in Albany. Grindlay died in a car accident in Troy, New York, at age 67 and was buried at Forest Hill Cemetery in Utica. See also
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his actions during the Battle of Five Forks. He served with the 146th New York Volunteer Infantry Regiment and commanded that unit for the last year of the war. He twice briefly led his brigade after his superior officers became casualties, and was brevetted brigadier general shortly before the end of the conflict. Early life Born in Edinburgh, Scotland, Grindlay immigrated to the United States as a young man. He was trained as a clerk, accountant, and insurance agent. Before enlisting in the Army he worked as a bookkeeper for a tannery in Boonville, New York. Civil War service Grindlay enlisted from Boonville on September 8, 1862 for a three-year term of service in the Union Army. He joined Company D of the 146th New York Infantry as a captain. In May and June 1864 the regiment took part in General Ulysses S. Grant's Overland Campaign in Virginia. At the Battle of the Wilderness in the first week of May, the 146th took heavy casualties. Both the regimental commander and the second-in-command were killed in action, leaving Grindlay as the most senior officer. He assumed command of the regiment and led it through the Battle of Spotsylvania Court House which immediately followed. Promoted to major, Grindlay led the 146th for the remainder of the campaign, including the battles of North Anna, Totopotomoy Creek, and Cold Harbor. During the subsequent Siege of Petersburg, Grindlay again led his regiment through a series of battles, beginning with the Second Battle of Petersburg in June 1864 and the Battle of Globe Tavern in August. At the Battle of Peebles' Farm, the commander of 1st Brigade, 2nd Division, V Corps, of which the 146th New York was a part, was severely wounded. The injured officer, Elwell Stephen Otis, was carried from the field and Grindlay took over his position. Grindlay's tenure as brigade commander lasted only two days, from October 1, to October 3, before a replacement was found. He reverted to his previous position as leader of the 146th, and saw the regiment through several more battles from late 1864 into early 1865. He led his men at the
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for Medical Students "one of the seminal textbooks of the field". It was first published in 1947. The fourth edition was published in 1965. Personal life Holt died in his sleep, at his home in Ann Arbor. References 1915 births 1996 deaths Writers from Pittsburgh American radiologists University of Pittsburgh alumni American male non-fiction writers American textbook writers Scientists from Pittsburgh 20th-century American
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University of Michigan for his residency. Career Holt was the first director of pediatric radiology at C.S. Mott Children's Hospital. Publications Radiology for Medical Students "one of the seminal textbooks of the field". It was first published in 1947. The fourth edition was
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Why's Tom leaving?
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Почему Том уходит?
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can you use tomato sauce instead of diced tomatoes?
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If you use these instead of diced in a recipe that calls for diced, it can make the dish too acidic. Tomato Sauce: Not to be confused with pasta sauce, which usually contains other vegetables and is sold as a finished product. Tomato sauce is thinner than tomato puree, and often has seasonings added.
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Konergino
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Конергино
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Emiliano Aguirre
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Emiliano Aguirre Enríquez
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Four testings was held in Fort Magsaysay.
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چهار آزمایش نیز در فورت ماگاسایاس بر روی موشک انجام شد.
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I thought you'd be able to do that.
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Я подумал, ты сможешь это сделать.
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Ryoga Hibiki One of Ranma 's enemies ( well at first ) .
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Ryoga Hibiki Ryoga is a childhood rival of Ranma 's and is infamous for losing his way thanks to a horrible sense of direction .
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He was student of Juan Rodríguez Juárez.
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Ai ishte një student i Juan Rodríguez Juárez.
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He needs that money.
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Onun o paraya ihtiyacı var.
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The Byzantine Empire, seat of the Patriarch of Constantinople, generally preferred a united Metropolitanate of Kiev and all Rus' and was reluctant to divide its authority.
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O Império Bizantino, sede do patriarca de Constantinopla, geralmente preferiu um unido Metropolitanado de Quieve e todos os rus' e estava relutante em dividir sua autoridade.
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University during the 1997 NCAA Division I-A football season. In their first season under head coach Gary Darnell, the Broncos compiled an 8–3 record and finished in second place in the West Division of the Mid-American Conference (MAC). In non-conference games, they defeated Temple (34–14) and Louisiana–Monroe (32–19) and lost to Michigan State (42–10). The team's statistical leaders were
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8–3 record and finished in second place in the West Division of the Mid-American Conference (MAC). In non-conference games, they defeated Temple (34–14) and Louisiana–Monroe (32–19) and lost to Michigan State (42–10). The team's statistical leaders were Tim
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from 1997 to 1998; this led to her involvement on numerous science boards, including the Defense Science Board and the US Air Force Scientific Advisory Board. Career in robotics Disaster robotics Murphy began research into disaster robotics in 1995, motivated by the Oklahoma City bombing. Murphy was the director of the Center for Robot-Assisted Search and Rescue (CRASASR) from 2002 to 2018, and now serves as the vice-president. Through CRASAR she participated in the 9/11 World Trade Center disaster (2001), considered the first use of robots for the emergency response phase of a disaster. Since then she has helped insert unmanned ground, aerial, and marine systems into 27 disasters including Hurricane Katrina, which is considered the first use of small unmanned aerial systems, the Fukishima Daiichi nuclear accident (2011), the Tōhoku tsunami (2011), the Syrian Boat Refugee crisis (2016), and Hurricane Harvey (2017). She wrote the seminal text Disaster Robotics, MIT Press, in 2014. Science Fiction Murphy's book, Artificial Intelligence and Mobile Robotics: Case Studies of Successful Systems was cited by Michael Crichton in Prey. She inspired the character of Jae, a rescue roboticist who worked at Disaster City, in Skinner, a science fiction book by Charlie Huston. Murphy has edited a book, Robotics Through Science Fiction: Artificial Intelligence Explained Through Six Classic Robot Short Stories by Isaac Asimov, Brian Aldiss, Vernor Vinge, and Philip K. Dick, to illustrate key principles in programming artificial intelligence for robotics. The book was originally intended as a companion to the second edition of her textbook Introduction to AI Robotics but it serves as a stand-alone book for a non-technical audience. Since 2018, she writes monthly 'science fiction science fact' focus articles for Science Robotics analyzing the realism of robots in the media including Star Wars and Westworld. Her blog Robotics Through Science Fiction discusses the scientific accuracy of books and movies. Awards and honors She was named to the 2021 class of Fellows of the American Association for the Advancement of Science. She was elected as an ACM Fellow in 2019 "for contributions in founding and advancing the field of computing for disasters and robotics". In 2014, Murphy received the Association for Computing Machinery Eugene L. Lawler Award for Humanitarian Contributions within Computer Science and Informatics. Her humanitarian work has been honored with the 2009 Motohiro Kisoi Award for academic contributions to rescue engineering and the AUVSI Foundation's Al Aube Outstanding Contributor Award in 2008. In 2010, she was made an IEEE Fellow “for contributions to rescue robotics and insertion of robots
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teaching artificial intelligence and robotics. Early years and education Murphy was raised in Douglas, Georgia. She received her bachelor's degree in mechanical engineering from the Georgia Institute of Technology in 1980, worked in the process safety industry, and returned to Georgia Tech for a master's (1988) and PhD. (1992) in computer science under the direction of Ronald Arkin. She was the first person to graduate from the Georgia Tech College of Computing with a PhD in robotics. She was an assistant professor at the Colorado School of Mines from 1992 to 1998, then moved to the University of South Florida as an associate professor in 1998 and was promoted to full professor in 2003. In 2008, Murphy moved to Texas A&M University. She was a member of the Defense Science Study Group from 1997 to 1998; this led to her involvement on numerous science boards, including the Defense Science Board and the US Air Force Scientific Advisory Board. Career in robotics Disaster robotics Murphy began research into disaster robotics in 1995, motivated by the Oklahoma City bombing. Murphy was the director of the Center for Robot-Assisted Search and Rescue (CRASASR) from 2002 to 2018, and now serves as the vice-president. Through CRASAR she participated in the 9/11 World Trade Center disaster (2001), considered the first use of robots for the emergency response phase of a disaster. Since then she has helped insert unmanned ground, aerial, and marine systems into 27 disasters including Hurricane Katrina, which is considered the first use of small unmanned aerial systems, the Fukishima Daiichi nuclear accident (2011), the Tōhoku tsunami (2011), the Syrian Boat Refugee crisis (2016), and Hurricane Harvey (2017). She wrote the seminal text Disaster Robotics, MIT Press, in 2014. Science Fiction Murphy's book, Artificial Intelligence and Mobile Robotics: Case Studies of Successful Systems was cited by Michael Crichton in Prey. She inspired the character of Jae, a rescue roboticist who worked at Disaster City, in Skinner, a science fiction book by Charlie Huston. Murphy has edited a book, Robotics Through Science Fiction: Artificial Intelligence Explained Through Six Classic Robot Short Stories by Isaac Asimov, Brian Aldiss, Vernor Vinge, and Philip K. Dick, to illustrate key principles in programming artificial intelligence for robotics. The book was originally intended as a companion to the second edition of her textbook Introduction to AI Robotics but it serves as a stand-alone book for a non-technical audience. Since 2018, she writes monthly 'science fiction science fact' focus articles for Science Robotics analyzing the realism of robots in the media including Star Wars and Westworld. Her blog Robotics Through Science Fiction discusses the scientific accuracy of books and movies. Awards and honors She was named to the 2021 class of Fellows of the American
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it until they were sure a song was finished. They understood this and there was no problem. Myth 2: It’s a double album with a side missing. Fact: This was my first album to be released on CD, where the running time was not an issue. I was having a hard time deciding what to leave out for the LP, though, and I suggested making a 3-sided one, and selling it for the price of a regular album. Much to my surprise, the record company said yes. So rather than a side missing, you got an extra side. Critics, of course, hadn’t had to pay for it.’ Release The LP release was a double album, but only three sides had music. The fourth side label stated "there is no music on this side", and the record had a groove that quickly led to the inner to prevent stylus damage. The CD release contained the same 15 tracks on one disc. The front cover of the album (work by Serge Clerc) features the phrase "Big World" in French, Persian, Mandarin Chinese, Greek, Dutch, Korean, Thai, Russian, Irish Gaelic, Armenian, Hindi, Hebrew, Indonesian, Arabic, and Polish. The back cover features the same phrase in Vietnamese, Swedish, Swiss German, Turkish, Spanish, Swahili, Italian, Danish, Finnish, Welsh, and Hungarian. The album included an eight-page booklet which included the lyrics to all fifteen songs and recording information in English, German, Japanese, French, Italian and Spanish. The original South African LP release featured all 15 songs on one disc. Track listing All songs written and arranged by Joe Jackson. Produced by Joe Jackson and David Kershenbaum. The track sequence differed between the compact disc, LP and cassette releases. Personnel Musicians Joe Jackson - piano, recorder, accordion, melodica, vocals Vinnie
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audience remain silent while his performance was recorded. The music was mixed live from microphones on each musical instrument and sent directly to a stereo digital tape recorder. Unlike most live recordings, no post-recording mixing or overdubbing was performed. Regarding the album, Joe says: ‘I want to clear up two myths about this record which still crop up all the time. Myth 1: During the live recording of the album, the audience was forbidden to applaud. Fact: There was plenty of applause. We were just playing a lot of unfamiliar material, and recording it for an album, so the audience were asked to hold it until they were sure a song was finished. They understood this and there was no problem. Myth 2: It’s a double album with a side missing. Fact: This was my first album to be released on CD, where the running time was not an issue. I was having a hard time deciding what to leave out for the LP, though, and I suggested making a 3-sided one, and selling it for the price of a regular album. Much to my surprise, the record company said yes. So rather than a side missing, you got an extra side. Critics, of course, hadn’t had to pay for it.’ Release The LP release was a double album, but only three sides had music. The fourth side label stated "there is no music on this side", and the record had a groove that quickly led to the inner to prevent stylus damage. The CD release contained the same 15 tracks on
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how could i rise boiling point of water?
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Although adding salt to water will raise the boiling point, you will need to add a lot of salt. If this is water that will be used for cooking anything, it will ruin it. For example, to raise the boiling temperature 1/2 degree celsius, requires 1/4 Cup of Salt!\n\nWhen a pot is boiling over, just turn down the heat or remove it from heat. You could add some salt, which will change the vapor pressure and slow down the boiling process, but it takes a lot.
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ASEC has, after own declarations, more than 8,000,000 fans in Ivory Coast and 15,000,000 in the whole region.
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АСЕК має, за власними оцінками, понад 8 000 000 фанів у Кот-д'Івуарі та понад 15 000 000 уболівальників по всьому регіоні.
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the feast inside their own home. Cast Ellen Vogel as Norah Leegher-Buwalda Guus Hermus as De heer Leegher Ank van der Moer as Mevrouw Keizer Jan Teulings as De heer Keizer Yoka Berretty as Mevrouw Lomijn Guus Oster as De heer Lomijn Mieke Verstraete as Emma
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and who badly reacts to everything. In the third family they have problems celebrating the feast inside their own home. Cast Ellen Vogel as Norah Leegher-Buwalda Guus Hermus as De heer Leegher Ank van der Moer as Mevrouw Keizer Jan Teulings as
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how many minutes does baby breastfeed?
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Duration. During the newborn period, most breastfeeding sessions take 20 to 45 minutes. However, because newborn babies are often sleepy, this length of time may require patience and persistence. Feed on the first side until your baby stops suckling, hands are no longer fisted, and your baby appears sleepy and relaxed.
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gastropod mollusk, in the family Solariellidae. References Solariellidae
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a species of sea snail, a marine gastropod mollusk,
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This project involves interfacing Icom's UT-118 with other manufacturer's amateur radio tranceivers.
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이 프로젝트는 아이콤의 UT-118를 다른 제작사 무전기에 연결하는 것이다.
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threatened by habitat loss. References malukuensis Endemic flora of the Maluku Islands Trees
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the Maluku Islands in Indonesia. It is a vulnerable species threatened by habitat loss.
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and Alisa Kirilyuk placed 13th in the women's 470 event at the 2016 Summer Olympics. References 1989
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is a Russian sailor. She and Alisa Kirilyuk placed 13th in the women's 470 event at the 2016 Summer Olympics. References 1989 births Living people Russian
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In August 1970, Israel, Jordan, and Egypt agreed to an "in place" ceasefire under the terms proposed by the Rogers Plan.
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În august 1970, Israelul, Iordania și Egiptul au acceptat o încetare a focului în condițiile propuse de Planul Rogers.
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Harbour Town Light
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Phare de Harbour Town
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Valley High School and attended Antelope Valley College. Political career Runner was an officer for the Antelope Valley Republican Assembly and remained active in many Republican groups in the Antelope Valley, including the Palmdale and High Desert Republican Women's Clubs, until her death. She served on the board of California Women Lead, a bi-partisan organization that encourages and empowers women running for public office. She served as President of the board of California's Women's Leadership Association for 2011–12. During the 2004 Presidential election, Runner served as the California Women's Coalition Chair for the Bush/Cheney Campaign. She was chosen as a delegate to the 2000 and 2004 Republican National Conventions. She worked on several statewide campaigns including Governor Pete Wilson, California Gubernatorial Recall Election, Governor Arnold Schwarzenegger, and Meg Whitman for Governor 2010. In 2009, Runner was appointed by Governor Arnold Schwarzenegger to the California Unemployment Insurance Appeals Board. She served on the board until December 22, 2010. In 2013 Runner began working part-time for the California State Senate Republican Caucus conducting community outreach events. She also ran "The Runner Group," a public relations/marketing company she founded in 1994. Assembly career In 2002, Runner was elected to represent the 36th Assembly District and served in the State Assembly for three terms, from 2002 to 2008. While in the Assembly she served on the Veteran's Committee; Housing Committee; Select Committees dealing with Foster Care; the Committee on Drug and Alcohol Abuse; as well as the Task Force on the Environment, Energy, and the Economy. She also held key fiscal leadership positions, serving as the Vice-Chair of the Appropriations Committee and as a member of the Budget Committee and Budget Subcommittee on Education. During her first term in office, Runner was appointed as Assistant Republican Leader by former Assembly Republican Leader Kevin McCarthy. Jessica's Law In 2006, along with her husband, Senator George Runner, Sharon Runner authored Proposition 83, California's version of Jessica's Law. The measure passed with the support of 71% of California voters, and passed in 57 of California's 58 counties. Jessica's Law ensures that all sexual offenders who are convicted of activity with children under the age of 14 are put into prison with a mandatory minimum sentence of 15 years or 25 years to life. It eliminates all "first-offense" sexual offense provisions from California law. It also eliminates all "good-time" credits for sexual offenders serving prison terms; under the authored provisions they are required to serve their entire sentence and will not be released for good behavior. The law requires that sex offenders who are released from prison wear a GPS bracelet for life. It also creates a 2,000-foot (615-meter) zone around schools and parks in which registered sex offenders are prohibited from residing. Senate career Runner ran for election to the California State Senate, representing the 17th District. The seat was left vacant by her husband, George Runner, who was elected to the State Board of Equalization in November 2010. The primary election took place on February 15,
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the Task Force on the Environment, Energy, and the Economy. She also held key fiscal leadership positions, serving as the Vice-Chair of the Appropriations Committee and as a member of the Budget Committee and Budget Subcommittee on Education. During her first term in office, Runner was appointed as Assistant Republican Leader by former Assembly Republican Leader Kevin McCarthy. Jessica's Law In 2006, along with her husband, Senator George Runner, Sharon Runner authored Proposition 83, California's version of Jessica's Law. The measure passed with the support of 71% of California voters, and passed in 57 of California's 58 counties. Jessica's Law ensures that all sexual offenders who are convicted of activity with children under the age of 14 are put into prison with a mandatory minimum sentence of 15 years or 25 years to life. It eliminates all "first-offense" sexual offense provisions from California law. It also eliminates all "good-time" credits for sexual offenders serving prison terms; under the authored provisions they are required to serve their entire sentence and will not be released for good behavior. The law requires that sex offenders who are released from prison wear a GPS bracelet for life. It also creates a 2,000-foot (615-meter) zone around schools and parks in which registered sex offenders are prohibited from residing. Senate career Runner ran for election to the California State Senate, representing the 17th District. The seat was left vacant by her husband, George Runner, who was elected to the State Board of Equalization in November 2010. The primary election took place on February 15, 2011, she defeated Democrat Darren Parker 66%–34% to avoid a runoff. To focus on her recovery from a double lung transplant necessitated by her limited scleroderma, she chose to not seek re-election in 2012 and was succeeded by Steve Knight in the renumbered 21st Senate District. A special election for the 21st Senate District, vacated by Steve Knight who was elected to Congress in November 2014, was held on March 17, 2015. After a successful recruitment effort, Runner decided to enter the race. She was the only candidate on the ballot, and easily won reelection to the Senate with 100% of the vote. Runner was sworn into the State Senate on March 19, 2015, where she would serve until her death the following year. Community involvement In 1977, Runner co-founded Desert Christian Schools with her husband, George Runner. It has since grown to become one of the largest private schools in California with nearly 1,700 students on three separate campuses. She served on the Board until her death. Prior to Desert Christian Schools, Runner worked as a licensed realtor with Red Carpet Real Estate Company where she was named "Realtor of the Year." She volunteered her time on several boards and committees including the United Way, Antelope Valley Hospital Gift Foundation, Antelope Valley Crime Task Force, Healthy Homes Advisory Council, and Care Net, a pregnancy resource center. She also spent five years on the board of directors for the Lancaster Chamber of Commerce. In 1998, California Governor Pete Wilson appointed Runner to serve on the Antelope Valley Fair board of directors, where she oversaw the operations of
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Where does the internet physically exist?
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I'm a sr network engineer and I asked this same question 15yrs ago lol. The internet physically exists in data centers that are connected via tier 1 & 2 internet service providers like verizon, global crossing, time warner, savvis, century link, etc etc. Most isp's own dark or dim fiber interconnecred all over the world, even on the bottom of oscean floor. There are over 10,000 isp's globally each have a unique Autonomous system and use bgp v4 to advertise ip subnets to each other. It was estimated that the internet consumes 2 percent of power grid. Data centers are where cloud services and basic websites reside. An example of a data center is IO data, amazon, google etc etc. Research bgp, mpls, dim fiber, tier 1, 2, 3 isp structure, dns, oscean fiber maps, ipv4, ipv6 and u should get a better understanding of the internet
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How well were allergies understood by regular people, historically?
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I don't know about regular people, but rather suprisingly, a few ancients may have had a relatively good understanding of allergies. [Abu Bakir Al-Razi](_URL_0_) (Rhazes) was a 9th century persian Alchemist and Physician who was pretty brilliant. Among his writings was a description of seasonal allergies (referred to as "rose fever") that actually connected the sickness with the seasonal blooming of plants.
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in London, the Glyndebourne Festival, the Vienna State Opera, the Salzburg Festival, La Monnaie in Brussels, the Grand Théâtre de Genève, the Monte Carlo Opera, the Teatro Nacional Sao Carlos in Lisbon, the Liceo in Barcelona, the Berlin State Opera, etc. He also enjoyed considerable success in America, at the Lyric Opera of Chicago, the San Francisco Opera, the Teatro Colón in Buenos Aires, etc. Notable roles included; Don Giovanni, Valentin, Zurga, Escamillo, Golaud, Germont, Renato, Amonasro, Scarpia, Riccardo in I puritani, opposite Joan Sutherland, Alfonso in La favorite, Wolfram, Telramund, etc. A stylish singer and a fine musician, he possessed a beautiful voice with a brilliant upper register and impeccable diction, one of the few post war French singers to have enjoyed a truly international career. After his retirement he taught in Paris. Selected recordings 1958 - Gounod - Faust - Victoria de los Angeles, Nicolai Gedda, Ernest Blanc, Boris Christoff - Choeurs et Orchestre de l'Opéra de Paris, André Cluytens - (EMI) 1959 - Bizet - Carmen - Victoria de los Angeles, Nicolai Gedda, Janine Micheau, Ernest Blanc - Choeurs et Orchestre de la RTF, Thomas Beecham - (EMI) 1960 - Bizet - Les pêcheurs de
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Carlo Opera, the Teatro Nacional Sao Carlos in Lisbon, the Liceo in Barcelona, the Berlin State Opera, etc. He also enjoyed considerable success in America, at the Lyric Opera of Chicago, the San Francisco Opera, the Teatro Colón in Buenos Aires, etc. Notable roles included; Don Giovanni, Valentin, Zurga, Escamillo, Golaud, Germont, Renato, Amonasro, Scarpia, Riccardo in I puritani, opposite Joan Sutherland, Alfonso in La favorite, Wolfram, Telramund, etc. A stylish singer and a fine musician, he possessed a beautiful voice with a brilliant upper register and impeccable diction, one of the few post war French singers to have enjoyed a truly international career. After his retirement he taught in Paris. Selected recordings 1958 - Gounod - Faust - Victoria de los Angeles, Nicolai Gedda, Ernest Blanc, Boris Christoff - Choeurs et Orchestre de l'Opéra de Paris, André Cluytens - (EMI) 1959 - Bizet - Carmen - Victoria de los Angeles, Nicolai Gedda, Janine Micheau, Ernest Blanc - Choeurs et Orchestre de la RTF, Thomas Beecham - (EMI) 1960 - Bizet - Les pêcheurs de perles - Janine Micheau, Nicolai Gedda, Ernest Blanc, Jacques Mars - Choeurs et Orchestre de l'Opéra-Comique, Pierre Dervaux - (EMI) 1962 - Saint-Saëns - Samson et Dalila - Jon Vickers, Rita
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It was formed on 15 October 1940 in Münster.
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Sư đoàn được thành lập vào ngày 15 tháng 10 năm 1940 tại Münster.
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The Behemoth is also mentioned in the opera, Nixon in China, composed by John Adams, and written by Alice Goodman.
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"Behemoth" juga disebut-sebut dalam opera, Nixon in China, yang digubah oleh John Adams, dan ditulis oleh Alice Goodman.
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But who do you think with the biggest brains are the biggest players?
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No, što mislite tko ima najveći mozak i najviše se igra?
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Do you think john cena really lost his championship?
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Vince will never let ECW have the WWE Title as it is the oldest championship. The decision will be reversed tonight since Paul Heyman was not the referee. The only reason they had it appear RVD won was so that John Cena could get out of Hammerstein Ballroom alive. If he had gone over in the match the ECW fnas would have torn him apart.
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ligands. Reflecting the effects of its d4 confiiguration, chromium's coordination sphere is highly distorted. Treatment of chromium powder with concentrated hydroiodic acid gives a blue hydrated chromium(II) iodide, which can be converted to related acetonitrile complexes.
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CrI2 adopts the "cadmium iodide structure" motif, i.e., it features sheets of octahedral Cr(II) centers interconnected by bridging iodiide ligands. Reflecting the effects of its d4 confiiguration, chromium's coordination sphere is highly distorted. Treatment of chromium powder with concentrated hydroiodic acid gives a blue hydrated chromium(II) iodide, which
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The 140 acre (54.6 hectare) Scotchfort Reserve 4 was created in 1879 and like all reserves on Prince Edward Island, was administered as part of the Lennox Island First Nation until separating in 1972.
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Les 140 acres (54.6 hectares) de la réserve Scotchfort 4 fut créée en 1879 et comme toutes les réserves de l'Île-du-Prince-Édouard, était gérée comme une partie de la Première nation de l'Île Lennox jusqu'à la séparation de 1972.
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kyo
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кио
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Haraguchi views the memorization of pi as "the religion of the universe", and as an expression of his lifelong quest for eternal truth.
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Haraguchi vê a memorização do número Pi como "a religião do universo", e como uma expressão de sua busca vitalícia da eterna verdade.
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Charites, or Graces, of Greek mythology and was the goddess of swamps and flowery wreaths. She was depicted in Athenian vase painting as one of the attendants of Aphrodite. Her name Antheia is derived from the Ancient Greek word ἄνθος means "flower" or "blossom". Her symbols are gold colored items. She was known to the Romans as Anthea. Her
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and was the goddess of swamps and flowery wreaths. She was depicted in Athenian vase painting as one of the attendants of Aphrodite. Her name Antheia is derived from the Ancient Greek word ἄνθος means "flower" or "blossom". Her symbols are gold colored items. She was known to the Romans as Anthea. Her center of worship was on the island of Crete. The name Antheia was
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government of Panama turned over control to the private Panama Canal Railway Company ("PCRC"). The Panama Railway was originally broad gauge, but when it was rebuilt in 2000, the gauge was changed to . The route is long across the Isthmus of Panama from Colón (Atlantic) to Balboa (Pacific, near Panama City). As of 2015, Panama Canal Railway Company runs both passenger and freight trains between Panama City and Colón. Passenger service consists of one service in each direction Monday-Friday and the regular one way fare is US$25. Ferrocarril de Chiriquí At the end of the nineteenth century, the government of Panama studied the feasibility of additional railroads. In 1910, Panama Railway was commissioned to estimate cost of a railroad from Panama City to David, Chiriquí with branches to Antón (Coclé Province) and Los Santos. The costs were however too high and the government decided to construct additional network in Chiriquí Province only. In 1914, a contract was signed for construction of a railroad David - Boquete - Concepción with a branch Dolega - Potrerillos and another short one to Puerto Pedregal. The railroad was inaugurated on April 23, 1916, with the first train from David to Boquete. Edwards Rail Car company reports an undated acknowledgment of their three railcars, which were delivered to Ferrocarril de Chiriquí probably in the 1920s. After 1974, the infrastructure of Chiriquí Railroads was transferred to Ministry of Public Works (Ministerio de Obras Públicas) and operations were stopped around 1990. At the beginning of the twenty-first century, the tracks of the defunct railroads are being dismantled and reused for construction of bridges in rural areas In David, the depot is now a public library, while a steam locomotive, No. 1, is on display at the city's fairground. Rehabilitation of the depot and the rolling stock located at La Concepción for a new museum began in January 2021. Chiriquí Land Company The Chiriquí Land Company was a United Fruit company involved in banana growing and real estate management in Panama. It also operated railroads that at their peak totaled about 300 km, more than the Panama Railroad and FNC put together. Their primary traffic was bananas, but it also
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The Panama Railway was originally broad gauge, but when it was rebuilt in 2000, the gauge was changed to . The route is long across the Isthmus of Panama from Colón (Atlantic) to Balboa (Pacific, near Panama City). As of 2015, Panama Canal Railway Company runs both passenger and freight trains between Panama City and Colón. Passenger service consists of one service in each direction Monday-Friday and the regular one way fare is US$25. Ferrocarril de Chiriquí At the end of the nineteenth century, the government of Panama studied the feasibility of additional railroads. In 1910, Panama Railway was commissioned to estimate cost of a railroad from Panama City to David, Chiriquí with branches to Antón (Coclé Province) and Los Santos. The costs were however too high and the government decided to construct additional network in Chiriquí Province only. In 1914, a contract was signed for construction of a railroad David - Boquete - Concepción with a branch Dolega - Potrerillos and another short one to Puerto Pedregal. The railroad was inaugurated on April 23, 1916, with the first train from David to Boquete. Edwards Rail Car company reports an undated acknowledgment of their three railcars, which were delivered to Ferrocarril de Chiriquí probably in the 1920s. After 1974, the infrastructure of Chiriquí Railroads was transferred to Ministry of Public Works (Ministerio de Obras Públicas)
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can god make a burrito so hot he himself cannot eat it?
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Maybe, but he can't make a burrito that is too hot for Chuck Norris.
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the municipality of Ələt in the Qaradağ raion of
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the municipality of Ələt in the Qaradağ raion of
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Though he had broken with the advanced reformers, Baldwin could not approve of the tactics of their opponents, and refused to stand.
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Apesar de ter rompido com os reformistas avançados, Baldwin não conseguiu aprovar a tática de seus oponentes e recusou-se a concorrer.
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can i connect my airpods to my nintendo switch light?
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Open it and place the AirPods inside, and then press and hold the button on the back of the case. Once the status light — this will either be on the front or inside the case — flashes white, it's in pairing mode.
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Through military reforms, the mass recruitment of civilians was made possible and they were able to quell the rebels in 1845.
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באמצעות רפורמות צבאיות, התאפשר גיוס המוני של אזרחים, והם הצליחו לדכא את המורדים בשנת 1845.
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what is cause and effect
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⢠Cause is the first thing that happens in an event while effect is the last thing that happens. Effect is the outcome of the cause. ⢠Cause can be figured out by asking the questions how it happens and why it happens. Effect on the other hand can be discovered by asking the question what happen.
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You should see Tom's picture.
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Dovrebbe vedere la foto di Tom.
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participant Song Yuvin. During promotions for Victon's sixth EP Continuous Choi limited his participation due to a herniated disk in his neck. In November 2020, Choi made his acting debut in the show Live On. He played the role of Kim Yoo-shin, which he gained praise for his three-dimensional acting for the character. In promotion of his acting debut, he appeared in the magazine 1st Look. In March 2021, it was announced that Choi would be appearing in the drama The King's Affection, which became his first role in a historical drama and began airing in October 2021. In August 2021, it was announced that Choi would be appearing in the series A Business Proposal as Shin Ha-min, which premiered in February 2022. Discography Filmography Television series Television shows References External links Living people 1997 births 21st-century South Korean male singers K-pop singers IST Entertainment artists South Korean male idols Victon members South Korean pop singers South Korean male television
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withdrew from the show permanently on July 11 to recover from the increasing pain brought by his chronic Achilles tendinitis. After recovering, he became an MC for the SBS MTV program Banban Show along with host Jang Sung-kyu and fellow Produce X 101 participant Song Yuvin. During promotions for Victon's sixth EP Continuous Choi limited his participation due to a herniated disk in his neck. In November 2020, Choi made his acting debut in the show Live On. He played the role of Kim Yoo-shin, which he gained praise for his three-dimensional acting for the character. In promotion of his acting debut, he appeared in the magazine 1st Look. In March 2021, it was announced that Choi would be appearing in the drama The King's Affection, which became his first role in a historical drama and began airing in October 2021. In August 2021, it was announced that Choi would be appearing in
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World Water Week 2010 left Timothy Karpouzoglou with a lot of questions:
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La Semana Mundial del Agua 2010 dejó a Timothy Karpouzoglou con un montón de preguntas:
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philosophically
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felsefi
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questions to ask when building a business plan?
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['What business are we in? ... ', 'What is the vision and mission of the company? ... ', 'Who is our customer? ... ', 'What does our customer value? ... ', 'What is our target market? ... ', 'What products and services do we provide? ... ', 'What is our sales and marketing strategy?']
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"It pleased God that she should bring forth a daughter since dead" wrote the queen in her Memoirs.
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"Isso agradou Deus de uma forma que ela deu à luz uma filha morta", escreveu a rainha em suas Memórias.
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She performed the song during her revue shows I Am...
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Ella interpretó la canción en sus revistas I Am...
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Shark Shield.
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Shark shield.
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I'm going to try to do that today.
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Azt megpróbálom ma megcsinálni.
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singer Zara Larsson is the recipient of numerous awards including three MTV European Music Awards and eight Rockbjörnen. Additionally, Larsson has received
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MTV European Music Awards and eight Rockbjörnen. Additionally, Larsson has received four Grammis out of eleven nominations,
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1/2, IG safety/security, IG J1939. The interest groups manage their related special interest groups (SIG). These special interest groups (SIG) develop for example dedicated CiA specifications and recommendations (e.g. device and applications profiles for CANopen and CANopen FD). CiA representatives support many international standardization activities (ISO, IEC, CEN, Cenelec, and SAE), dealing with CAN. Moreover, CiA publishes the technical magazine CAN Newsletter (downloadable PDF-file) as well as the CAN Newsletter
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CAN-based higher-layer protocols. About 650 (2018) companies from all over the world have joined the non-profit organization. CAN specifications are developed within CiA interest groups (IG) in cooperation with employees of the member companies. The following IGs have been established: IG CANopen, IG CANopen FD, IG profiles, IG layer 1/2, IG safety/security, IG J1939. The interest groups manage their related special interest groups (SIG). These special interest groups (SIG) develop for example dedicated CiA specifications and
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The Safety Board oversees testing done in DARE, checks rockets prior to launch, and is responsible for all safety-related elements of DARE's work.
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Le Safety Board supervise les tests effectués au sein du DARE, vérifie les fusées avant le lancement et est responsable pour tous les éléments liés à la sécurité du travail de DARE.
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how much meat for 5g of creatine?
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The recommended daily creatine dose is five grams. That's about two pounds of beef, or three pounds of chicken a day. It takes a pound and a half of herring, the best fish source for creatine, to provide five grams of creatine.
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the New Woman". Within this perception, performance artist Karen Finley once said that "all women should be as Madonna as possible". By contrast, Ruth Conniff laments in Politics in a Post-Feminist Age that "we need a better role model than Madonna. We need a sense that we can do something more productive for society". Despite the ambiguity and divided perceptions, British professor Sarah Churchwell recognized that "not everyone agrees that she is feminist or empowering (not least because not everyone agrees what it means to be feminist or empowering)" but states that Madonna is "never troped in terms of failure". Similar to Churchwell, Mary Cross reminds "feminism itself is divided, not only about Madonna but about what feminism represents". She also stated that "playing with the outlaw personae of prostitute and dominatrix, Madonna has made a major contribution to the history of women". A global perspective was provided when The Guardian included Madonna in its "Top 100 women" list in 2011, with editor Homa Khaleeli declaring "no matter the decade or the fashion, she has always been frank about her toughness and ambition". Khaleeli further expressed that Madonna "inspires not because she gives other women a helping hand, but because she breaks the boundaries of what's considered acceptable for women". Feminism in music British sociologist David Gauntlett studied how Madonna boosted the feminism in music, explaining that "feminist message were not often a key to success in the mainstream pop charts" before Madonna, although there were exceptions but without a specific "feminist agenda" like her. Gauntlett furthers notes that "Madonna was the first person to remix her own populist version of feminism and make it part of a pop music success story". A similar argument was suggested by British critic Stuart Maconie when states thay some would say she "brought feminism to the forefront of pop". Scholars Berrin Yanıkkaya and Angelique Nairn wrote that Madonna "set the trend for promoting a highly sexualized form of feminity, that was challenging, and transformed popular culture". Art historian, Kyra Belán also confirmed that she has opened the doors for other women artists as she established a new frontier for female sexuality through a variety of popular vehicles and technologies. As Madonna used different representations in her work (such as irony, parody or sexuality), professor Hunt states that "today this ambiguity is a common theme in feminist analyses of women's music". Scholars Yanıkkaya and Nairn further add about Madonna's impact in feminism on music that her "music has now become synonymous with the performative nature of female pop music artists and their link with popular feminism". Gauntlett also provided examples and comparisons, like the importance of the Spice Girls during the 1990s within the Girl power slogan but concludes it was Madonna the "real pioneer". Gauntlett further notes the impact of Destiny's Child during the 2000s about an independent woman with emphasis on how Madonna paved that way with her self empowerment. Australian magazine The Music found that "Madonna's corporeal feminism impacted on female rappers". Critic Sally Banes also suggested Madonna as a precursor of the Riot grrrl movement. Sex symbol Madonna has been referred to as a sexual icon, and sex symbol. Some references such as American Masters suggested that Madonna's continued to be a sexual icon as "she's gotten older". While Courtney E. Smith in the book Record Collecting for Girls (2011) documented that most people associate Madonna with sex, British sociologist David Gauntlett reminds that Madonna's sexual assertiveness "has been one of the most distinctive elements of her life and work". During part of her career, Madonna's libidinal energy and sexuality become the major attraction for the media. American essayist Chuck Klosterman wrote in his book Sex, Drugs, and Cocoa Puffs (2003) that "whenever I hear intellectuals talk about sexual icons of the present day, the name mentioned most is Madonna". Physicist Stephen Hawking once joked: "I have sold more books on physics than Madonna has on sex". Professor Deborah Bell wrote that "much has been written about Madonna and sexual identity". Canadian professor Karlene Faith also commented that she "has inscribed her sexual identities on the psyches of millions of children, adolescents, and adults in dozens of nations, on half a dozen continents". In this process, Marcel Danesi explained that Madonna was always in charge of her sexuality and quoted her: "No man can ever dictate to me what to be. Only I can do so". This Madonna's usage of her own sexual identity since the start of her career, was specially highlighted by many for being part of a musical scene generally dominated by male. Around this time, professor Santiago Fouz-Hernandez and author of Madonna's Drowned Worlds (2004) explained that she "emerged as a role model for women in many different cultures, symbolizing professional and personal independence in a male-dominated society, as well as sexual liberation". Historian Andrea Stuart in Showgirls (1996) noticed that a tabloid called in their headline Madonna a "man-eater" and how she used sex to climb to the top. She also earned a reputation as a "man-izer" (female equivalent to womanizer). Those Madonna's sexual dominant attitudes was viewed by other multiple contemporary observers, like biographers Wendy Leigh and Stephen Karten who documented that she "dominated and manipulated any man within her reach" while for scholars Shari Benstock and Suzanne Ferriss "boys are toys for her". Psychiatrist and author Jule Eisenbud concludes that Madonna's refusal to accept that power and femininity "is equivalent to masculinity" and "has allowed her to maintain her status as a sex symbol". As Camille Barbone, a former manager for Madonna, has said, "there's a strong maleness in Madonna. She seduces men the way men seduce women". Also, for writer Barbara "BJ" Gallagher Hateley, "Madonna is the quintessential Protean Woman". Academics and authors continued revisiting her sexuality in the following decades. In Girl Heroes: The New Force in Popular Culture (2002), Dr. Susan Hopkins viewed a Madonna at age 43 saying that she "is ageing before the world" but she keeps presenting herself as a kind of "sexual revolutionary". Freya Jarman, a music scholar at the University of Liverpool told the press in 2018 that Madonna "was now demonstrating a new kind of relevance" and emphasized that "as an aging, female popular musician who is still so much in the public eye, she is absolutely relevant". Authors have also made reassessments in regards both her impact and legacy from the perspective of sexual connotations. American editor Janice Min confirmed that "Madonna owned her sexuality" and further explained that "she made people cringe but also think differently about female performers". Min also viewed "her role as a provocateur changed boundaries for ensuing generations". Jewish rabbi Shmuley Boteach, in contrast, problematizes her foundational contributions expressing: "Before Madonna, it was possible for women more famous for their voices than their cleavage[,] to emerge as music superstars" ends saying that in "the post-Madonna universe" many artists "now feel the pressure to expose their bodies on national television to sell albums". Culture columnist Robin Meltzer for New Statesman assured that the singer "irrevocably changed the media image of female sexuality". For senior lecturer, Rupert Till "Madonna is perhaps the most extreme example of how sexuality that is considered taboo or outside of what is acceptable to the mainstream in pubhe, is deeply enmeshed within the fabric of popular music culture and cults". Authors of Controversial Images: Media Representations on the Edge (2012) commented that "the unprecedented visibility of sexuality, which Madonna embraced in video and on stage, has also contributed to the creation of the pop music diva—a powerful female music performer who explores sexuality openly and purposefully". Amy Raphael, in Grrrls (1999) commented the role Madonna has have in terms of sexuality: Fashion Writing for The Journal of Popular Culture in 2014, associate professor Jose F. Blanco confirmed that academics and fashion critics have commented Madonna's influence in fashion. Blanco further add his view on Madonna in this terrain saying that she uses clothes as a "cultural signifier to communicate her persona du jour" as well "she is the creator of numerous personae". She saw clothes as a tool of rebellion from early on. In Oh Fashion (1994), professors Shari Benstock and Suzanne Ferriss commented that "fashion and identity for Madonna are inseparable from her aesthetic practices" including several "cultural interventions" from her cultivation of her image such as her music videos, films, TV appearances or concerts. Sabrina Barr of The Independent noticed comments from academic Douglas Kellner on Madonna's fashion and identity usage with her clothes concluding "that way in which the singer used her style to represent her identity was a fresh concept when she first came into the music scene". British cultural historian, Stephen Gundle states that the collaboration of Madonna with fashion designers "inspired a whole series of developments in popular music and entertainment". Within that background, Gundle also adds that "new synergies occurred between different sectors". A similar point was shared by Jacob Bernstein from The New York Times when he examined that Madonna made the hiring of stylists a standard operating procedure. Author gave an explanation saying that while celebrities worked with fashion designers (couturiers), the concept of a stylist didn't really exist before Madonna. After that, new generation of singers and actresses got stylists of their own and they're now ranked annually by The Hollywood Reporter. American journalist Ricardo Baca noted that at one point of her career, she was the most-imitated woman in the world. She defined part of the 1980s with a trend later named "Madonna wannabe". Her influence in the fashion scene was appreciated by author and teacher Diane Asitimbay whose declared that "Madonna changed fashion forever when she brought bras out [and] wore them publicly". Asistimbay further suggested that Madonna and Michael Jordan "did more for the fashion industry in the United States than many of our fashion models put together". American costume designer Arianne Phillips described since Madonna "fashion has never been the same". Madonna performance at the inaugural ceremony of the MTV Video Music Awards marked the first time "an artist's underwear was seen on stage". Overall, British author and historian Michael Pye felt that the singer "not only makes fashion, she is fashion". As Anna Wintour, editor-in-chief of fashion magazine Vogue also declared: She "makes fashion happen" adding that "Madonna has been one of the most potent style setters of our time". She was recognized by Time as one of the top 100 icons of all time in fashion, style and design in 2012. Music Her contributions on music has been appreciated by multiple critics, which have also been known to induce controversy. In 1986, Dr. Karl Podhoretz of the University of Dallas called her a "revolutionary voice who has altered the very meaning of sound in our time". Three decades later, in 2018, Rolling Stone described the singer as "the most important female voice in the history of modern music". Dutch linguist Theo van Leeuwen cited her as perhaps "the first singer who used quite different voices for different songs". Culturally, her music videos concentrated much of her scrutiny in music terms, and she became "the most analyzed" figure from the rest of female music video performers. The importance of her figure in the music, mainly in women's music history, was summarized in Ageing, Popular Culture and Contemporary Feminism (2014), where the authors notated that she "is widely considered to have defined the discursive space for examining female popular music". Another justification was found in the book Encyclopedia of American Social History (1993) where authors state: "No singer better illustrates the new images of women in contemporary rock and pop than Madonna". According to associate dean Jacqueline Edmondson, her continued importance radicates that "her legacy is important to understanding issues surrounding gender and the music industry in the twenty-first century". Madonna is commonly credited as the "first female" to have complete control of her music and image by a wide group of observers such as Roger Blackwell and Stephen Thomas Erlewine. Within this context, Ana Laglere, an editor of Batanga Media explained that before Madonna, record labels determined every step of artists but she introduced her style and conceptually directed every part of her career. Associate professor Carol Benson and Allen Metz commented that the singer entered the music business with definite ideas about her image, but "it was her track record that enabled her to increase her level of creative control over her music". Francesca Cavallo and Elena Favilli have also explained that in those days, "it was very rare for female artists to be the masters of their own destiny: they would let their male managers, producers, and agents make most of their decisions for them. Not Madonna". Madonna attained an unusual status as multiple international critics and media outlets felt in retrospect that her presence is defined for "changing" or "revolutionize" contemporary music history for women's (or even beyond gender), mainly dance and pop scene. In a general sense, beyond gender or genre, Greek adjunct lecturer, Constantine Chatzipapatheodoridis wrote in The Music Diva Spectacle (2021) that "Madonna's cultural impact helped shape the contemporary music stage, in terms of sound and image, performance, sex and fandom", as well reinvention. Another consideration came from author Marshawn Evans, whose wrote in her book S.K.I.R.T.S in the Boardroom (2013) that Madonna "has also revolutionized how music is performed, delivered to the masses, purchased, packaged, downloaded, and even simulcast across a variety of cutting-edge platforms". In an article from Billboard in 1984, they commented that simultaneous release of LP, cassette and CD was pioneered with Madonna. Further discussing in her position in both women's music history and pop stage, include Deutsche Welle staff, as they credited her as "the first woman to dominate the male world of pop". British sociologist David Gauntlett found that a writer commented: "Madonna, whether you like her or not, started a revolution amongst women in music". Similarly Joe Levy, Blender editor-in-chief said that she "opened the door for what women could achieve and were permitted to do". As Evans and Chatzipapatheodoridis, Erica Russell from MTV states Madonna helped shape the way pop artists release music adding that "reignite interest in the art of the concept album within mainstream pop" after the decline of the rock-oriented concept album in the 1980s. In another suggestion, Marissa Muller from W felt that she "normalized the idea that pop stars could and should write their own songs". Overall, in the perception of actress and activist, Susan Sarandon: "The history of women in popular music can, pretty much, be divided into before and after Madonna". Billboard staff also recognized that "the history of pop music can essentially be divided into two eras: pre-Madonna and post-Madonna". She has been also discussed with euphemism by various international authors and media outlets as the most "greatest" female artist or arguably the most "influential" woman in music history. Ben Kelly writing for The Independent gave his thoughts saying that she has "ensured her legacy as the greatest female artist of all time". Music outlets such as MTV or BET have deemed her as the most influential figure or woman in American music history as well. Spanish cultural critic, Víctor Lenore named her as "the Greatest Female Myth" in the history of popular music. Queer and gay Associate professor Judith A. Peraino proposes that "no one has worked harder to be a gay icon than Madonna, and she has done so by using every possible taboo sexual in her videos, performances, and interviews". Scholars Carmine Sarracino and Kevin Scott in The Porning of America (2008), wrote that the singer "gained particular popularity with gay audiences, signaling the creation of a career-long fan base that would lead to her being hailed as the biggest gay icon of all time". Her impact was also remarked by numerous LGBT publications and organizations with The Advocate naming Madonna "the greatest gay icon". Out magazine pondered that she "positioned herself to be a gay icon before it was cool to be one". President and CEO of GLAAD, Sarah Kate Ellis stated in 2019 that Madonna "always has and always will be the LGBTQ community's greatest ally". She has played a major role for bring gay culture into the mainstream. Madonna is also referred to as a queer icon and icon of queerness. Theologian Robert Goss expressed: "For me, Madonna has been not only a queer icon but also a Christ icon who has dissolved the boundaries between queer culture and queer faith communities". Musicologist Sheila Whiteley wrote in her book Sexing the Groove: Popular Music and Gender (2013) that "Madonna came closer to any other contemporary celebrity in being an above-ground queer icon". For Constantine Chatzipapatheodoridis, she has been contributed in the socio-artistic evolution of queer culture worldwide. Postmodernism According to Lucy O'Brien "much has been made of Madonna as a postmodern icon". Madonna is suggested by assistant professor Olivier Sécardin of Utrecht University to epitomise postmodernism. Christian writer Graham Cray gives his point of view saying that "Madonna is perhaps the most visible example of what is called post-modernism", while for Martin Amis she is "perhaps the most postmodern personage on the planet". Academics Sudhir Venkatesh and Fuat Firat deemed her as "representative of postmodern rebellion". Within this perception, Glenn Ward author of Discover Postmodernism: Flash (2011), justified that "Madonna has been important to postmodernism for her ability to plunder the conventions". Senior lecturers Stéphanie Genz and Benjamin Brabon in Postfeminism: Cultural Texts and Theories (2009) felt that "whether it is as a woman, mother, pop icon or fifty year old, the American singer challenges our preconceptions of who 'Madonna' is and, more broadly, what these identity categories mean within a postmodern context". Literature about Madonna Time to time, Madonna has been heralded as the most talked about subject within female singers or celebrities either in terms of popular culture, music industry or academia. For instance, Andreas Häger from Åbo Akademi University commented that "hardly any other popular artist has received as much attention from the scientific community as Madonna". Professor Imelda Whelehan provides a perspective that ran like this: "Is easy the most overdetermined figure. The most studied, critically acclaimed, derided and analysed of the performers". Douglas Kellner proclaimed her as "the most discussed female singer in popular music". On a broader scale, Madonna was described as "one of the most fascinating, uninhibited and well-documented figures of the modern age" in her profile at Rock and Roll Hall of Fame. Authors have try to measured the literature on Madonna metaphorically. As media scholar David Tetzlaff equated reading it all to "mapping the vastness of the cosmos". Indeed, Tetzlaff called her a "metatextual girl". Rolling Stone also mentioned there is an "extraordinary amount of words written about her". According to American writer Alina Simone and author of Madonnaland (2016), encountered there is no dearth of material about Madonna, but an "overwhelming excess". George Claude Guilbert compared that "it has become hard to open a book that has to do with U.S. popular culture without encountering some mention of Madonna". Relationship with critics and the press Madonna's relationship with the critics is a "well-established" and "crucial aspect" of her career. In many ways, this treatment played a major role beyond Madonna's own figure. In 1985 for instance, Australian newspaper The Canberra Times quickly attributed to Madonna in "nearly reversed the typical pattern of rock idol analysis". In this particular view, Dutch media scholar Jaap Kooijman commented that before the Madonna studies, "most scholarly attention was paid to genres and artists that were not considered 'pop'", but she brought 'pop' to the foreground. Madonna's widespread influence on female artists and the impact she have had in their literature was noted by a contributor from Vice whom said: "Reviews of her work have served as a roadmap for scrutinizing women at each stage in their music career". From one foundational motivation, Billboard staff commented in 1989, that "Madonna has always stayed one step ahead our expectations: in music, in fashion, in outright audaciousness". In fact, American academic and journalist J. Hoberman, has concurred saying: "She even directs her critics, the millions of sociologists, psychologists, and students of semiotics who have made her the world's biggest pop start". In the following description, numerous authors have commented their continuing interest in the figure of Madonna. As Taraborelli, said about keep writing about her in his updated version of Madonna: An Intimate Biography in 2018: "I have never stopped writing about Madonna since that day I first met her thirty-five years ago". Years prior, in 2008, Argentine writer Rodrigo Fresán expressed a similar feeling: "And the years go by and life changes but something remains constant: one continues to write about Madonna". Sheila Jeffreys said that postmodern theorists of cultural studies elevated Madonna to cult status. Other group of authors focused in the mixed response she has had, as American psychologist and educator Francine Shapiro explained that many critics and fans "love to hate" her. Indeed, Audra Gaugler from Lehigh University also explained that "there exists a large band of critics that at first praised her, but then became disillusioned with her as she became more and more controversial". Interested in her social impact, Tetzlaff decided to study the relationship between the press and Madonna. Barbara O'Dair compiled and related her relationship with Rolling Stone magazine in a book called Madonna, the Rolling stone files (1997) and said that she always has been an "enigma". In Profiles of Female Genius (1994), author Gene N. Landrum said: "The press has in turn made Madonna the most visible, photographed, and debated female in modern times". For professor Suzanna Danuta Walters "accompanying Madonna's own elaboration of superstardom has been a sustained effort —by the mass media and academics alike— to continually produce and reproduce this cultural icon". British sociologist Ellis Cashmore, states that the singer exploited the expansion of media opportunities, inciting journalists with one scandal after another, so that she became almost impossible to ignore. Journalist were constantly on-guard. He also commented: "Madonna wanted —and got— more saturation media coverage than anyone, present and past". Magazines and others outlets According to Matthew Rettenmund, "Madonna has made the act of being on the cover of a magazine into an art form" taken her covers seriously. Historically, the very first time the singer's face appeared on a magazine cover was shot by Peter Cunningham and that portrait was used on Dance Music Report in 1982. Her first dedicated cover shoot was with photographer Curtis Knapp for Island, the following year in 1983. Her first national U.S. cover story was for Rolling Stone cover in 1984. An article from The Charlotte Observer issued on July 1978, covering the American Dance Festival's first year at Duke University in Durham, might be the first notice from the press that Madonna received in her life. As of 2020, she has graced more than 4,700 magazine covers worldwide. She achieved milestones in many of them, as the most time appeared or being the first-time cover of something. In this line, she appeared more times on Rolling Stone cover than any other female artist, a total of 23 times as of 2018. Madonna was the face on the inaugural cover of Spin, issued in 1985. Under Anna Wintour's control, Madonna became the first celebrity (or non-model) to be pictured on the cover of Vogue. That was considered controversial at the time according to Wintour. Madonna became the first woman entrepreneur to appear on a Forbes cover according to themselves. According to Mark Bego, magazines or calendars "sell out in record numbers when her name or likeness is on them". For instance, her special edition of the X-STaTIC PRo=Cess for W magazine with Steven Klein was the best-selling edition ever. In 1985, Penthouse and Playboy magazines published a number of nude photos of Madonna, taken when she moonlighted as an art model in 1978. Both publishers run was up 15 and 10 percent respectively above of their normal its print run at that time, as well both hyped their Madonna issues and had them on newsstands weeks earlier than usual according to Advertising Age. Some authors have made listicles about her best magazine covers, like Matthew Rettenmund did for Logo TV in 2018. The same author published later a book called MLVC60: Madonna's Most Amazing Magazine Covers: A Visual Record covering over 1,000 of her magazine covers. Race politics, cultural appropriation and multiculturalism Another consideration focused in understading Madonna's impact have been both her relationship or "appropriation" with diverse subcultures and group's imaginary adding a value in her contributions and work. A range of international scholars focused their attention with a specific group or race; like bell hooks did with the black culture. The Madonna studies also provided a challenge views on racial perspectives. Professor George J. Leonard, one of the contributors of The Italian American Heritage (1998) called her "the last ethnic and the first postethnic diva". Madonna indeed, deliberately cemented her popularity on ambiguity, thus appealing to not one but many social groups and subcultures. As Matt Cain remarked that she "has always produced work that has brought marginalised groups to the fore", for instance, gay, Latino or black culture. To Douglas Kellner, Madonna "helped bring marginal groups and concerns into the cultural mainstream". An author said that "by making culture generally available, Madonna becomes the culture of all social classes". Canadian professor Karlene Faith gave her point of view saying that Madonna's peculiarity is that "she has cruised so freely through so many cultural terrains" and she "has been a 'cult figure' within self-propelling subcultures just as she became a major". Both Madonna's ambiguous impact and position within these themes, is the academic interreogation that she has focused on her appropriations, subversions and transformations but her motivations in addressing cultural politics are uncertain. At some point of her career, some have argued, for example that Madonna's insistence on solidarity with marginal groups and on moving between worlds was "duplicitous". In fact, British professor Yvonne Tasker called her an "interesting figure to the extent that her appropriation does at times work to question assumptions". Taking her as a paragon, assistant professors Jennifer Esposito and Erica B. Edwards have commented that "pop stars today contend with this legacy and as a result take elements adding 'freshness' to their persona without dealing with the histories and realities the cultural imprints are born of". In addition, diverse examples have been documented in textbooks and other outlets her impact and footprints in some countries' culture, like La Nación, South China Morning Post and El País did with her history in Argentina, Hong Kong and Spain, respectively in terms of visits and collateral-relationship. Aside from her native English, Madonna has also sung fully or partially in Spanish ("Verás" or "Lo Que Siente La Mujer"), French ("La Vie en rose" or "Je t'aime... moi non plus"), Portuguese ("Faz Gostoso"), Sanskrit ("Shanti/Ashtangi") or Euskara ("Sagarra jo"). Black culture According to a 1990 article of CineAction!, "Madonna's 'blackness' is a common, though poorly articulated theme of popular press literature". Madonna is typically credited as the first to use Black gay culture. Professor Ferraro studied her relationship with Black culture, saying that "no white pop star (in the 1980s and 1990s) ever owes more to black male productions, to black-style dance and stage presentation, including Reggie Lucas, Nile Rogers, and Stephen Bray, than Madonna". Professor also states that "no diva has spent more time on camera and off with men of color, professionally and romantically involved" and ends describing her as "the most accomplished Italian-to-black crossover artist in history". However, she has faced criticism in her usage of black sub-culture themes. Barbadian-British historian Andrea Stuart found that she "deliberately affected black style to attract a wider audience". American historian David Roediger noticed bell hooks' criticism, that for her "the image Madonna most exploits is that of the quintessential 'white girl'. To maintain that image she must always position herself as an outsider in relation to black culture". American culture and Italianness (Italian-American identity) Authors remarked her background as an Italian-American and she identified herself as such. Fosca D'Acierno wrote in The Italian American Heritage (1998) that "so much has been written about Madonna, but rather little has been about" singer's "Italianness". Other group of authors suggested that she "has traded on ethnicities other than her own (Italian American)". Particularly, D'Acierno studied at that time how she became a vehicle for the expression of many of the qualities that are exlusive not only to Italians but for Italian American women. Professor Thomas Ferraro also studied her "Italianness" praising her because "never stops talking about her background", although all of them remarked that she does not affirm her cultural background and identity singing in Italian. At other point, the singer has been described as one of the Italian American performers that played a "definitive role" in the musical culture. Musically speaking, various critics agree that Madonna, rather than export US music, has imported new (mostly European danceclub) trends into the United States. In terms of iconography, US culture does not seem to have played a central role in her work either, according to José Igor Prieto-Arranz from University of the Balearic Islands. For example, she rarely wrapped herself (metaphorically or literally) in the American flag, but has often adopted other flags of convenience. Asian and other cultures Mostly in her 1992–1993 and 1998–2001 periods, Madonna also adopted, modified, subverted and deconstructed Asian (specially Thai, Hindu and Japanese) elements and imagery. She also replicated the practice of hiring Asian and African American backup singers and dancers. Like with other races, Madonna's reception with Asians and Asian Americans have been also studied in surveys. An example occurred with scholars Thomas K. Nakayama and Lisa N. Peñaloza, and most of them, according to their study felt "alienated by the visual narratives of her early videos, and clearly distanced themselves from politics of the visual texts". Other observers also noticed the influence of England heritage in her work, as she was married to Guy Ritchie and lived in the United Kingdom for years. However, Madonna's exploration of intra-Caucasian identities has received little academic attention. Latino and Spanish culture She has also had a strong relationship with the Latin culture, as Jorge Becerra from LatinAmerican Post says. Professor Santiago Fouz-Hernández in his book Madonna's Drowned Worlds states that the Hispanic culture "is perhaps the most influential and revisited 'ethnic' style in her work". Another example is her personal life, including relationships like wtih Carlos Leon to whom she gave birth to Lourdes "Lola" Maria Ciccone Leon. Frances Negrón-Muntaner discussed in Boricua Pop: Puerto Ricans and the Latinization of American Culture (2004) Madonna's impact in the Latin culture of the United States and mainly, Puerto Ricans during the 1980s and through the 1990s. Equally important, author suggested that "Madonna's nod created the illusion of insider status for Latinos of all sexualities in U.S. culture". As Thomas K. Nakayama and Lisa N. Peñaloza found: "Latinos tended to respond to Madonna texts in a way that underscored their specific cultural literacy". Focused the attention to Puerto Ricans, Negrón-Muntaner describes the singer as the one who "came to most successfully commodify boricua cultural practices for all to see". She was also described by the same author as the first "white pop star to make boricuas the overt object of her affections" and this "produced a queer juncture for Puerto Ricans representation in popular culture" and in "romancing Latinos in this specific way, Madonna made boricua men desirable to an unprecedented degree in (and through) mass culture. Like Negrón-Muntaner, other writers closely examined her impact in Puerto Rico, including Carmen R. Lugo-Lugo whose article The Madonna Experience (2001) for the feminist academic journal Frontiers: A Journal of Women Studies, explored the "political aspect of the Madonna phenomenon in Puerto Rico by looking at her and her status as a public figure", as well Madonna's impact in the Puerto Rican young girl culture of the 1980s. The incident with the Puerto Rican flag during her concert in the island as part of The Girlie Show in 1993, was also cited by various authors, with Carlos Pabón calling it in his essay De Albizu a Madonna: Para armar y desarmar la nacionalidad (2003) as "a story that has no parallel in the imaginary of the country". In Argentina, another Latin country, Madonna's relationship was briefly divided after her film of Evita, with criticism mainly from the Federal Peronism. Madonna in the contemporary arts Madonna's impact includes her influence on the art world and "has been made almost entirely behind the scenes" according to Stephanie Eckardt from W. Both her contributions and reception in this area can be found in diverse examples. She has donated money, contributed or sponsored to various art exhibitions with positive reviews among art critics. As an art collector her possessions are estimated at worth $160 million according to website Artspace (as of 2015) and is based on modernists artists. Called a blue-chip collection by Artnet, her possessions include over 300 pieces of artists such as Salvador Dalí, Fernand Léger, Frida Kahlo and her former boyfriend Jean-Michel Basquiat. Madonna appeared in the 100 biggest collectors () by Art & Antiques, and in the Top 25 Art Collectors by The Hollywood Reporter in 2013. In 1992, Madonna co-sponsored the first retrospective for her former boyfriend Basquiat at the Whitney Museum of American Art. In 1995, she sponsored the first major retrospective of Tina Modotti at the Philadelphia Museum of Art which curator and art historian Anne d'Harnoncourt commented: "She seemed a natural sponsor for an exhibition that introduces the artist to a broader public". In 1996, Madonna sponsored an exhibition of Basquiat's paintings at the Serpentine Gallery in London. She also sponsored Untitled Film Stills by Cindy Sherman at the Museum of Modern Art (MoMA) in 1997. In 2001, Madonna presented the Turner Prize at Tate Britain in London. Other ventures she made in the world of art include the installation in 2003 with Steven Klein called X-STaTIC Pro=CeSS and were shown at Deitch Projects. In the early 2010s, she created "Art for Freedom", which was an effort to support independent creators of art content around the world and to promote and facilitate free expression. Years prior, she discussed her art on the arts-based British TV series Omnibus in 1990, and continued to do the same in her next decades with interviews like with illusionist David Blaine for [[Interview (magazine)|Interview]] or photographic critic Vince Aletti. Before become famous, she worked as an art model in the late-1970s. Significance and influence Art critics and art historians like John A. Walker have also reviewed her career in the perspective of the arts and her relationship with it. In her book The Virgin in Art (2018), art historian Kyra Belán explained that the singer has impacted the performing arts and become a symbol as she achieved major success as an artist within several art forms. She was credited by a W magazine contributor to "pioneering" the crossover between pop and art. For writer Mark Bego, she has "turning everyhing she touches into classic pop art". Madonna is also cited by others as "the first female artist to exploit fully the potential of the music video", a statement included in her profile at Encyclopædia Britannica written by Lucy O'Brien. In the terrain of the video as an art form, film critic Armond White proposes that her concepts led some artists to have "art-consciousness" and felt that "they'll never repeat the moment when Madonna's connection to the zeitgeist became historic". The major role Madonna has played in the history of music videos, was commented by professor Norman Fairclough, whom suggested that "the evolution of the music video could indeed bestudied through Madonna", adding that the own impact and permanence of some of the image of these videos have generated is such that they have often influenced the singer's Mise-en-scène in her live performances. Aside her related-activities in the art scene, Madonna's notorious involved presence in the process of her work since her early career with video-makers, designers and fashion photographers as well her relationships with plastic artists such as Andy Warhol, Keith Haring and Jean-Michel Basquiat have been positively remarked. Within this context, The Irish Times staff mentioned that Madonna "was the first female pop star to fully engage with the visual elements of her art" while they highlighted her collaborations. A contributor from W said that the singer was "the first to make collaborations between pop artists and designers routine". In doing so, Jacob Bernstein of The New York Times states that "she made talent scouting a central part of her art for finding the right people to complement her own skills and open up her world". Barbara Ellen from The Observer commented that "she is somebody who rubbed out the boundaries between life and art and managed to survive". Madonna herself, commented in 2020: "Art has kept me alive". Furthermore, Aletti focused the attention in his area (photographic critic) noting that "the photographic image has been at the forefront of Madonna's rise to iconic status". Aletti also stated that she doesn't merely pose for photographers; "she explicitly collaborates in the process of creating and recreating her own image". Her artistic persona and own art, has been also commented by authors which pondered her cultural significance. Steven Klein, doesn't see her as a celebrity but as a creative artist. Following Michael Jackson's death, a panel of Argentines art critics deemed her at that time as "the only universal artist left standing". Those critics, including Daniel Molina, Graciela Speranza and Alicia de Arteaga explained that she is herself "a multimedia expression that condenses fashion, dance, photography, sculpture, music, video and painting". A similar perception was noted back in the 1990s by Jon Pareles when he invited audience to see her as a "continuous multi-media art project". In the perception of graffiti artist and cultural commentator, Fab Five Freddy "she is the perfect example of the visual artist". Blaine described that perhaps Madonna "is herself her own greatest work of art—something so vastly influential as to be unfathomable". Professor John
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story". A similar argument was suggested by British critic Stuart Maconie when states thay some would say she "brought feminism to the forefront of pop". Scholars Berrin Yanıkkaya and Angelique Nairn wrote that Madonna "set the trend for promoting a highly sexualized form of feminity, that was challenging, and transformed popular culture". Art historian, Kyra Belán also confirmed that she has opened the doors for other women artists as she established a new frontier for female sexuality through a variety of popular vehicles and technologies. As Madonna used different representations in her work (such as irony, parody or sexuality), professor Hunt states that "today this ambiguity is a common theme in feminist analyses of women's music". Scholars Yanıkkaya and Nairn further add about Madonna's impact in feminism on music that her "music has now become synonymous with the performative nature of female pop music artists and their link with popular feminism". Gauntlett also provided examples and comparisons, like the importance of the Spice Girls during the 1990s within the Girl power slogan but concludes it was Madonna the "real pioneer". Gauntlett further notes the impact of Destiny's Child during the 2000s about an independent woman with emphasis on how Madonna paved that way with her self empowerment. Australian magazine The Music found that "Madonna's corporeal feminism impacted on female rappers". Critic Sally Banes also suggested Madonna as a precursor of the Riot grrrl movement. Sex symbol Madonna has been referred to as a sexual icon, and sex symbol. Some references such as American Masters suggested that Madonna's continued to be a sexual icon as "she's gotten older". While Courtney E. Smith in the book Record Collecting for Girls (2011) documented that most people associate Madonna with sex, British sociologist David Gauntlett reminds that Madonna's sexual assertiveness "has been one of the most distinctive elements of her life and work". During part of her career, Madonna's libidinal energy and sexuality become the major attraction for the media. American essayist Chuck Klosterman wrote in his book Sex, Drugs, and Cocoa Puffs (2003) that "whenever I hear intellectuals talk about sexual icons of the present day, the name mentioned most is Madonna". Physicist Stephen Hawking once joked: "I have sold more books on physics than Madonna has on sex". Professor Deborah Bell wrote that "much has been written about Madonna and sexual identity". Canadian professor Karlene Faith also commented that she "has inscribed her sexual identities on the psyches of millions of children, adolescents, and adults in dozens of nations, on half a dozen continents". In this process, Marcel Danesi explained that Madonna was always in charge of her sexuality and quoted her: "No man can ever dictate to me what to be. Only I can do so". This Madonna's usage of her own sexual identity since the start of her career, was specially highlighted by many for being part of a musical scene generally dominated by male. Around this time, professor Santiago Fouz-Hernandez and author of Madonna's Drowned Worlds (2004) explained that she "emerged as a role model for women in many different cultures, symbolizing professional and personal independence in a male-dominated society, as well as sexual liberation". Historian Andrea Stuart in Showgirls (1996) noticed that a tabloid called in their headline Madonna a "man-eater" and how she used sex to climb to the top. She also earned a reputation as a "man-izer" (female equivalent to womanizer). Those Madonna's sexual dominant attitudes was viewed by other multiple contemporary observers, like biographers Wendy Leigh and Stephen Karten who documented that she "dominated and manipulated any man within her reach" while for scholars Shari Benstock and Suzanne Ferriss "boys are toys for her". Psychiatrist and author Jule Eisenbud concludes that Madonna's refusal to accept that power and femininity "is equivalent to masculinity" and "has allowed her to maintain her status as a sex symbol". As Camille Barbone, a former manager for Madonna, has said, "there's a strong maleness in Madonna. She seduces men the way men seduce women". Also, for writer Barbara "BJ" Gallagher Hateley, "Madonna is the quintessential Protean Woman". Academics and authors continued revisiting her sexuality in the following decades. In Girl Heroes: The New Force in Popular Culture (2002), Dr. Susan Hopkins viewed a Madonna at age 43 saying that she "is ageing before the world" but she keeps presenting herself as a kind of "sexual revolutionary". Freya Jarman, a music scholar at the University of Liverpool told the press in 2018 that Madonna "was now demonstrating a new kind of relevance" and emphasized that "as an aging, female popular musician who is still so much in the public eye, she is absolutely relevant". Authors have also made reassessments in regards both her impact and legacy from the perspective of sexual connotations. American editor Janice Min confirmed that "Madonna owned her sexuality" and further explained that "she made people cringe but also think differently about female performers". Min also viewed "her role as a provocateur changed boundaries for ensuing generations". Jewish rabbi Shmuley Boteach, in contrast, problematizes her foundational contributions expressing: "Before Madonna, it was possible for women more famous for their voices than their cleavage[,] to emerge as music superstars" ends saying that in "the post-Madonna universe" many artists "now feel the pressure to expose their bodies on national television to sell albums". Culture columnist Robin Meltzer for New Statesman assured that the singer "irrevocably changed the media image of female sexuality". For senior lecturer, Rupert Till "Madonna is perhaps the most extreme example of how sexuality that is considered taboo or outside of what is acceptable to the mainstream in pubhe, is deeply enmeshed within the fabric of popular music culture and cults". Authors of Controversial Images: Media Representations on the Edge (2012) commented that "the unprecedented visibility of sexuality, which Madonna embraced in video and on stage, has also contributed to the creation of the pop music diva—a powerful female music performer who explores sexuality openly and purposefully". Amy Raphael, in Grrrls (1999) commented the role Madonna has have in terms of sexuality: Fashion Writing for The Journal of Popular Culture in 2014, associate professor Jose F. Blanco confirmed that academics and fashion critics have commented Madonna's influence in fashion. Blanco further add his view on Madonna in this terrain saying that she uses clothes as a "cultural signifier to communicate her persona du jour" as well "she is the creator of numerous personae". She saw clothes as a tool of rebellion from early on. In Oh Fashion (1994), professors Shari Benstock and Suzanne Ferriss commented that "fashion and identity for Madonna are inseparable from her aesthetic practices" including several "cultural interventions" from her cultivation of her image such as her music videos, films, TV appearances or concerts. Sabrina Barr of The Independent noticed comments from academic Douglas Kellner on Madonna's fashion and identity usage with her clothes concluding "that way in which the singer used her style to represent her identity was a fresh concept when she first came into the music scene". British cultural historian, Stephen Gundle states that the collaboration of Madonna with fashion designers "inspired a whole series of developments in popular music and entertainment". Within that background, Gundle also adds that "new synergies occurred between different sectors". A similar point was shared by Jacob Bernstein from The New York Times when he examined that Madonna made the hiring of stylists a standard operating procedure. Author gave an explanation saying that while celebrities worked with fashion designers (couturiers), the concept of a stylist didn't really exist before Madonna. After that, new generation of singers and actresses got stylists of their own and they're now ranked annually by The Hollywood Reporter. American journalist Ricardo Baca noted that at one point of her career, she was the most-imitated woman in the world. She defined part of the 1980s with a trend later named "Madonna wannabe". Her influence in the fashion scene was appreciated by author and teacher Diane Asitimbay whose declared that "Madonna changed fashion forever when she brought bras out [and] wore them publicly". Asistimbay further suggested that Madonna and Michael Jordan "did more for the fashion industry in the United States than many of our fashion models put together". American costume designer Arianne Phillips described since Madonna "fashion has never been the same". Madonna performance at the inaugural ceremony of the MTV Video Music Awards marked the first time "an artist's underwear was seen on stage". Overall, British author and historian Michael Pye felt that the singer "not only makes fashion, she is fashion". As Anna Wintour, editor-in-chief of fashion magazine Vogue also declared: She "makes fashion happen" adding that "Madonna has been one of the most potent style setters of our time". She was recognized by Time as one of the top 100 icons of all time in fashion, style and design in 2012. Music Her contributions on music has been appreciated by multiple critics, which have also been known to induce controversy. In 1986, Dr. Karl Podhoretz of the University of Dallas called her a "revolutionary voice who has altered the very meaning of sound in our time". Three decades later, in 2018, Rolling Stone described the singer as "the most important female voice in the history of modern music". Dutch linguist Theo van Leeuwen cited her as perhaps "the first singer who used quite different voices for different songs". Culturally, her music videos concentrated much of her scrutiny in music terms, and she became "the most analyzed" figure from the rest of female music video performers. The importance of her figure in the music, mainly in women's music history, was summarized in Ageing, Popular Culture and Contemporary Feminism (2014), where the authors notated that she "is widely considered to have defined the discursive space for examining female popular music". Another justification was found in the book Encyclopedia of American Social History (1993) where authors state: "No singer better illustrates the new images of women in contemporary rock and pop than Madonna". According to associate dean Jacqueline Edmondson, her continued importance radicates that "her legacy is important to understanding issues surrounding gender and the music industry in the twenty-first century". Madonna is commonly credited as the "first female" to have complete control of her music and image by a wide group of observers such as Roger Blackwell and Stephen Thomas Erlewine. Within this context, Ana Laglere, an editor of Batanga Media explained that before Madonna, record labels determined every step of artists but she introduced her style and conceptually directed every part of her career. Associate professor Carol Benson and Allen Metz commented that the singer entered the music business with definite ideas about her image, but "it was her track record that enabled her to increase her level of creative control over her music". Francesca Cavallo and Elena Favilli have also explained that in those days, "it was very rare for female artists to be the masters of their own destiny: they would let their male managers, producers, and agents make most of their decisions for them. Not Madonna". Madonna attained an unusual status as multiple international critics and media outlets felt in retrospect that her presence is defined for "changing" or "revolutionize" contemporary music history for women's (or even beyond gender), mainly dance and pop scene. In a general sense, beyond gender or genre, Greek adjunct lecturer, Constantine Chatzipapatheodoridis wrote in The Music Diva Spectacle (2021) that "Madonna's cultural impact helped shape the contemporary music stage, in terms of sound and image, performance, sex and fandom", as well reinvention. Another consideration came from author Marshawn Evans, whose wrote in her book S.K.I.R.T.S in the Boardroom (2013) that Madonna "has also revolutionized how music is performed, delivered to the masses, purchased, packaged, downloaded, and even simulcast across a variety of cutting-edge platforms". In an article from Billboard in 1984, they commented that simultaneous release of LP, cassette and CD was pioneered with Madonna. Further discussing in her position in both women's music history and pop stage, include Deutsche Welle staff, as they credited her as "the first woman to dominate the male world of pop". British sociologist David Gauntlett found that a writer commented: "Madonna, whether you like her or not, started a revolution amongst women in music". Similarly Joe Levy, Blender editor-in-chief said that she "opened the door for what women could achieve and were permitted to do". As Evans and Chatzipapatheodoridis, Erica Russell from MTV states Madonna helped shape the way pop artists release music adding that "reignite interest in the art of the concept album within mainstream pop" after the decline of the rock-oriented concept album in the 1980s. In another suggestion, Marissa Muller from W felt that she "normalized the idea that pop stars could and should write their own songs". Overall, in the perception of actress and activist, Susan Sarandon: "The history of women in popular music can, pretty much, be divided into before and after Madonna". Billboard staff also recognized that "the history of pop music can essentially be divided into two eras: pre-Madonna and post-Madonna". She has been also discussed with euphemism by various international authors and media outlets as the most "greatest" female artist or arguably the most "influential" woman in music history. Ben Kelly writing for The Independent gave his thoughts saying that she has "ensured her legacy as the greatest female artist of all time". Music outlets such as MTV or BET have deemed her as the most influential figure or woman in American music history as well. Spanish cultural critic, Víctor Lenore named her as "the Greatest Female Myth" in the history of popular music. Queer and gay Associate professor Judith A. Peraino proposes that "no one has worked harder to be a gay icon than Madonna, and she has done so by using every possible taboo sexual in her videos, performances, and interviews". Scholars Carmine Sarracino and Kevin Scott in The Porning of America (2008), wrote that the singer "gained particular popularity with gay audiences, signaling the creation of a career-long fan base that would lead to her being hailed as the biggest gay icon of all time". Her impact was also remarked by numerous LGBT publications and organizations with The Advocate naming Madonna "the greatest gay icon". Out magazine pondered that she "positioned herself to be a gay icon before it was cool to be one". President and CEO of GLAAD, Sarah Kate Ellis stated in 2019 that Madonna "always has and always will be the LGBTQ community's greatest ally". She has played a major role for bring gay culture into the mainstream. Madonna is also referred to as a queer icon and icon of queerness. Theologian Robert Goss expressed: "For me, Madonna has been not only a queer icon but also a Christ icon who has dissolved the boundaries between queer culture and queer faith communities". Musicologist Sheila Whiteley wrote in her book Sexing the Groove: Popular Music and Gender (2013) that "Madonna came closer to any other contemporary celebrity in being an above-ground queer icon". For Constantine Chatzipapatheodoridis, she has been contributed in the socio-artistic evolution of queer culture worldwide. Postmodernism According to Lucy O'Brien "much has been made of Madonna as a postmodern icon". Madonna is suggested by assistant professor Olivier Sécardin of Utrecht University to epitomise postmodernism. Christian writer Graham Cray gives his point of view saying that "Madonna is perhaps the most visible example of what is called post-modernism", while for Martin Amis she is "perhaps the most postmodern personage on the planet". Academics Sudhir Venkatesh and Fuat Firat deemed her as "representative of postmodern rebellion". Within this perception, Glenn Ward author of Discover Postmodernism: Flash (2011), justified that "Madonna has been important to postmodernism for her ability to plunder the conventions". Senior lecturers Stéphanie Genz and Benjamin Brabon in Postfeminism: Cultural Texts and Theories (2009) felt that "whether it is as a woman, mother, pop icon or fifty year old, the American singer challenges our preconceptions of who 'Madonna' is and, more broadly, what these identity categories mean within a postmodern context". Literature about Madonna Time to time, Madonna has been heralded as the most talked about subject within female singers or celebrities either in terms of popular culture, music industry or academia. For instance, Andreas Häger from Åbo Akademi University commented that "hardly any other popular artist has received as much attention from the scientific community as Madonna". Professor Imelda Whelehan provides a perspective that ran like this: "Is easy the most overdetermined figure. The most studied, critically acclaimed, derided and analysed of the performers". Douglas Kellner proclaimed her as "the most discussed female singer in popular music". On a broader scale, Madonna was described as "one of the most fascinating, uninhibited and well-documented figures of the modern age" in her profile at Rock and Roll Hall of Fame. Authors have try to measured the literature on Madonna metaphorically. As media scholar David Tetzlaff equated reading it all to "mapping the vastness of the cosmos". Indeed, Tetzlaff called her a "metatextual girl". Rolling Stone also mentioned there is an "extraordinary amount of words written about her". According to American writer Alina Simone and author of Madonnaland (2016), encountered there is no dearth of material about Madonna, but an "overwhelming excess". George Claude Guilbert compared that "it has become hard to open a book that has to do with U.S. popular culture without encountering some mention of Madonna". Relationship with critics and the press Madonna's relationship with the critics is a "well-established" and "crucial aspect" of her career. In many ways, this treatment played a major role beyond Madonna's own figure. In 1985 for instance, Australian newspaper The Canberra Times quickly attributed to Madonna in "nearly reversed the typical pattern of rock idol analysis". In this particular view, Dutch media scholar Jaap Kooijman commented that before the Madonna studies, "most scholarly attention was paid to genres and artists that were not considered 'pop'", but she brought 'pop' to the foreground. Madonna's widespread influence on female artists and the impact she have had in their literature was noted by a contributor from Vice whom said: "Reviews of her work have served as a roadmap for scrutinizing women at each stage in their music career". From one foundational motivation, Billboard staff commented in 1989, that "Madonna has always stayed one step ahead our expectations: in music, in fashion, in outright audaciousness". In fact, American academic and journalist J. Hoberman, has concurred saying: "She even directs her critics, the millions of sociologists, psychologists, and students of semiotics who have made her the world's biggest pop start". In the following description, numerous authors have commented their continuing interest in the figure of Madonna. As Taraborelli, said about keep writing about her in his updated version of Madonna: An Intimate Biography in 2018: "I have never stopped writing about Madonna since that day I first met her thirty-five years ago". Years prior, in 2008, Argentine writer Rodrigo Fresán expressed a similar feeling: "And the years go by and life changes but something remains constant: one continues to write about Madonna". Sheila Jeffreys said that postmodern theorists of cultural studies elevated Madonna to cult status. Other group of authors focused in the mixed response she has had, as American psychologist and educator Francine Shapiro explained that many critics and fans "love to hate" her. Indeed, Audra Gaugler from Lehigh University also explained that "there exists a large band of critics that at first praised her, but then became disillusioned with her as she became more and more controversial". Interested in her social impact, Tetzlaff decided to study the relationship between the press and Madonna. Barbara O'Dair compiled and related her relationship with Rolling Stone magazine in a book called Madonna, the Rolling stone files (1997) and said that she always has been an "enigma". In Profiles of Female Genius (1994), author Gene N. Landrum said: "The press has in turn made Madonna the most visible, photographed, and debated female in modern times". For professor Suzanna Danuta Walters "accompanying Madonna's own elaboration of superstardom has been a sustained effort —by the mass media and academics alike— to continually produce and reproduce this cultural icon". British sociologist Ellis Cashmore, states that the singer exploited the expansion of media opportunities, inciting journalists with one scandal after another, so that she became almost impossible to ignore. Journalist were constantly on-guard. He also commented: "Madonna wanted —and got— more saturation media coverage than anyone, present and past". Magazines and others outlets According to Matthew Rettenmund, "Madonna has made the act of being on the cover of a magazine into an art form" taken her covers seriously. Historically, the very first time the singer's face appeared on a magazine cover was shot by Peter Cunningham and that portrait was used on Dance Music Report in 1982. Her first dedicated cover shoot was with photographer Curtis Knapp for Island, the following year in 1983. Her first national U.S. cover story was for Rolling Stone cover in 1984. An article from The Charlotte Observer issued on July 1978, covering the American Dance Festival's first year at Duke University in Durham, might be the first notice from the press that Madonna received in her life. As of 2020, she has graced more than 4,700 magazine covers worldwide. She achieved milestones in many of them, as the most time appeared or being the first-time cover of something. In this line, she appeared more times on Rolling Stone cover than any other female artist, a total of 23 times as of 2018. Madonna was the face on the inaugural cover of Spin, issued in 1985. Under Anna Wintour's control, Madonna became the first celebrity (or non-model) to be pictured on the cover of Vogue. That was considered controversial at the time according to Wintour. Madonna became the first woman entrepreneur to appear on a Forbes cover according to themselves. According to Mark Bego, magazines or calendars "sell out in record numbers when her name or likeness is on them". For instance, her special edition of the X-STaTIC PRo=Cess for W magazine with Steven Klein was the best-selling edition ever. In 1985, Penthouse and Playboy magazines published a number of nude photos of Madonna, taken when she moonlighted as an art model in 1978. Both publishers run was up 15 and 10 percent respectively above of their normal its print run at that time, as well both hyped their Madonna issues and had them on newsstands weeks earlier than usual according to Advertising Age. Some authors have made listicles about her best magazine covers, like Matthew Rettenmund did for Logo TV in 2018. The same author published later a book called MLVC60: Madonna's Most Amazing Magazine Covers: A Visual Record covering over 1,000 of her magazine covers. Race politics, cultural appropriation and multiculturalism Another consideration focused in understading Madonna's impact have been both her relationship or "appropriation" with diverse subcultures and group's imaginary adding a value in her contributions and work. A range of international scholars focused their attention with a specific group or race; like bell hooks did with the black culture. The Madonna studies also provided a challenge views on racial perspectives. Professor George J. Leonard, one of the contributors of The Italian American Heritage (1998) called her "the last ethnic and the first postethnic diva". Madonna indeed, deliberately cemented her popularity on ambiguity, thus appealing to not one but many social groups and subcultures. As Matt Cain remarked that she "has always produced work that has brought marginalised groups to the fore", for instance, gay, Latino or black culture. To Douglas Kellner, Madonna "helped bring marginal groups and concerns into the cultural mainstream". An author said that "by making culture generally available, Madonna becomes the culture of all social classes". Canadian professor Karlene Faith gave her point of view saying that Madonna's peculiarity is that "she has cruised so freely through so many cultural terrains" and she "has been a 'cult figure' within self-propelling subcultures just as she became a major". Both Madonna's ambiguous impact and position within these themes, is the academic interreogation that she has focused on her appropriations, subversions and transformations but her motivations in addressing cultural politics are uncertain. At some point of her career, some have argued, for example that Madonna's insistence on solidarity with marginal groups and on moving between worlds was "duplicitous". In fact, British professor Yvonne Tasker called her an "interesting figure to the extent that her appropriation does at times work to question assumptions". Taking her as a paragon, assistant professors Jennifer Esposito and Erica B. Edwards have commented that "pop stars today contend with this legacy and as a result take elements adding 'freshness' to their persona without dealing with the histories and realities the cultural imprints are born of". In addition, diverse examples have been documented in textbooks and other outlets her impact and footprints in some countries' culture, like La Nación, South China Morning Post and El País did with her history in Argentina, Hong Kong and Spain, respectively in terms of visits and collateral-relationship. Aside from her native English, Madonna has also sung fully or partially in Spanish ("Verás" or "Lo Que Siente La Mujer"), French ("La Vie en rose" or "Je t'aime... moi non plus"), Portuguese ("Faz Gostoso"), Sanskrit ("Shanti/Ashtangi") or Euskara ("Sagarra jo"). Black culture According to a 1990 article of CineAction!, "Madonna's 'blackness' is a common, though poorly articulated theme of popular press literature". Madonna is typically credited as the first to use Black gay culture. Professor Ferraro studied her relationship with Black culture, saying that "no white pop star (in the 1980s and 1990s) ever owes more to black male productions, to black-style dance and stage presentation, including Reggie Lucas, Nile Rogers, and Stephen Bray, than Madonna". Professor also states that "no diva has spent more time on camera and off with men of color, professionally and romantically involved" and ends describing her as "the most accomplished Italian-to-black crossover artist in history". However, she has faced criticism in her usage of black sub-culture themes. Barbadian-British historian Andrea Stuart found that she "deliberately affected black style to attract a wider audience". American historian David Roediger noticed bell hooks' criticism, that for her "the image Madonna most exploits is that of the quintessential 'white girl'. To maintain that image she must always position herself as an outsider in relation to black culture". American culture and Italianness (Italian-American identity) Authors remarked her background as an Italian-American and she identified herself as such. Fosca D'Acierno wrote in The Italian American Heritage (1998) that "so much has been written about Madonna, but rather little has been about" singer's "Italianness". Other group of authors suggested that she "has traded on ethnicities other than her own (Italian American)". Particularly, D'Acierno studied at that time how she became a vehicle for the expression of many of the qualities that are exlusive not only to Italians but for Italian American women. Professor Thomas Ferraro also studied her "Italianness" praising her because "never stops talking about her background", although all of them remarked that she does not affirm her cultural background and identity singing in Italian. At other point, the singer has been described as one of the Italian American performers that played a "definitive role" in the musical culture. Musically speaking, various critics agree that Madonna, rather than export US music, has imported new (mostly European danceclub) trends into the United States. In terms of iconography, US culture does not seem to have played a central role in her work either, according to José Igor Prieto-Arranz from University of the Balearic Islands. For example, she rarely wrapped herself (metaphorically or literally) in the American flag, but has often adopted other flags of convenience. Asian and other cultures Mostly in her 1992–1993 and 1998–2001 periods, Madonna also adopted, modified, subverted and deconstructed Asian (specially Thai, Hindu and Japanese) elements and imagery. She also replicated the practice of hiring Asian and African American backup singers and dancers. Like with other races, Madonna's reception with Asians and Asian Americans have been also studied in surveys. An example occurred with scholars Thomas K. Nakayama and Lisa N. Peñaloza, and most of them, according to their study felt "alienated by the visual narratives of her early videos, and clearly distanced themselves from politics of the visual texts". Other observers also noticed the influence of England heritage in her work, as she was married to Guy Ritchie and lived in the United Kingdom for years. However, Madonna's exploration of intra-Caucasian identities has received little academic attention. Latino and Spanish culture She has also had a strong relationship with the Latin culture, as Jorge Becerra from LatinAmerican Post says. Professor Santiago Fouz-Hernández in his book Madonna's Drowned Worlds states that the Hispanic culture "is perhaps the most influential and revisited 'ethnic' style in her work". Another example is her personal life, including relationships like wtih Carlos Leon to whom she gave birth to Lourdes "Lola" Maria Ciccone Leon. Frances Negrón-Muntaner discussed in Boricua Pop: Puerto Ricans and the Latinization of American Culture (2004) Madonna's impact in the Latin culture of the United States and mainly, Puerto Ricans during the 1980s and through the 1990s. Equally important, author suggested that "Madonna's nod created the illusion of insider status for Latinos of all sexualities in U.S. culture". As Thomas K. Nakayama and Lisa N. Peñaloza found: "Latinos tended to respond to Madonna texts in a way that underscored their specific cultural literacy". Focused the attention to Puerto Ricans, Negrón-Muntaner describes the singer as the one who "came to most successfully commodify boricua cultural practices for all to see". She was also described by the same author as the first "white pop star to make boricuas the overt object of her affections" and this "produced a queer juncture for Puerto Ricans representation in popular culture" and in "romancing Latinos in this specific way, Madonna made boricua men desirable to an unprecedented degree in (and through) mass culture. Like Negrón-Muntaner, other writers closely examined her impact in Puerto Rico, including Carmen R. Lugo-Lugo whose article The Madonna Experience (2001) for the feminist academic journal Frontiers: A Journal of Women Studies, explored the "political aspect of the Madonna phenomenon in Puerto Rico by looking at her and her status as a public figure", as well Madonna's impact in the Puerto Rican young girl culture of the 1980s. The incident with the Puerto Rican flag during her concert in the island as part of The Girlie Show in 1993, was also cited by various authors, with Carlos Pabón calling it in his essay De Albizu a Madonna: Para armar y desarmar la nacionalidad (2003) as "a story that has no parallel in the imaginary of the country". In Argentina, another Latin country, Madonna's relationship was briefly divided after her film of Evita, with criticism mainly from the Federal Peronism. Madonna in the contemporary arts Madonna's impact includes her influence on the art world and "has been made almost entirely behind the scenes" according to Stephanie Eckardt from W. Both her contributions and reception in this area can be found in diverse examples. She has donated money, contributed or sponsored to various art exhibitions with positive reviews among art critics. As an art collector her possessions are estimated at worth $160 million according to website Artspace (as of 2015) and is based on modernists artists. Called a blue-chip collection by Artnet, her possessions include over 300 pieces of artists such as Salvador Dalí, Fernand Léger, Frida Kahlo and her former boyfriend Jean-Michel Basquiat. Madonna appeared in the 100 biggest collectors () by Art & Antiques, and in the Top 25 Art Collectors by The Hollywood Reporter in 2013. In 1992, Madonna co-sponsored the first retrospective for her former boyfriend Basquiat at the Whitney Museum of American Art. In 1995, she sponsored the first major retrospective of Tina Modotti at the Philadelphia Museum of Art which curator and art historian Anne d'Harnoncourt commented: "She seemed a natural sponsor for an exhibition that introduces the artist to a broader public". In 1996, Madonna sponsored an exhibition of Basquiat's paintings at the Serpentine Gallery in London. She also sponsored Untitled Film Stills by Cindy Sherman at the Museum of Modern Art (MoMA) in 1997. In 2001, Madonna presented the Turner Prize at Tate Britain in London. Other ventures she made in the world of art include the installation in 2003 with Steven Klein called X-STaTIC Pro=CeSS and were shown at Deitch Projects. In the early 2010s, she created "Art for Freedom", which was an effort to support independent creators of art content around the world and to promote and facilitate free expression. Years prior, she discussed her art on the arts-based British TV series Omnibus in 1990, and continued to do the same in her next decades with interviews like with illusionist David Blaine for [[Interview (magazine)|Interview]] or photographic critic Vince Aletti. Before become famous, she worked as an art model in the late-1970s. Significance and influence Art critics and art historians like John A. Walker have also reviewed her career in the perspective of the arts and her relationship with it. In her book The Virgin in Art (2018), art historian Kyra Belán explained that the singer has impacted the performing arts and become a symbol as she achieved major success as an artist within several art forms. She was credited by a W magazine contributor to "pioneering" the crossover between pop and art. For writer Mark Bego, she has "turning everyhing she touches into classic pop art". Madonna is also cited by others as "the first female artist to exploit fully the potential of the music video", a statement included in her profile at Encyclopædia Britannica written by Lucy O'Brien. In the terrain of the video as an art form, film critic Armond White proposes that her concepts led some artists to have "art-consciousness" and felt that "they'll never repeat the moment when Madonna's connection to the zeitgeist became historic". The major role Madonna has played in the history of music videos, was commented by professor Norman Fairclough, whom suggested that "the evolution of the music video could indeed bestudied through Madonna", adding that the own impact and permanence of some of the image of these videos have generated is such that they have often influenced the singer's Mise-en-scène in her live performances. Aside her related-activities in the art scene, Madonna's notorious involved presence in the process of her work since her early career with video-makers, designers and fashion photographers as well her relationships with plastic artists such as Andy Warhol, Keith Haring and Jean-Michel Basquiat have been positively remarked. Within this context, The Irish Times staff mentioned that Madonna "was the first female pop star to fully engage with the visual elements of her art" while they highlighted her collaborations. A contributor from W said that the singer was "the first to make collaborations between pop artists and designers routine". In doing so, Jacob Bernstein of The New York Times states that "she made talent scouting a central part of her art for finding the right people to complement her own skills and open up her world". Barbara Ellen from The Observer commented that "she is somebody who rubbed out the boundaries between life and art and managed to survive". Madonna herself, commented in 2020: "Art has kept me alive". Furthermore, Aletti focused the attention in his area (photographic critic) noting that "the photographic image has been at the forefront of Madonna's rise to iconic status". Aletti also stated that she doesn't merely pose for photographers; "she explicitly collaborates in the process of creating and recreating her own image". Her artistic persona and own art, has been also commented by authors which pondered her cultural significance. Steven Klein, doesn't see her as a celebrity but as a creative artist. Following Michael Jackson's death, a panel of Argentines art critics deemed her at that time as "the only universal artist left standing". Those critics, including Daniel Molina, Graciela Speranza and Alicia de Arteaga explained that she is herself "a multimedia expression that condenses fashion, dance, photography, sculpture, music, video and painting". A similar perception was noted back in the 1990s by Jon Pareles when he invited audience to see her as a "continuous multi-media art project". In the perception of graffiti artist and cultural commentator, Fab Five Freddy "she is the perfect example of the visual artist". Blaine described that perhaps Madonna "is herself her own greatest work of art—something so vastly influential as to be unfathomable". Professor John R. May of English and religious studies concludes that the singer is a contemporary "gesamtkunstwerk", and Scottish music blogger Alan McGee proposes that she is "post-modern art, the likes of which we will never see again". Madonna herself, has been quoted to said: "I am my own experiment. I am my own work of art". Meanwhile, British professor Sarah Churchwell described that "Madonna's art is the art of iconoclasm in an age of commodification, updating old images with new meanings". Commercial influence Madonna's semiotic and influence also extended to business schools sphere and marketing community. More than one economist, marketer, entrepreneur or other business expert made analysis or dedicated courses studying her continued "success" and commercial "strategies" with academic Douglas Kellner saying that "one cannot fully grasp the Madonna phenomenon without analyzing her marketing strategies", tactics that have been "essential" to her success. In Understanding Popular Music, New Zealand professor Roy Shuker wrote that "the continued success of Madonna provides a fascinating case study of the nature of star appeal in popular music". At this point, writer Andrew Morton has concurred that "her success has certainly impressed the business community and senior professors at Harvard Business School beat a path to her door". Kelley School of Business commented that "she is someone everyone can learn from, though the lessons run counter to conventional marketing wisdom of the 4Ps variet". Economist and scholar Robert M. Grant dedicated a class on her in 2008 highlighting the context of "intensely competitive" and "volatile world of entertainment". Marketer expert and professor Stephen Brown from University of Ulster named her a "marketing genius" while studied her case. Along with this, Martin Kupp and Jamie Anderson in a class dedicated to her in London Business School, concluded that she "is a born entrepreneur". In 2013, athlete turned science writer, Christopher Bergland wrote in Psychology Today an article analyzing her enduring success from the perspective of neuroscience. Others created new phrases or terms using Madonna as a quintessential for business. For instance, business professor Oren Harari coined the expression "Madonna effect" inspired in her business tactics and changes while deems its use for both individuals and organizations. Doctor Peter van Ham writing for NATO Review explained the "Madonna-curve", an expression used by some business analysts to describe the "adapting to new tasks whilst staying true to one's own principles". He further explained that "businesses use Madonna as a role model of self-reinvention". Success and longevity The terms "success" and "longevity" has been also largely discussed in Madonna's case amongst the press, academics and business experts. Historically, many of these observers have remarked Madonna's beginnings when critics like Robert Hilburn were already "predicting" her rapid decline, while Billboard magazine editor, Paul Grein, also "predicted" that "Cyndi Lauper will be around for a long time; Madonna will be out of the business in six months". Later, Madonna set a template of longevity and enduring success as was suggested by more than one author. In a bigger proportion, and more than anyone, Madonna ended "embodie[d] female success in a male-dominated industry". For instance, before having a 10-years-old career some outlets defined singer's career as "veteran" or as the "equivalent to five lifetimes in rock-star years". In the early 1990s, media scholar David Tetzlaff, sees Madonna's status saying: "Never before has a popular performer survived so much hype for so long and continued to attract the fascination of a broad public while staying completely contemporary". Amongst contemporary views, in 1992 Australian newspaper The Canberra Times attributed her ability to change her image frequently as the secret of Madonna's longevity. In 1994, author Gene N. Landrum described her success at that time in the following way: "Her success has made her the most visible show business personality of the era, and arguably of the century". As she accumulated success in many way during her next decades, British sociologist David Gauntlett said that the singer has provided a recipe for "longevity", which many artists, female and male, may try to emulate. However, another group of authors were ambivalent towards Madonna's longevity, and this include Argentine writer Rodrigo Fresán whom said in 2008: "As far as I'm concerned, Madonna now lives off the shock wave of a Big Bang that has already passed and gives off the visible but distant light of a dead star. A dead star but, yes, very intelligent". Professor Robert Miklitsch noted that she responded with her 1995 song "Human Nature" to her critics about her longevity with the phrase: "Did I stay too long?". Guinness World Records have referred to her as "the most successful female artist" in both 20th and 21st centuries. The same or similar description has been used in academic fields. A summary of this point was provided by scholars writing for Journal of Business Research in 2020, Canavan Brendan and Claire McCamley when they concluded that "she's probably the most successful female music artist ever in terms of her record sales, tour receipts, brand recognition and longevity". British musicologist David Nicholls also suggested: "Madonna became the most successful woman in music history by skillfully evoking, inflecting, and exploiting the tensions implicit in a variety of stereotypes and images of women". In 2015, gender consultant and musicologist Laura Viñuela taught in a course dedicated to Madonna at University of Oviedo that "is the only woman who has such a long and massively successful career in the world of music". Another group of authors used superlatives to refer her status or impact in the fields of music businesses. Biographer Chris Dicker summarized that it has been said that she is "the most successful woman in the history of the music business". Following Dicker's summary, outlets like Deutsche Welle called her "music business' most successful woman". Another similar description was used by David Horowitz and professor Peter N. Carroll, as they deemed her "the most financially successful female entertainer in history". As a businesswoman She also received appreciation from a varied of industry experts in her role as a businesswoman and once named "America's smartest businesswoman". That treatment was then unusual for a female singer and was remarked by author Gene N. Landrum (1994) whom commented that "Madonna's business acumen and entrepreneurial talent were becoming legend when such bastions of male capitalism as Forbes" named her such as. Around this time, she was one of the few female CEOs in the industry. Her business profile quickly became in a signature in her career. Historically, Madonna's business tactics were distinctly different from other artists as she was reported to endorses products she thinks will enhance her, more than the product. According to biographer Adam Sexton, she was praised by people who work with her as they "agree that she is a rarity among entertainers, who runs her own business affairs". One of these observers, Jeffrey Katzenberg then chairman of Disney Studios, described: "She has a very strong hand in dealmaking and financing of her enterprises. Nothing gets done without her participation". For many of these observers, Madonna transcended her roles of musician and pop icon to becoming a businesswoman. They used numerous adjectives to remark her status. For instance, Kelley School of Business said that she is more than a "pop cult icon" and has been "an empire from day one". Professor Robert Miklitsch described that "[she] is herself a corporation and a rather diverse one at that" in his book From Hegel to Madonna (1998). American author Kevin Sessums used a similar description calling her "a corporation in the form of flesh". Colin Barrow a visiting scholar at the Cranfield School of Management viewed her as "an organisation unto herself". New Zealand professor Roy Shuker agreed and said that she "must be viewed as much as an economic entity as she is a cultural phenomenon" adding that she "represents a bankable image". Kellner also viewed her as "one of the greatest PR machines in history". Described as an "economic phenomenon", authors of the academic compedium The Madonna Connection (1993) wrote that she became herself a "valuable property in the world of international capital". Newspaper ABC named her in 1992, as the "most prolific, profitable and universal consumer object since the commercialization of Coca-Cola". Another author deemed the singer as "her own entertainment industry". Overall, her contributions in helping "to shape" music businesses was appreciated by Lucy O'Brien whose said that she became the first one "to exploit the idea" of pop artist as a brand in the 1980s. Editor Gerald Marzorati proposes that "Madonna's contribution has been to usher in the phenomenon of star as multimedia impresario". David Bruenger from Ohio State University observed Madonna's economic impact and wrote in Making Money, Making Music: History and Core Concepts (2016) that "she pioneered [various] brand management strategies". In Bitch She's Madonna (2018) authors go beyond previous descriptions, saying that "the music business, as we have seen it grow, is what it is largely because of her, her ambition, her vision and her perfectionism, along with her undeniable musical and entrepreneurial power and talent. Brand In terms of branding, experts have also given Madonna a particular position. In the first place, New Zealand academic Warwick Murray among others have called her a global brand. Madonna is perhaps the epitome of celebrity marketing and celebrity branding, according Jim Joseph, author of The Experience Effect (2010). Public relations expert, Michael Levine reviewed her then 20-years-old career in A Branded World (2003) praising her beyond any other artist as the most successful act in establishing and maintaining a brand. Levine also said: "Establishing herself as something different right from the start, [she] has bucked every trend and every rule of Branding and still managed to become the most well-known, well considered brand in the entertainment business". Another consideration came from marketing executive Sergio Zyman whom stated that "unlike almost anyone else in her business, has an uncanny ability to retool the Madonna brand". Zyman also believes that "no one repositions herself as well —or as frequently— as Madonna". From a cultural perspective, Timothi Jane Graham of American business magazine Success commented that Madonna's brand has been a "mirror of our own journey through pop culture and as a people" with her transformation. American business magazine, Fast Company discussed her in a 2015 article as "the biggest pop brand on the planet". Financial accomplishments Another group of authors whom pondered her cultural significance, have reviewed Madonna as a boss and her own business accomplishments, noting the impact this have had in her career and beyond her figure. Clifford Thompson, author of Contemporary World Musicians (2020) wrote that she "has been overwhelmingly successful on a financial level". Commercially, Madonna generated sales for Warners of over $1.2 billion in the first decade of her career ( 1983—1993). She also added hundreds of millions more for other companies. Total lifetime worldwide sales for Madonna's CD's and other music products were at least $2 billon as of 2003 according to her publicist Liz Rosenberg. According to an investigation by Judson Rosebush, Madonna accounted for something like 20 to 33 percent of all record sales from Warner Communications, or over $200 million dollars and she even affected the stock. In fact, author Robert Burnett reported that Time Warner "usually feature[d] Madonna's picture prominently in its annual report". In the 1990s, a group of authors like academic Roy Shuker deemed the singer as arguably "Time Warner's most effective corporate symbol". For authors of academic compendium The Madonna Connection (1993), however, "the real value that Madonna has to offer a multinational conglomerate cannot be calculated in sales figures alone". A contract she signed with Time Warner in 1992, made her then highest-paid female entertainer in history. Under this contract, she founded the entertainment company Maverick which included the record label, Maverick Records. It was recognized by Spin as the most successful "vanity label" and while under Madonna's control it generated well over $1 billion for Warner Bros. Records, more money than any other recording artist's record label at that time. According to J. Randy Taraborrelli, the existence of Maverick Records was "anomaly" as she became in one of the first female artists to have a "real label", and one of the few women to run her own entertainment company. In addition, she has been included in several Forbes lists since the 1980s and once named the richest woman in music. As Thompson remarked that "for several years running, she was listed in Forbes as one of the 10 highest-paid entertainers". Publicity and advertisements Madonna has also made an impact in the world of advertisements either from a cultural or commercial perspectives. Even, for columnists like Christopher John Farley, her career has "never really been about music", but about other stuffs like publicity. Her debut to the scene of the 1980s, occurred at the same time that relationship with music and advertising marked a "new era" with formats such as music videos. Observers however, noticed that for years she refused to do an ad. For instance, her first nationwide advertisement was until her contribution on the first Rock the Vote campaign in 1990. Her first major advertisment debut was in Japan, with a Mitsubishi Electric campaign in 1987 to promote a videocassette recorder (VCR). Her collaboration doubled company's share of the domestic VCR market to 13%, and erased the company's image of being "safe but bland" as researchers found that most Japanese no longer considered Mitsubishi Electric a conservative company. Beyond her impact in the company, Madonna campaign led to Japanese agencies and advertisers to feature musicians in advertising, again invigorating the overall interest in using foreign celebrities in advertising. Since that time, many foreign artists have appeared in Japanese TV commercials. She made her Western advertising debut with "Make a Wish" for Pepsi in 1989. In a single night, an estimated 300 million people from 40 countries viewed the commercial. The event constituted the single largest one-day media buy in the history of advertising. Similar to a jingle the video was accompanied with the song "Like a Prayer", marking the first time that a videoclip was planned as an advertisement. The significance of Pepsi-Madonna cross-promotional collaboration has been studied by numerous observers, either for Pepsi advertising, the Cola wars and Madonna's business acumen. For J. Randy Taraborrelli, these events surrounding Madonna-Pepsi partnership, "turned out to be one of the biggest controversies in the history of corporate advertising's often uneasy liaison with pop music". Status for both company and Madonna were typified at this time, as one of the largest companies part of Fortune 500, and she as the "most famous woman" on the world, or "world's biggest pop star". In both side, ambition were enormous, as the company planned "to change the way popular tunes from major artists are released in the future", and the way Madonna was in charge of every detail; for instance, she refused to hold a Pepsi can in the commercial. After her Pepsi commercial, for authors of Bitch She's Madonna (2018) she was a pioneer of creating musicality. Spanish cultural critic Víctor Lenore states that with this ad, she "opened the door to major endorsements of fashionable singers and multiplied the global impact of pop music". To Taraborrelli, none of the future Pepsi ads "would generate the excitement of Pepsi's failed deal with Madonna". Phil Dusenberry, however, said that one of the biggest two regrets of his career was casting Madonna for Pepsi. Cultural and commercial trends In most part of her career, the relationship with Madonna and trends attracted commentaries from multiple observers with a general perception that she was slightly "ahead of the curve". As Canadian author Ken McLeod confirmed that "she has played a part in several cultural trends", art historian John A. Walker deemed her as an "acute observer of trends" in terrains from art to film. José Igor Prieto-Arranz from University of the Balearic Islands called her a "cultural product" itself and agent of cultural production. Historically and long before the term coolhunting entered in the mainstream marketing discourse, American author Rob Walker commented that she was "renowned for spotting new trends". On top with this, writer Popy Belasco said that Madonna is virtually the "first coolhunter in history". During the peak of her career in the 21st century, MuchMusic deemed the singer as "the world's top trend-maker" (). Criticism came from observers like lecturer Susan Hopkins from University of Southern Queensland, whom said that Madonna "pioneered a lot of cultural trends that didn't do average working women a lot of favour". Timothi Jane Graham from American business magazine Success even said that "it was once rumored she actually paid cultural sleuths to keep her informed of every shift and modulation of the current trends before they made their way into the masses". List of fad and trends "credited" to Madonna Nota bene: This section only include illustrative examplesAs Madonna has been reported or cited as a help or motivation for the rise, introduction or popularity of several things such as terms, places, cultural practices, fashion trends or products. Some illustrative credits of these fad and trends started or forwarded by the singer, includes: Manuel Heredia, minister of tourism in Belize, discussed with El Heraldo de México how "La Isla Bonita" has helped to attract tourists to the San Pedro Town. A similar example occurred when she moved to Lisbon around 2017, and Portuguese or Spanish outlets credited her presence as a boost and help for the tourism industry within sectors such as "luxury tourism" or real estate business. Numerous sources such as The Independent credited Madonna to popularise the Jewish mysticism in the Western world. American novelist and former educator Alison Strobel commented that "Madonna had popularized it to the point where it was simple to find a place to go learn". The New York Times (NYT) contributors concluded she "brought" yoga to the masses. The same perception of NYT is shared by others, while professors Isabel Dyck and Pamela Moss particularly credited her the popularity of Ashtanga Yoga. She is also credited in popularising voguing. MFA Stephen Ursprung from Smith College felt that "Madonna created a market for voguing" and further asserted "voguing has left its mark on the world" through a "close connection" with the singer. Danish lecturer Henrik Vejlgaard, also commented both her song and video made "voguing a popular dance concept in many parts of the world". Associate professor Diane Pecknold in American Icons (2006) commented she helped to popularize words and phrases in the English lexicon. Pecknold included the term "wannabe" used by Time magazine back in 1985 to describe the Madonna wannabe phenomenon. Another inclusion was the title of her first feature film Desperately Seeking Susan which produced a new idiomatic phrase considering the newspaper headlines. Her position in the raise of idiomatic term fauxmosexual was noted by Kristin Lieb of BuzzFeed News whose remarked in 2018 that this phenomenon started with her kissing both Britney Spears and Christina Aguilera at the 2003 MTV Video Music Awards. The "Madonna-Britney influence" in this term was early mentioned by MedicineNet in 2004. She was also suggested in popularize cultural appropriation.The Daily Telegraph explained that Madonna helped transform Frida Kahlo into a collector's darling. Another commentary came from Mexican art magazine Artes de México whose staff notated in 1991 the importance of the singer for the "Fridomania". Author Juliana Tzvetkova wrote that Dolce & Gabbana "received their first international recognition thanks" to Madonna, while journalists like Lynn Hirschberg notated that the attention around fashion designer Olivier Theyskens was "intensified thanks to the singer". Scholars Rhonda Hammer and Douglas Kellner felt that the phenomenon of femininity inspired by South Asia as a tendency in Western media could go back to February 1998 when Madonna released her video for "Frozen". They wrote that "although Madonna did not initiate the Indian fashion accessories beauty ... she did propel it into the public eye by attracting the attention of the worldwide media". Professors Christopher Partridge and Marcus Moberg have commented: "Since Madonna first put Indian cultural symbols on the global fashion map, henna, bindis and Indian sartorial designs have became part of the global popular culture reinforced by Bollywood's Western invasion". She has carried the burlesque to mass culture according to Latin critics. Music critic Stephen Thomas Erlewine said that she had a "huge role in popularizing dance music". In another illustrative example, she has credit for the introduction of electronic music to the stage of popular music. British sociologist David Gauntlett said that she introduced European electronic music into the mainstream of American pop culture. Various authors, including Lucy O'Brien give credit to Madonna in innovating rave culture (mainly in the 1990s). According to the company The Vinyl Factory, her single "Vogue" popularized the usage of Korg M1. According to scholars Berrin Yanıkkaya and Angelique Nairn, Madonna is credited with creating the modern concert tour extravaganza as a theatrical spectacle in which the female music artist is placed centre stage. In another consideration, Jacob Bernstein of The New York Times cited previous examples like Donna Summer or Michael Jackson, but Madonna's 1990 Blond Ambition World Tour "was bigger, bolder and more imaginative" for which she set the tone and the bar of modern megatours. In many ways, her documentary Madonna: Truth or Dare is viewed as a precursor of the TV reality concept. Madonna in popular culture General significance in entertainment and performance purposes For some observers, she is more a pop icon rather than a musician, as critic Stephen Holden once pointed out: "Madonna is still much more significant as a pop culture symbol than as a songwriter or singer". As a pop icon and figure within popular culture has generated numerous analysis across her career and for professor Deborah Bell, her impact "on pop culture is immeasurable". Matt Cain provides a global idea saying "without her, from music to fashion to the whole concept of celebrity, today's pop culture landscape would simply not exist as it is". Noah Robischon from Entertainment Weekly concurred that she "has defined, transcended, and redefined pop culture". Historically, she is the first multimedia figure in popular culture according to the Rock and Roll Hall of Fame. Over the years, her position within popular culture has constantly remarked by international authors and outlets. For instance, Rolling Stone staff remarked in 2018 her "ability to stay at the center of pop culture for longer than nearly anyone". In 2012, Latin critics like Víctor Lenore perceived the singer as the most influential presence of popular culture at that time. In 2015, a scholar from program "Research in the Disciplines" of Rutgers University said that "Madonna has become the world's biggest and most socially significant pop icon, as well as the most controversial". When she turned 60 years old in 2018, The Guardian presented a series of articles discussing her figure in the point of views of multiple authors, including columnists or musicians. In one of them, The Observer columnist Barbara Ellen called her the "pop's greatest survivor". In 2015, Elysa Gardner of USA Today called her "our most durable pop start". The continued perception of Madonna as a topic in popular culture was expressed by media consultants and authors of Media Studies: The Essential Resource (2013): "Madonna continues to be a challenging presence within popular culture", and for Barbara Ellen the "popular culture still reeks of her influence". Public and media figure Professor Ann Cvetkovich remarked that figures such as Madonna, reveals the "global reach of media culture". And rather than a singer, she is a global multimedia phenomenon in the perception of José Igor Prieto-Arranz from University of the Balearic Islands. For Tim Delaney, author of Connecting Sociology to Our Lives: An Introduction to Sociology (2015), "her perceived outrageous behavior in the 1980s and 1990s set the tone for public discourse and analysis". Authors in academic compendium The Madonna Connection (1993) confirmed that "other scholars analyze media-Madonna discourses and representations". In the late-1980s, John Fiske, a media scholar and cultural theorist perceived her as a "site of meanings" for performance purposes, adding that "she is a rich terrain to explore". Various academics also noted a commentary from The Village Voice editor Steven Anderson on Madonna, whose said in 1989: "She's become a repository for all our ideas about fame, money, sex, feminism, pop culture, even death". In a retroactively view of this point, British reader Deborah Jermyn of Roehampton University commented in her book Female Celebrity and Ageing (2016) that Madonna "does age and rather than retire from view Madonna continues to function as a repository". A scholar once points that because she has come to occupy such a large portion of public media attention, "Madonna functions rather like what environmentalist call a megafauna". In the perception of Spanish philosopher Ana Marta González, Madonna doesn't have a "cultural" prominence but proposes in her 2009 essay (Ficción e identidad. Ensayos de cultura postmoderna) that with her media appearances the singer "would be more culturally significant than most of the people who have changed the course of history". Media scholar David Tetzlaff said that her "omnipresent" appeal "has to do with hyperreality, but an infinite accumulation of simulacra, an overabundance of information". More than two decades later, music writer and teacher T. Cole Rachel writing for Pitchfork in 2015 commented that "if you aren't a super fan—or even a fan at all—there's no escaping Madonna. She is everywhere". In addition to having been perceived as "omnipresent" by different outlets and for different reasons, other sources felt that beyond music industry she is one of the most "recognizable names in the world". She has elicited a number of public perceptions regarding her personality and media manipulation during a part of her career. Rock and Roll Hall of Fame described that "no one in the pop realm has manipulated the media with such a savvy sense of self-promotion". Music critic Stephen Thomas Erlewine wrote for her profile in Allmusic and MTV that "one of Madonna's greatest achievements is how she has manipulated the media and the public with her music, her videos, her publicity, and her sexuality". Becky Johnston from Interview magazine commented: "[F]ew public figures are such wizards at manipulating the press and cultivating publicity as Madonna is. She has always been a great tease with journalists, brash and outspoken when the occasion demanded it". Professor John Izod in Myth, Mind and the Screen: Understanding the Heroes of Our Time (2001) described that "when we categorise Madonna's public personality in terms recognised in analytical psychology, we find it belongs to two large classes of archetypal images". The first is she projects herself as a type of goddess and the second is the trickster. In more approaches political activist, Jasmina Tešanović called Madonna as "one of the most honest performers in pop culture" and further asserted that her changes "are well-calculated". In 2013, lecturer Becca Cragin said that "Madonna has managed to hold the public's attention for 30 years" with skills such as "expressing herself". Fame Biographer Mark Bego among others, have seen Madonna more a star rather than a public performer, singer or actress. Meanwhile, Robert Christgau wrote that "celebrity is her true art". Stan Hawkins from University of Leeds said that Madonna was the first female solo artist to gain superstar status in the 1980s. Historian Gil Troy confirmed the singer as "the 1980's dominant female star". In the following decade, however, her popularity declined according to academic Lynn Spigel, while Andrew Ferguson suggested that her "real crime" had been longevity. British author Mark Watts writing for academic journal New Theatre Quarterly in 1996, summarized that the "rise and (perceived) decline of Madonna has gone, so to say, hand-in-hand with that of postmodern theory — but none the less pervasively influential for that". In an intellectual reaction about her fame, Annalee Newitz notated that the "fields of theology to queer studies have written literally volumes about what Madonna's stardom means for gender relations, for American culture and for the future". Around this time, professor Abby J Stewart, one of the contributors of Women Creating Lives (1994) described Madonna's popularity commenting that "crosses lines of gender, race, class, and perhaps most curious, education". Senior academic administrator MaryAnn Janosik praised the singer because said that emerged as self-made star, proving that "power is accessible to all, including women". Overall and describing her stardom, Christgau once wrote that her fame is so far-reaching that it is difficult even to measure. As she has been constantly described as controversial, American journalist Michael Gross named her in 1992, "the world's most advanced human
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what city in canada has a fortified wall around it?
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Map of the fortifications. Located in Canada, the Ramparts of Quebec City are the only remaining fortified city walls in North America north of Mexico. The British began refortifying the existing walls, after they took Quebec City from the French in the Battle of the Plains of Abraham in 1759.
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work separately but alongside the internal ministry, and are known as State Committees or Public Service Departments. Several of these agencies are: State Committee State Committee for National Security, responsible for intelligence on counter terrorism and organised crime Public Service Departments State Border Guard Service, responsible for border security and immigration State Customs Service, responsible for customs and excise State Forensic Experts Service, responsible for forensics State Penitentiary Service, responsible for the upkeep of prisons State Service for Combating Economic Crimes, responsible for tackling economic crimes International agencies The Ministry of Internal Affairs has forged relationships with several international policing organisations, these include Interpol and the United Nations Office on Drugs and Crime. These organisations have assisted and likewise received assistance from the republic in tackling international crimes related to drug trafficking and organised crime. Several international agencies have also been invited by the Kyrgyz Republic in helping to reform and improve the efficiency of the police, although they do not have the right to exercise law enforcement powers. An example would be the Organization for Security and Co-operation in Europe which has developed the Community Security Initiative programme.
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cross border standoffs which has put pressure on the law enforcement agencies in maintaining public security as well as law and order in the absence of proper governance. In addition, highly institutionalised corruption and traditional practices such as Ala kachuu (bride kidnapping) has further exacerbated the problems and have caused mounting criticisms by the public on the republic's law enforcement agencies, to which years of newly elected government have tried but with limited success in attempting to reform the law enforcement agencies and its institutions. For example, in recent times, the government has been reviewing the changing of the name of the force from militsiya (Милиция) to police (Полиция), so as to encourage an increase in police interaction with the general public and consequently gain the public's confidence in the force. Nonetheless the republic has with its Soviet predecessor set aside days to celebrate the contributions of law enforcement personnel, past and present. The first of November is set aside as the professional Day of Police which also commemorates the founding of the predecessor of the current Kyrgyz police in 1924. Other dates set aside include the 28 of May for Border Guard Day. Local agencies There are several agencies like the Main Directorate for Road Traffic Safety
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She is a third-generation American; her father's parents were Romanian Jews.
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É estadounidense de terceira xeración; os seus pais eran xudeus romaneses.
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a man has 2 daughters and one son?
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The sum of the ages of his two daughters and one son is equal to the age of the father. In 15 years, the sum of the ages of his children will be one and half times their fathers age. In 15 years, Age of his daughters = (x + 15) and (y + 15) years.
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