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I'm with You (Avril Lavigne song)

"I'm with You" is a song by Canadian singer-songwriter Avril Lavigne from her debut studio album Let Go (2002). It was released to radio as the third single from the album on November 18, 2002, by Arista Records. The song was written by Lavigne and the production team the Matrix, who solely helmed its production. According to Lavigne, the song was inspired by feelings of loneliness she experienced over being single.

The song reached number four on the US Billboard Hot 100 and reached the top 10 in nine other countries, including Ireland, Italy, and New Zealand, peaking within the top five in these regions. In the US, the song topped two Billboard listings: the Adult Top 40 and the Mainstream Top 40. "I'm with You" received radio and television airplay in Australia, but it was not officially released there. The track was nominated for several awards following its release, winning two ASCAP Awards, a BMI Pop Music Award, and a SOCAN Award. It was the second Lavigne song to be nominated for a Grammy in the categories Song of the Year and Best Female Pop Vocal Performance at the 46th Annual Grammy Awards.

Background and composition
"I'm with You" was written by Lavigne and the production team the Matrix. According to Lavigne, the song was written when she was having a "depressing day" due to feelings of loneliness over being single.

"I'm with You" is a rock song. According to the sheet music published at Musicnotes.com by Alfred Publishing, the song is written in the key of A major and is set in a time signature. Lavigne's vocal range spans two octaves, from A3 to E5.

Critical reception
Billboard senior editor Chuck Taylor referred to the song as a "beautifully performed, musically sophisticated outing that showcases a surprisingly emotional vocal from [Lavigne]." He further praised the song's universal appeal, believing that its theme relates well to both teenagers and adults. Sal Cinquemani of Slant Magazine described the song as "sweet." Jamieson Cox of Pitchfork described the song as a power ballad and compared it to B-sides released by American rock band Aerosmith in the late Nineties.

The arrangement of singles from Let Go, with "I'm with You" as the third, was regarded as "controversial choices", given that "I'm with You" was "thought by some to be the biggest potential smash on the album", and could have established Lavigne as a more mature artist if it was released first. According to Reid, "Some people just really didn't get that. And with the first video, there was some concern that maybe because it's so young and so playful, it might alienate more serious music lovers." KidsWorld called it "the perfect song to drown your sorrows to when that guy from your class breaks your heart."

Chart performance
"I'm with You" became Lavigne's third top 10 song when it peaked at number four on the Billboard Hot 100 in 2003 during its ninth week on the chart. The song spent 10 consecutive weeks on the top 10 and 27 weeks on the Hot 100 making it Lavigne's second-longest staying song on this chart, surpassed by her debut single "Complicated" which stayed on the chart for 31 weeks. "I'm with You" ranked at number 18 on the Billboard Year-End Hot 100 singles of 2003 and number 13 on the Canadian Singles Chart. The song was certified gold by Recording Industry Association of America in 2006 for sales of over 500,000 copies in the United States. As of July 2013, "I'm with You" had sold 556,000 digital copies in the US. As a double A-side DVD single, the "I'm with You"/"Sk8er Boi" video single was certified gold and platinum in 2003.

In United Kingdom, "I'm with You" was released on March 31, 2003. The song debuted and peaked at number seven on the UK Singles Chart in 2003, becoming her third top 10 single on the chart; the song re-entered in UK Singles Chart in the week of December 17, 2011, in number 58. It debuted at number six and peaked at number five in Ireland, staying in the top 10 for six weeks. "I'm with You" reached top five in New Zealand; top 10 in Belgium and the Netherlands; top 20 in Sweden, Switzerland, Austria, Germany, Norway and Denmark as well as reaching the top 40 in France. The song re-entered the UK Singles Chart on December 10, 2011, at number 58, almost 10 years after the song first charted.

Background
The music video was directed by David LaChapelle in Los Angeles, California. Filmed in November 2002, most of the video is shown in slow motion but Lavigne's mouth movements are in sync with the song's vocals. This was achieved by recording the footage while the song was played twice as fast. It was at least partly filmed in Los Angeles. The street shots were filmed on Broadway, and the Orpheum Theatre is seen.

Synopsis and reception
The video depicts Lavigne, who is seen alone, trying to find someone, whilst her band members play the song alone in the streets. Showing her originally at a party, the video also sees Lavigne pushing a guy when he tries to get with her straight after making out with another woman. The video also sees Lavigne walking on the streets and wearing a black jacket. Through the video, she is seen standing behind a snowy bank. At the end of the video, Lavigne walks out of the club with her coat on, kicks out the door and walks away.

Much Music named the video one of the "Top 100 Best Videos of All Time". The music video was originally meant to end with Lavigne walking out of the club to her bandmates, who then greet her and walk off together into the distance, but this ending was removed during post-production, ending the video with her leaving alone. An alternative version of the video leaked online to the internet, comprising alternate shots, slightly longer sequences and featuring the originally filmed ending.

Accolades
"I'm with You" was nominated for the 2004 Grammy Award for Song of the Year, and for Best Female Pop Vocal Performance but lost to Luther Vandross's "Dance with My Father" and Christina Aguilera's "Beautiful" respectively.

In media, covers and samples
"I'm with You" was later featured in the season 3 Scrubs episode "My Tormented Mentor", in the Smallville episode "Accelerate" and in the movie Bruce Almighty. The song was also used in the 2003 Brazilian soap opera Mulheres Apaixonadas. Furthermore, it was featured in the video game Karaoke Revolution Volume 2 and in Singstar Rock Ballads. The song is also used as the background music for the Panasonic Lumix DMC-G85/G80 commercial, with Jennifer Garner and Cate Blanchett. The song was used also in the end of the pilot of the Tarzan.

Rihanna sampled the song on her track "Cheers (Drink to That)", which was released as a single. Lavigne made an appearance in the music video. Polish-Czech singer Ewa Farna covered the song and it was featured as a track on her album Měls mě vůbec rád.

Sophie Evans covered the song in Week 3 of Over the Rainbow. A year later, Amelia Lily covered the song in Week 9 of series 8 of The X Factor.

British singer Yungblud covered the song as part of his segment for BBC Radio 1's annual Live lounge month. He mashed-up the song with Taylor Swift's "Cardigan" (2020), accompanying himself on an acoustic guitar, joined by a cellist and two violinists, resulting in a cheerful, strings-laden performance. Both artists responded to the medley affirmatively.

Scottish synth-pop band Chvrches covered the song in their Apple Music Home Session, released on September 24, 2021.

Track listings and formats

 * CD single
 * 1) "I'm with You" (album version) – 3:44
 * 2) "I'm with You" (live version) – 3:57
 * Cassette and maxi single
 * 1) "I'm with You" (album version) – 3:44
 * 2) "I'm with You" (live) – 3:57
 * 3) "Unwanted" (live) – 4:01
 * DVD single
 * 1) "I'm with You"
 * 2) "Sk8er Boi"
 * 3) "Behind-the-Scenes Footage"
 * 4) "Let Go TV Spots"

Credits and personnel
Credits and personnel are adapted from the Let Go album liner notes.
 * Avril Lavigne – writer, lead vocals
 * The Matrix – writer, producer, arrangement, recording, additional vocals
 * Tom Lord-Alge – mixing
 * Femio Hernandez – mixing assistant
 * Corky James – guitars
 * Suzi Katayama – cello

title: I'm with You (Avril Lavigne song)


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Category:Spices

Articles relating to spices, seeds, fruits, roots, barks, or other plant substances primarily used for flavoring or coloring food. Spices are distinguished from herbs, which are the leaves, flowers, or stems of plants used for flavoring or as a garnish. Spices are sometimes used in medicine, religious rituals, cosmetics or perfume production.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Category:Spices


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David Conner (naval officer)

David Conner (1792 – 20 March 1856) was an officer and commodore of the United States Navy. He served in the War of 1812 and led the Home Squadron during the Mexican–American War. He led the successful naval assault during the siege of Veracruz which included the landing of 10,000 U.S. troops, the largest U.S. military amphibious assault at the time. He served on the Board of Navy Commissioners; as the first Chief of the Bureau of Construction, Equipment, and Repair; as a Special Diplomatic Agent to Mexico and commanded the Philadelphia Naval Yard.

Early life
Conner was born in Harrisburg, Pennsylvania. He was the son of David Conner, an Irishman. He worked in Philadelphia and then joined the U.S. Navy on 16 January 1809. He served his first few years as a midshipman on the frigate USS President (1800).

Military career
During the War of 1812 Conner served in USS Hornet (1805 brig) during her chase of HMS Belvidera and her actions with HMS Peacock (1806) in February 1813 and the March 1815 capture of HMS Penguin (1813). During the capture of the Penguin he was severely wounded in the hip and his recovery took almost two years. He was held as a prisoner of war by the British. He received promotion to Lieutenant in July 1813.

In the decade following the war, Lieutenant Conner served in the Pacific, had shore duty at Philadelphia and commanded the schooner USS Dolphin (1821). Attaining the rank of Commander in March 1825, he was Commanding Officer of the sloops of war USS Erie (1813) and USS John Adams (1799) before receiving promotion to Captain in 1835.

He served as a Navy Commissioner in 1841 and 1842, and upon the establishment of the bureau system in the Navy became the first Chief of the Bureau of Construction, Equipment, and Repair.

Conner was given the title Commodore, but his official naval rank remained unchanged. The title "commodore" added nothing to his pay or to his permanent rank of captain. Not until 1862, six years after Conner's death in 1856, did the title commodore come to signify a higher grade or an increased salary.

During the Mexican–American War, Commodore Conner commanded the Home Squadron which operated in the Gulf of Mexico in 1846 and 1847. He successfully disrupted Mexican trade in the Gulf of Mexico with the Blockade of Veracruz. He attempted an operation up the Alvarado River but had to withdraw due to the lack of shallow draft vessels. On November 14, 1846, he captured Tampico as a base for future operations. He also participated in the naval assault against the city of Veracruz. Conner directed the naval assault and landing of 10,000 U.S. troops which was the largest amphibious assault by the U.S. to date. Conner fell ill toward the end of the siege of Veracruz and was replaced by his vice commander Matthew C. Perry.

Leaving seagoing service soon afterwards, Conner was assigned as Special Diplomatic Agent to Mexico by President Polk and subsequently commanded the Philadelphia Navy Yard. Ill health, however, kept him from seeing much other active employment. Commodore Conner died at Philadelphia on 20 March 1856 at age 64 and was interred at Laurel Hill Cemetery.

Legacy
Two destroyers of the United States Navy have been named in his honor. The USS Conner (DD-72) was a Caldwell-class destroyer in service from 1918 to 1940 and the USS Conner (DD-582) was a Fletcher-class destroyer in service from 1943 to 1946.

title: David Conner (naval officer)


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Don't Tell Me (Madonna song)

"Don't Tell Me" is a song recorded by American singer Madonna for her eighth studio album, Music (2000). It was released as the second single from the album on November 14, 2000, by Maverick Records. Madonna co-wrote and co-produced the track with Mirwais Ahmadzaï, with additional writing from her brother-in-law, Joe Henry. Henry originally conceived it as a tango-styled torch song called "Stop"; the demo was later sent to Madonna, who then proceeded to change its musical composition, turning it into a country-dance song. Lyrically, Madonna asks her lover not to control her.

"Don't Tell Me" received positive reviews from music critics, who cited the song as one of the album's standouts and praised Madonna's vocals. It was also compared to the work of singer Sheryl Crow. The song attained commercial success, reaching the top of the record charts in Canada, Italy and New Zealand, as well as the top five in several regions. It also became Europe's biggest radio hit of 2001. In the United States, "Don't Tell Me" reached number four on the Billboard Hot 100, tying her with the Beatles as the artist with the second-most top-ten singles in the Hot 100 history.

The music video was directed by Jean-Baptiste Mondino and features Madonna as a cowgirl walking down an automated treadmill in front of a projection screen, with cowboys dancing and straddling horses in the backdrop. The clip received two nominations at the 2001 MTV Video Music Awards, while also being nominated for a Grammy Award. The song was included in three of Madonna's concert tours: Drowned World (2001), Re-Invention (2004), and Celebration (2023—2024). In 2014, Madonna appeared on Miley Cyrus' MTV Unplugged special and performed "Don't Tell Me" in a mashup with Cyrus' 2013 song "We Can't Stop". Two years later, she performed the song on her Madonna: Tears of a Clown show, in Melbourne and Miami.

Background and release
After the critical and commercial success of her seventh studio album, Ray of Light (1998), Madonna had intended to embark on a concert tour in late 1999, but due to the delay of her film, The Next Best Thing (2000), the tour was cancelled. The singer also became pregnant with her son Rocco, from her relationship with director Guy Ritchie. Wanting to distract herself from the media frenzy, Madonna concentrated on the development of her eighth studio album, Music. She worked with French DJ and producer Mirwais Ahmadzaï on the album, describing it as consisting of "Funky, electronic music blended with futuristic folk. Lots of jangly guitars and moody melancholic lines".

Following the success of the lead single, "Music", "Don't Tell Me" was released as the second single from the album on November 21, 2000, by Maverick Records. A number of remixes for the song were created by Thunderpuss, Richard "Humpty" Vission and Tracy Young. Warner Bros. Records released various renditions on CD, cassette, maxi, 7-inch and 12-inch singles. The Thunderpuss Club Mix had a more house-inspired sound, with spiraling synth pads and keyboard effects. The filtered beats and tweaked keyboard riffs of Humpty Vission's Radio Mix gave Madonna's voice an "underwater" effect, while Young's remix featured a violin breakdown and sonic elements that reminisce Blondie's 1979 hit "Heart of Glass". AllMusic's Jose F. Promis praised the remixes for "transform(ing) the country-infused track into an awesome dance extravaganza".

Recording and composition
Madonna co-wrote and co-produced "Don't Tell Me" with Ahmadzaï, and her brother-in-law Joe Henry, who is credited as an additional songwriter. Henry had written a tango-styled song titled "Stop", which featured jazz saxophone player Ornette Coleman and Henry singing in "Tom Waits-inspired" vocals; it was eventually included on the latter's eighth studio album, Scar (2001). After Henry played the demo for "Stop" to his wife, Madonna's sister Melanie, she sent the track to Madonna. The singer liked the demo and was drawn to the song's lyrics, its "sentiment of defiance, the attitude of it", but did not prefer its musical tone, since it was not in-line with the compositions for Music. Madonna worked with Ahmadzaï and changed the original string arrangement into a stop-time, acoustic guitar and keyboard composition. She recorded it at Ahmadzaï's studio, accompanied by a Martin D-28 guitar to which Ahmadzaï added a stutter effect. Madonna preferred the sound effect over the final melody. Ahmadzaï also played the acoustic guitar and keyboards on the track. Mark "Spike" Stent mixed the song and Michel Colombier played the strings.

"It's probably the last thing I've written with regard to her [...] It's a line I just don't cross. Musically it's never seemed appropriate... I thought the song was a complete throwaway. I had just moved and set up a studio in the guesthouse of my home and was looking to record anything to make sure my things were working. I needed something to record, so I wrote that song in about 25 minutes just to give myself something to do. I was a little embarrassed by it, it starts off a little spoon-in-June and takes a cryptic turn at the end."

- Joe Henry talking to NPR about how he came to write the song.

According to the sheet music published by Musicnotes.com, "Don't Tell Me" is set in the time signature of common time, with a moderate tempo of 100 beats per minute. It is composed in the key of D major with the singer's vocals ranging from the lower octave of G3 to the higher note of A♭4. The song follows a basic sequence of D–Am–C–G as its chord progression. Ben Greenbank from Sputnikmusic described the track as a "country meets dance" song with trip hop beats, accompanied by acoustic guitar riffs. Chuck Arnold of Billboard described "Don't Tell Me" as a "twangy trip-hop" track. While, Billboard 's Jason Lipshutz said its production "served as an act of twangy defiance — with clipped vocals, guitar loops, strings and a mainstream take on folktronica". The song begins with a "plucked" guitar riff in a jagged stop/start beat, with the arpeggios reminiscent of country music. Every fourth beat is followed by a small silence that eventually builds into the chorus.

Rikky Rooksby, author of The Complete Guide to the Music of Madonna, described the track as an "electronica meets country rock" song based on a single four-chord sequence, disguised by the mixing. He found that Madonna's expressive lead vocals were double tracked. The strings appeared towards the end with the looping sounds continuing and ultimately fading. According to author Carol Vernallis, the contradictory guitar stops interspersed with the digital electronic sounds made the song sound "authentic" in its portrayal of the country-western genre of music. When asked about the differences between his demo and Madonna's song, Henry pointed out that it was the groove which was important. Lyrically, Madonna urges her lover in the song to stop controlling her actions and feelings; she compares the lyrics to the work of Frank Sinatra. She conjures up unnatural imagery through the lyrics by singing "Tell the bed not to lay / Like the open mouth of a grave, yeah / Not to stare up at me / Like a calf down on its knees".

Critical response
AllMusic's Stephen Thomas Erlewine gave a positive review of "Don't Tell Me", describing it as an "intricate, sensual, folk-psych stunner". Jim Farber from Daily News felt that "[the song] crosses up-to-date electronica with rootsy American blues via a guitar hook that sounds something like Lynyrd Skynyrd's 'Sweet Home Alabama'". He also believed that the imagery conjured up in the song is predominantly American. A reviewer for NME considered "Don't Tell Me" an "alt-alt-country, hacked-up acoustic guitar over knife-sharp beats track", comparing Madonna to Sheryl Crow. Danny Eccleston from Q, also saw similarities to Crow, calling the track "Music's closest cousin to the sonic landscapes of Ray of Light", while also pointing out its "masterful ending – as a rhythm of insectoid whirrs and bendy ARP-style 'wowp!'s join the guitar while Colombier's strings ape the peal of church bells". Digital Spy's Justin Harp felt that "the comparisons [to Sheryl Crow] actually did a disservice to a track that stands out as particularly unique in Madonna's massive catalogue of hits". Louis Virtel, from The Backlot, placed "Don't Tell Me" at number 25 of his list "The 100 Greatest Madonna Songs"; he praised the singer for "invoking some tried-and-true country music imagery" and called it an "unmistakable radio moment of the early 2000s".

Shaad D'Souza of Pitchfork described it as "the album’s most indelible song and one of Madonna’s best-ever singles". Samuel R. Murrian from Parade wrote that "Madonna’s defiant, rebellious personality that we love is on full-blast in this extremely clever and infectious song". While ranking Madonna's singles in honor of her 60th birthday, Jude Rogers from The Guardian placed the track at number 32, calling it "brilliantly strange" and praising its catchiness. Jon O'Brien from Paste magazine complimented the track's production, and believed it to be an "immediate standout" on the album. The mix of the guitar riffs, the fractured beats and Colombier's string arrangement were all listed as an "elegiac finale" complementing the cowboy imagery portrayed by Madonna during the album cycle. Similar thoughts were registered by The Huffington Post's Matthew Jacobs who ranked it at number 21 of his list "The Definitive Ranking of Madonna Singles". In his review of the Music album, Sal Cinquemani from Slant Magazine felt that Madonna revealed more of her soul in the track. Cinquemani further opined that "Don't Tell Me" was perceived to be an "unlikely" follow-up to "Music", with its "atypical structure and peculiar lyrics [...] [that] made it an unlikely hit to boot. But a hit is exactly what it was [...]", awarding the track a B+.

For Medium's Richard LaBeau, "this fascinating merge of country and dance ranks high among the most unique songs of her career". Billboard's Larry Flick called "Don't Tell Me" a "thoughtful, often poetic gem" that features "one of Madonna's most soulful vocal deliveries". In August 2018, Billboard picked it as the singer's 20th greatest single; "a mix of poetically off-center lyrics. a CD-skip stutter effect and that jangly guitar riff, ["Don't Tell Me"] would’ve ended up a mess for many artists. But for Madonna, it landed her yet another top five Hot 100 hit". Author Alejandro L. Madrid felt the song had elements of Nortec music. Steven Humphrey, from The Portland Mercury, hailed it as "a freaking great song. (Perhaps the last great song of [Madonna's] career?) A stuttering combo of trip-hop and hillbilly folk, Madonna's soulful croon perfectly expresses the longing of a gal telling her beau to stop controlling how she feels". A negative review came from Cynthia Fuchs of PopMatters who wrote that the song "is another near miss, with admirable attitude but, well, laughable lyrics". Entertainment Weekly's Chuck Arnold listed "Don't Tell Me" as Madonna's 28th best single, writing that "with its acoustic guitar, country stomp, and stop-start trippiness, ['Don't Tell Me'] succeeds against the odds". From Gay Star News, Joe Morgan wrote: "Lyrics don’t make a lot of sense, but that doesn’t matter. This is unique, country-electronic pop".

Chart performance
"Don't Tell Me" debuted at number 78 on the US Billboard Hot 100 chart, the week of December 9, 2000. Two weeks later it reached the top-40 of the chart at number 35. In February 2001, after its commercial release, the single climbed from number 16 to number four, giving Madonna her 34th top-ten single on the Hot 100. This achievement tied Madonna with the Beatles for second most top-ten singles and put her within reach of Elvis Presley's record of 36 top-ten hits. She later surpassed the record with her 2008 single "4 Minutes", thus becoming the artist with most top-ten singles in Billboard Hot 100 history. In 2015, Billboard ranked "Don't Tell Me" at number 26 on their list of "Madonna's 40 Biggest Hits" on the Hot 100.

"Don't Tell Me" was also successful on Billboard's Dance Club Songs chart, being present on the chart for 14 weeks. It outlasted "Music" and tied with "Ray of Light" (1998) and "Bedtime Story" (1995) as Madonna's longest running song on the chart at the time. The track was certified Gold by the Recording Industry Association of America (RIAA) on March 28, 2001, for shipments of 500,000 copies, becoming Madonna's 24th Gold-certified single and tying her with the Beatles for the second-most gold records in the United States. In Canada, the song debuted at number 13 on the Canadian Singles Chart the week of January 27, 2001, and reached the first spot the week of February 17, where it remained for one week. It was Madonna's 20th number-one Canadian single.

In Australia, the song debuted at number eight, and next week reached a peak of number seven on the Australian Singles Chart, staying for a total of 17 weeks. In 2002, it obtained a Platinum certification from the Australian Recording Industry Association (ARIA) for shipment of 70,000 copies of the single. The song was also successful in New Zealand, where it became Madonna's fifth and second consecutive number-one following "Music".

In the United Kingdom, "Don't Tell Me" debuted at number 65 on the UK Singles Chart on December 9, 2000. After a total of 10 weeks on the chart, it peaked at number 4 on February 10, 2001, becoming Madonna's 12th consecutive top-ten single. According to the Official Charts Company, the song has sold 185,000 copies there. In 2017, it was certified silver by the British Phonographic Industry (BPI) for equivalent sales of 200,000 copies. "Don't Tell Me" was also successful across Europe: in Italy, it peaked at number one on the FIMI Singles Chart, while reaching the top-ten in Finland, Norway, Poland, Scotland and Spain. Across Europe, the song peaked at number two on the European Hot 100 Singles chart. It also topped the European Top 50 Radio for nine consecutive weeks and eventually became the continent's number-one radio song of 2001.

Background and synopsis
Filming for the "Don't Tell Me" music video took place in October 2000. It was directed by Jean-Baptiste Mondino, who had previously collaborated with Madonna in her videos for "Open Your Heart" (1986), "Justify My Love" (1990), "Human Nature" (1995) and "Love Don't Live Here Anymore" (1996), while Jamie King was in charge of the choreography. King described the filming process: "[Mondino] really doesn't write a treatment so much. He may have an idea and Madonna and I really have lots of ideas and then I usually come up with a treatment style thing that he ends up executing and Madonna agrees to it. It's just a really great collaboration". The wardrobe was created by DSquared2 and longtime Madonna collaborator Arianne Phillips. In a 2016 interview with Billboard, Phillips cited "Don't Tell Me" as one of her favorite Madonna style moments, saying that working with the singer is both rewarding and challenging.

The video begins with Madonna—dressed in a blue plaid flannel shirt, dirty jeans, a large buckled belt and boots—walking on a desert highway faced towards the viewer. The camera zooms out to reveal that the highway in the background is actually a projection on a drive-in style backdrop and that Madonna is walking on a treadmill. Her walking freezes simultaneously with the song's silent dropouts. The clip then alternates between scenes of Madonna dancing by herself on the treadmill, playing with sand in a desert, and cowboys line dancing in the video backdrop. Later, the cowboys join the singer in a choreographed dance routine, with Madonna wearing a black western-style jacket, cowboy hat and suede chaps. Towards the end Madonna is seen riding a mechanical bull, while the final scene depicts a cowboy riding a Skewbald horse in slow motion, getting thrown to the ground and getting up again.

Reception and analysis
The New York Daily News' Jim Farber praised the choreography presented in the video, writing that it "lives up to the beauty of 'Open Your Heart', spiced with the zip of the peppiest new Gap ads". Steven Humphrey from The Portland Mercury, felt that the video departed from Mondino and Madonna's previous collaborations due to the following reasons: "[Madonna] is treated more like a set-piece [...] she's just there—not overtly sexual, not trying to prove any point, just there". Humphrey found references of Monidno's earlier work in the clip for "Don't Tell Me", including the "topsy-turvy projections and a placid, near-emotionless narrator" he displayed in singer Don Henley's music video for "The Boys of Summer" (1984). Digital Spy's Justin Harp felt that "the sight of Madonna wearing a cowboy hat and line dancing in the [video] still ranks as one of the iconic visuals from her four-decade career". Author Judith Periano wrote in her book Listening to the Sirens: Musical Technologies of Queer Identity from Homer to Hedwig that the video was comparable to the clip for Judy Garland's "Get Happy". Samuel R. Murrian opined that it "revolutionized cowboy chic".

Santiago Fouz-Hernández and Freya Jarman-Ivens, authors of Madonna's Drowned Worlds, questioned whether the singer's portrayal of Western culture in the video was legitimate or if it was meant to be tongue-in-cheek, also criticizing the dancing cowboys. Farber added that "by putting her cowboys on a commercial billboard, [Madonna] not only acknowledges the absurdity of her playing a rural lass, she's implicitly questioning whether there's any difference left between authenticity and fakery in a media-driven world". According to Amy Herzog, the video inverts the traditional male gaze by directing it onto the fallen cowboy at the end — the subversion being a recurrent theme in Madonna's work from her music videos of the 1980s.

During the 2001 MTV Movie Awards, hosts Kirsten Dunst and Jimmy Fallon parodied both the video and Madonna's cowgirl look. At one point, Fallon even dropped to the floor to cover himself in sand. The song "Do it With Madonna" by Australian rock band The Androids referenced the music video in the line "Have you seen her where she's wearing the cowboy hat and she's kicking the dirt?". In 2015, television show host Ellen DeGeneres re-created the video by superimposing herself as one of Madonna's cowboys. At the 10th annual Music Video Production Association Awards, which took place on May 16, 2001, the video won two awards: in the categories of Video of the year and Best direction for a female artist. It was also nominated for a Grammy Award for Best Music Video at the 44th ceremony and for Best Female Video and Best Choreography at the 2001 MTV Video Music Awards. In 2009, the video was included on Madonna's compilation, Celebration: The Video Collection.

Live performances
On November 3, 2000, Madonna appeared on The Late Show with David Letterman, her first time on the show since her controversial appearance in 1994. She performed a slow version of "Don't Tell Me" on acoustic guitar; this marked the first time the singer played guitar in public. Dressed in a black bedazzled cowboy shirt and jeans, she was joined by Monte Pittman. Shortly afterwards, she traveled to Europe to promote Music and performed "Don't Tell Me" on German TV show Wetten, dass..?. On November 24, she appeared on British television show Top of the Pops and performed both "Don't Tell Me" and "Music". Both songs were also performed during Madonna's visit to French television program Nulle Part Ailleurs that same week, as well as on Italian show ''Carràmba! Che fortuna''. The song was also performed on the promotional concerts for Music, on November 5, 2000, at New York City's Roseland Ballroom, and on November 29 at London's Brixton Academy. During the performance Madonna sat on a bale of hay while Ahmadzaï played guitar. Her wardrobe consisted of a black tank top with the name Britney Spears written on it, cowboy hat and boots. For the London performance, Madonna wore a different t-shirt, with the names of her son Rocco and daughter Lourdes printed on it.

On the Drowned World Tour (2001), Madonna performed "Don't Tell Me" as the second song of the Western-themed third act. Dressed as a cowgirl in a black jacket, stars and stripes blouse, a raccoon's tail as an accessory, cowboy hat and mud encrusted jeans with chaps, Madonna reenacted the song's music video with her dancers dressed as cowboys and did a line dance. Phill Gallo from Variety, was impressed with the number, pointing out that it was the tour's first to feature the singer and her dancers doing collective choreography. The performance on August 26, 2001, at The Palace of Auburn Hills, Detroit was recorded and released in the live video album, Drowned World Tour 2001. On May 9, 2003, Madonna performed "Don't Tell Me" at London's HMV Oxford Circus while promoting her ninth studio album American Life. During the Re-Invention World Tour (2004), Madonna performed a "funked-up" version of the song, which was included on the show's acoustic themed third act. She was decked in a black Stella McCartney suit with matching hat and again enacted the video's choreography with her dancers. The performance featured a French skyline as backdrop and sampled The Verve's "Bitter Sweet Symphony" (1997).

On January 29, 2014, Madonna made a surprise appearance at singer Miley Cyrus' MTV Unplugged special, and performed a mashup of "Don't Tell Me" with Cyrus' 2013 song "We Can't Stop". Both singers were dressed in rhinestone cowboy outfits. They sang and finished each other's verses while bumping and grinding. Matthew Jacobs from The Huffington Post, wrote that "even if the vocals got a little shoddy toward the mashup's end – [Cyrus and Madonna] staged an impressive collaboration that didn't rely on the amplified production values associated with their typical performances". While on the Rebel Heart Tour (2015–2016), Madonna performed impromptu versions of "Don't Tell Me" on the Amsterdam, Antwerp and Turin stops. In March 2016, the song was included on the Melbourne stop of Madonna's Tears of a Clown show. She performed the song following a monologue aimed at an attendee who asked her why she was still performing into her mid-to-late 50s. On December, she repeated the performance at the Miami stop, which took place in the city's Faena Forum. One month earlier, she performed it during an impromptu acoustic concert at Washington Square Park in support of Hillary Clinton's presidential campaign.

"Don't Tell Me" was included on the Celebration Tour (2023—2024), where it was given a cowboy theme. Madonna donned a leather corset, a cowboy hat created by Ruslan Baginskiy, and custom-made knee-high Miu Miu steel-toe boots. During the number –which included line dancing– she was joined by one of her twin daughters, and guest star Bob the Drag Queen dressed as a rodeo clown. The performance ended with the singer engaging in a mock shootout with Bob. "Don't Tell Me" was named one of the best moments of the concert by Billboard's Joe Lynch.

Track listings and formats

 * US CD single
 * 1) "Don't Tell Me" (Album version) – 4:40
 * 2) "Don't Tell Me" (Thunderpuss' 2001 Hands in the Air Radio) – 4:26

 * US CD maxi-single
 * 1) "Don't Tell Me" (Timo Maas Mix) – 6:55
 * 2) "Don't Tell Me" (Tracy Young Club Mix) – 11:01
 * 3) "Don't Tell Me" (Vission Remix) – 7:52
 * 4) "Don't Tell Me" (Thunderpuss' 2001 Hands in the Air Anthem) – 10:20
 * 5) "Don't Tell Me" (Victor Calderone Sensory Mix) – 6:48
 * 6) "Don't Tell Me" (Vission Radio Mix) – 3:38
 * 7) "Don't Tell Me" (Thunderpuss' 2001 Hands in the Air Radio) – 4:26
 * 8) "Don't Tell Me" (Music Video)

 * European 12-inch vinyl
 * 1) A1 "Don't Tell Me" (Thunderpuss Club Mix) – 7:53
 * 2) A2 "Don't Tell Me" (Vission Remix) – 7:52
 * 3) B1 "Don't Tell Me" (Tracy Young Club Mix) – 11:01
 * 4) B2 "Cyber-Raga" – 5:31

 * UK CD single 1
 * 1) "Don't Tell Me" (Radio edit) – 4:10
 * 2) "Cyber-Raga" – 5:31
 * 3) "Don't Tell Me" (Thunderpuss Club Mix) – 7:53

 * UK CD single 2
 * 1) "Don't Tell Me" (Album version) – 4:40
 * 2) "Don't Tell Me" (Vission Remix) – 7:52
 * 3) "Don't Tell Me" (Thunderpuss Radio Mix) – 3:40

 * Australian CD maxi-single
 * 1) "Don't Tell Me" (Thunderpuss' 2001 Hands in the Air Anthem) – 10:20
 * 2) "Don't Tell Me" (Timo Maas Mix) – 6:55
 * 3) "Don't Tell Me" (Victor Calderone Sensory Mix) – 6:48
 * 4) "Don't Tell Me" (Tracy Young Club Mix) – 11:01
 * 5) "Don't Tell Me" (Thunderpuss' 2001 Tribe-A-Pella) – 8:31
 * 6) "Don't Tell Me" (Video) – 4:41

 * Digital download (2023)
 * 1) "Don't Tell Me" (Radio Edit) – 4:11
 * 2) "Don't Tell Me" (Vission Radio Mix) – 3:47
 * 3) "Don't Tell Me" (Thunderpuss' 2001 Hands in the Air Radio) – 4:25
 * 4) "Don't Tell Me" (Timo Maas Mix) – 6:55
 * 5) "Don't Tell Me" (Tracy Young Club Mix) – 11:00
 * 6) "Don't Tell Me" (Thunderpuss Club Mix) – 7:51
 * 7) "Don't Tell Me" (Vission Remix) – 7:53
 * 8) "Don't Tell Me" (Thunderpuss' 2001 Hands in the Air Anthem) – 10:20
 * 9) "Don't Tell Me" (Victor Calderone Sensory Mix) – 6:46
 * 10) "Cyber-Raga" – 5:32

Credits and personnel
Credits are adapted from the liner notes of the CD single and Music.

Management

 * Recorded at Sarm West Studios, Notting Hill, London
 * Mixed at Olympic Studios, London
 * Mastered at Metropolis Studios, London
 * Webo Girl Publishing, Inc., Warner Bros. Music Corp (ASCAP), 1000 Lights Music Ltd, Warner-Tamerlane Publishing Corp. (BMI)

Personnel

 * Madonna – songwriter, producer
 * Mirwais Ahmadzaï – songwriter, producer, programming, guitar, keyboard
 * Joe Henry – songwriter
 * Mark "Spike" Stent – mixing
 * Jake Davies – engineer
 * Mark Endert – engineer
 * Geoff Foster – engineer, string engineer
 * Michel Colombier – string arrangement
 * Kevin Reagan – art direction, design
 * Matthew Lindauer – design
 * Jean-Baptiste Mondino – photography

title: Don't Tell Me (Madonna song)


text:
Talk:Scotland Yard (board game)

Untitled
The game Dracula by Games Workshop worked in a similar fashion where the dracula player moved hidden from view and the dracula hunters tried to hunt him down by trains, boat etc. Also there was a Clue (aka Cluedo, but I think this was only an North American thing) spinoff called "The Great Museum Caper", where one player was a hidden thief who stole paintings from the museum, while the other players are the traditional Clue characters who have various methods of trying to find the thief. It's been out of print for years, but it's fun.
 * Actually, I think that was "Fury of Dracula". Stellmach 16:17, 12 August 2006 (UTC)

Other versions/adaptations of the game?
I don't know about your versions of Scotland Yard game, but here in Brazil another version of the game is sold. It is set in an older London, and all the players play the role of Sherlock Holmes. Professor Moriarty and other characters from his books are included, and there is no London Underground. I think that the Underground substitute is the carriage that you can use to transport yourself in the game.

There are also less places to visit, there's a clue book, and you must play with the cases which come with the game. Well, it is very different. Here's a small picture of the box and some other stuff, maybe I can take a picture of the game other time. Well, the main question here is: is there anything similar to this version in the US, UK, etc? Because I think it deserves at least a small note in the article. --Ikescs 6 July 2005 02:01 (UTC)

 * Sounds like 221b Baker Street 132.185.144.122 14:36, 21 January 2007 (UTC)

There's also a live version adaptation of the game that used to take place in Toronto, called Live Action Super Scotland Yard, or LASSY for short. 216.113.168.128 19:49, 15 September 2007 (UTC)

Similar game
I have played a similar game here in Spain, it was called "Alerta roja" (Red Alert), editted by Cefa.

First US Edition, and US Spin-off
I wish I still had the copy, but I'm fairly certain that the first US edition of Scotland Yard was released by Milton Bradley. I'm not sure when the rights got reassigned to Ravensburger. Ravensburger also produces and distributes an official spin-off game, "New York Chase", set mostly in Manhattan. --JohnDBuell 08:02, 2 January 2006 (UTC)

 * In 1985 Milton Bradley published Scotland Yard in North America. I believe this was on behalf of Ravensburger Harris Seldon (talk) 16:26, 15 November 2018 (UTC)

Note about My Recent Edits
Hi!

I am playing the Ravensburger version of the game and changed some numbers in the article. I am unsure whether the previous numbers were incorrect or just from a different version of the game.

If anyone finds the new numbers to be wrong, then reply to this message and I'll be happy to change my updates.

Thanks.

SeparateTitan92 (talk) 14:50, 9 August 2020 (UTC)

Commons files used on this page or its Wikidata item have been nominated for deletion
The following Wikimedia Commons files used on this page or its Wikidata item have been nominated for deletion: Participate in the deletion discussion at the nomination page. —Community Tech bot (talk) 15:21, 22 May 2022 (UTC)
 * ScotlandYardPlan.JPG
 * Scotlandyard2.jpg

title: Talk:Scotland Yard (board game)


text:
Christopher Lee (historian)

Christopher Lee RD (13 October 1941 – 14 February 2021) was a British writer, historian and broadcaster, best known for writing the radio documentary series This Sceptred Isle for the BBC read by Anna Massey and directed by Pete Atkin.

Career
Lee's career began after expulsion from school and going to sea in an old tramp steamer.

In his twenties he restarted education, reading history at London University. He later joined the BBC as a defence and foreign affairs correspondent and was posted to Moscow and the Middle East. Leaving his career in journalism for academia, Lee was the first Quatercentenary Fellow in Contemporary History and Gomes Lecturer in Emmanuel College, Cambridge. He went on to research the history of ideas at Birkbeck College in the University of London.

Christopher Lee was recruited into the Royal Navy's Joint Intelligence Reserve Branch and in the 1970s completed a study of the Order of Battle of the Soviet Northern Fleet and its command structure. Promoted to commander, he later became captain of HMS Wildfire based at Chatham in Kent and was awarded a bar to his Reserve Decoration.

This Sceptred Isle
Lee is the originator and writer of the BBC Radio 4 trilogy This Sceptred Isle, first broadcast in June 1995. It recounts, in 216 episodes each 15 minutes long (46 hours total), the history of Britain from the Romans to the death of Queen Victoria, the 20th century and the British Empire. The series was read by Anna Massey and included extracts from the book A History of the English-Speaking Peoples written by Sir Winston Churchill, interwoven into Lee's own account of the history. The extracts were read by Paul Eddington, who died during the production, and his role was completed by Peter Jeffrey.

In 1999 the BBC and Christopher Lee extended the programme to cover the 20th century: from 1901, where the original series had ended, to the end of the millennium. Anna Massey was retained as the narrator but quotations were read by Robert Powell. In 2001 another shorter series entitled This Sceptred Isle: Dynasties was produced, telling the stories of the powerful and influential families of Britain and Ireland, including the Godwines, the Despensers and the Churchills. Then, over the course of several months in 2005 and 2006 came This Sceptred Isle: Empire, a 90-part history of the British Empire narrated by Juliet Stevenson.

There are three accompanying books of This Sceptred Isle.

Other projects
Lee's book 1603 (2003) is the history of the death of Elizabeth I and the arrival of the Stuarts. Nelson and Napoleon (2005) described the events that led to the Battle of Trafalgar. The autobiographic Eight Bells and Top Masts (also 2005) is an account of his time as a deck boy and his circumnavigation of the globe and the Bath Detective thriller trilogy.

In 2006, he gave a "Platform" talk on history writing and teaching at the National Theatre as a prelude to Alan Bennett's play The History Boys and a new stage play set in the London of 1912. His study of the British monarchy and its future was published in spring 2014 and his book on Royal Ceremony and Regalia is to be published early 2015.

He is also the writer of more than 100 Radio 4 plays and series including, The House for Timothy West, Julian Glover and Isla Blair, Colvil & Soames for Christopher Benjamin and Amanda Redman, Our Brave Boys for Martin Jarvis and Fiona Shaw and the Los Angeles production of his The Trial of Walter Ralegh which Rosalind Ayres produced with Michael York in the title role. His play, "A Pattern in Shrouds" was broadcast on Radio 4 in the summer of 2009 and deals with the consequences of the assassination of the Queen's uncle, Lord Mountbatten in 1979. In 2013 the BBC ran his play Air Force One that questioned the events during the 90 minutes between the assassination of President John F. Kennedy and swearing in of Lyndon B Johnson aboard the presidential plane.

In 2011, Lee edited an official single-volume abridgement of Winston Churchill's four-volume A History of the English-Speaking Peoples. In 2013, the book Monarchy, Past, present…and future? was published. The authorised biography of Lord Carrington was issued in 2018, as was Viceroys: The Creation of the British, a history of the Viceroys of India, with illustrations by his wife.

Lee was the defence and foreign affairs adviser to the British Forces Broadcasting Service, where he appeared as presenter and contributor on the weekly military analysis programme Sitrep for 30 years. He also acted as lead analyst of the defence and foreign policy firm SceptredIsle Consulting.

Personal life and death
Lee divided his time between Sussex in England and Florence, Italy. He was married to Fiona Graham-Mackay, the portrait and landscape painter and skipper of their yacht Janeva moored on England's east coast. He had two daughters and three grandchildren by his first wife.

Lee died on 14 February 2021, at his Sussex home, some time after being released from a hospital for an unspecified illness, where he contracted COVID-19 amid the COVID-19 pandemic in England. He was 79 years old.

title: Christopher Lee (historian)


text:
Sonoyta

Sonoyta, Sonora, is a town in the northern Mexican state of Sonora. It stands on the U.S.-Mexico border, facing Lukeville, Arizona, in the United States. It is the municipal seat of the municipality of Plutarco Elías Calles.

Demographics
According to the 2010 census, the city had 12,849 inhabitants while the surrounding municipality had 15,652 inhabitants. There were 6,613 male inhabitants and 6,236 female. 96.1 percent of the population over five years of age are Roman Catholic, 3.0 percent are Evangelicals, and the remaining 0.9 percent belong to other religions.

History
The first inhabitants of this region were the Tohono O'odham, who lived in the regions of Pinacate, Quitovac, and Sonoyta. The arrival of Jesuit missionaries to this zone changed their way of life. Therefore, compact communities were formed mainly on the banks of lakes and of the river. At the foothills of a spot known as Loma Alta, sprouted water from a fountain, called by the naturals Ṣon Oidag, O'odham for "base of the water". A missionary community was founded in Sonoyta in 1693 by Father Kino. It was called Nuestra Senora de Loreto y San Marcelo de Sonoyta.

In 1836 they discovered adjoining mines. Sonoyta was dependent to the municipality of the District of Altar during periods of the 19th century. After the Revolution it belonged to the municipality of Caborca, Sonora, through the Law No. 136 of July 9, 1952. Then it separated from the municipality of Caborca and belonged to the municipality of Puerto Peñasco, Sonora, until August 1989, when a new municipality was created and called General Plutarco Elías Calles, as a social, political, and historic need.

For a long time, the border crossing was very busy with imports/exports, but after an internal change to customs laws in Mexico, import/export business dwindled. This led to heavy migration to other cities during the late 1980s to mid-1990s.

Education
The municipality has 10 preschools, 15 elementary schools, 5 junior high and high schools, 2 medium professional and 1 accredited college.

Transportation
Sonoyta is situated at an important crossroads. Federal Highway 2, which runs parallel to the international border, crosses here. Federal Highway 8 leading from Lukeville, Arizona (U.S.-Mexico border of Sonoyta) to Puerto Peñasco, Sonora, also crosses the city. It is connected to the United States by the Lukeville Port of Entry.

Present day
Sonoyta is well known as a crossing-point to the United States for illegal immigrants. Many immigrants use the town to make final preparations for a treacherous trek through the Sonoran Desert. On this long desert march, migrants often face death, especially during the summer season.

Conversely, the town is used as a crossover point for American tourists headed to Puerto Peñasco, Sonora, or other cities in Northern Mexico. Puerto Peñasco, a popular beach resort city, is located about 100 km southwest on Highway 8.

Sonoyta features many urban features, as well as a downtown with many small stores and markets. Services of major companies, such as Pemex, are available, and major airports are located in Mexicali, Baja California; Hermosillo, Sonora; Yuma, Arizona; Phoenix, Arizona; and Tucson, Arizona, all within five hours or less by car. Puerto Peñasco International Airport also serves Sonoyta residents since 2008, with flights to other points in Mexico.

The border between Sonoyta and Lukeville, Arizona, is open from 6:00 a.m. until 8:00pm MST.

title: Sonoyta


text:
Streamers (play)

Streamers is a play by David Rabe.

Plot synopsis
The last in his Vietnam War trilogy that began with The Basic Training of Pavlo Hummel and Sticks and Bones, it focuses on the interactions and personal conflicts of a group of soldiers preparing to ship out to fight in the Vietnam War in 1965. Among them are middle class African American Roger, upper class Manhattanite Richie, who is struggling with his sexual orientation, conservative Wisconsin country boy Billy, and fearful loose cannon Carlyle, a streetwise Black man. In charge of their barracks are abrasive alcoholic Sgt. Cokes, who already has served overseas, and aggressive Sgt. Rooney, who is anxious to get into combat.

Background
The title is a reference to parachutes that fail to open. Streamers originally was a one-act play entitled Knives Rabe completed in the late 1960s prior to writing the first two-thirds of his trilogy. While working as a journalist in New Haven, Connecticut, he expanded it into a full-length play. Under the direction of Mike Nichols, it premiered at the Long Wharf Theatre on January 30, 1976. The cast included Herbert Jefferson, Jr. as Roger, Peter Evans as Richie, John Heard as Billy, Joe Fields as Carlyle, Dolph Sweet as Cokes, and Kenneth McMillan as Rooney.

Productions
Streamers premiered at the Long Wharf Theatre in New Haven, Connecticut in 1976. The play transferred to the Off-Broadway Lincoln Center Mitzi E. Newhouse Theater opening on April 21, 1976, and closing on June 5, 1977 after 478 performances. The cast included Terry Alexander as Roger, Paul Rudd as Billy and Dorian Harewood as Carlyle, with Evans, Sweet, and McMillian reprising their Long Wharf roles. Later in the run Mark Metcalf replaced Rudd as Billy.

Revival
Streamers was revived by the Roundabout Theatre Company. The play opened at the Off-Broadway Laura Pels Theatre on October 17, 2008 in previews, officially on November 11, in a limited engagement to January 11, 2009. This production was based on the one presented by the Huntington Theatre in 2007.

It was directed by Scott Ellis. The cast included J.D. Williams as Roger, Hale Appleman as Richie, Brad Fleischer as Billy, Atoh Essandoh as Carlyle, Larry Clarke as Sgt. Cokes, and John Sharian as Sgt. Rooney.

Awards and nominations
Source: Playbill Vault

 * Awards

 * 1976 Drama Desk Award for Outstanding Play
 * 1976 New York Drama Critics' Circle Award for Best American Play

 * Nominations

 * 1977 Tony Award for Best Play
 * 1977 Tony Award, Direction of a Play (Mike Nichols)
 * 1976 Drama Desk Award, Outstanding Actor in a Play (Peter Evans)
 * 1976 Drama Desk Award, Outstanding Director of a Play (Mike Nichols)

Film adaptation
In 1983, Rabe adapted his play for a feature film directed by Robert Altman and produced by Robert Michael Geisler and John Roberdeau (The Thin Red Line). The cast included David Alan Grier as Roger, Mitchell Lichtenstein as Richie, Matthew Modine as Billy, Michael Wright as Carlyle, George Dzundza as Cokes, and Guy Boyd as Rooney. The movie was awarded a Golden Lion for its entire ensemble cast at the Venice Film Festival. The film was released on DVD via Shout! Factory in January, 2010.

title: Streamers (play)


text:
Binyamin Ze'ev Kahane

Binyamin Ze'ev Kahane (בנימין זאב כהנא 3 October 1966 – 31 December 2000) was an Israeli Orthodox rabbi and the son of Rabbi Meir Kahane. He was assassinated by Palestinian militants in 2000. His wife, Talia, was also killed in the attack, leaving behind six young children.

Life
Born in New York City, he emigrated to Israel with his family at the age of four, in 1971. He was a young Israeli Orthodox Jewish scholar and rabbi who was most famous for his leadership of Kahane Chai, a far-right political party that broke from his father's Kach party after Meir Kahane's assassination in 1990. He was convicted several times by Israeli courts for advocating violence against Arabs.

Kahane was the author of The Haggada of the Jewish Idea, a commentary based on his father's teachings of the Passover Haggadah read at the Passover Seder. He wrote a Torah portion sheet called Darka Shel Torah ("The Way of the Torah") that was distributed for the weekly Torah portions.

Death
Kahane and his wife Talia were shot and killed near the Israeli settlement of Ofra on 31 December 2000. The ambush took place on road 60 about 15 km north of Jerusalem, just before the town of Ofra. Five of the couple's six children were in the van when they were hit by automatic rifle fire. Binyamin (the driver) was killed, and the vehicle went out of control and smashed into a wall. His wife Talia died in the ambulance on the way to the hospital in Jerusalem. The Prime Minister's Office subsequently announced the arrest of three members of Force 17 – Talal Ghassan, Marzouk Abu Naim, and Na'man Nofel – who were believed to have carried out the attack under the instruction of PLO leader Col. Mahmoud Damra. However, in 2007, Khaled Shawish was arrested for the attack.

title: Binyamin Ze'ev Kahane


text:
Deutsche Akademie

The Academy for the Scholarly Research and Fostering of Germandom (die Akademie zur Wissenschaftlichen Erforschung und Pflege des Deutschtums), or German Academy (die Deutsche Akademie, ), was a German cultural institute founded in 1925 at Munich, under the Weimar Republic. Its founders included the geopolitician Karl Haushofer, who coined the political use of the term Lebensraum and strongly influenced Nazi ideology. Between 1939 and 1942, it was headed by Ludwig Siebert, a Nazi politician and the prime minister of Bavaria, and it became "the most important organisation representing Nazi cultural policy" abroad.

The Academy was banned under American occupation in 1945, and in 1951, the West German government replaced it with the present-day Goethe-Institut.

title: Deutsche Akademie


text: Category:Telecommunications

title: Category:Telecommunications


text:
Alcohol 120%

Alcohol 120% is a disk image emulator and disc burning software for Microsoft Windows developed by Alcohol Soft. An edition named Alcohol 52% is also offered which lacks the burning engine. The software can create image files from a source CD/DVD/Blu-ray, as well as mount them in virtual drives, all in the proprietary Media Descriptor File format; images in this format consist of a pair of  and   files.

Features
Alcohol 120%'s image recording feature is capable of bypassing certain copy protection schemes, such as SafeDisc, SecuROM, and Data Position Measurement (DPM). However, certain copy protection schemes require burner hardware that is capable of reproducing the copy protection. It can also create images of PlayStation and PlayStation 2 file systems. It lacks the ability to back up DVD titles encrypted with the Content Scramble System. Due to legal restrictions, Alcohol Soft has opted not to include this feature.

Some software manufacturers employ software blacklisting methods to prevent Alcohol 120% from copying their discs. Initially, users had to use third-party tools to counteract the blacklisting, such as Anti-blaxx, CureROM, and Y.A.S.U. Later, Alcohol 120% included its own "Alcohol Cloaking Initiative for DRM" (A.C.I.D) component.

Alcohol Soft has cited it will not be developing an image editor for Alcohol 120%.

The latest versions of Alcohol 120% comes with "Alcohol Cloaking Initiative for DRM" (A.C.I.D), which hides emulated drives from SecuROM 7 and SafeDisc 4.

Formats supported
Alcohol 120%'s image making tool supports the following formats: It also supports burning in many formats.
 * Media Descriptor File (default), consisting of a pair of  and
 * ISO image (.iso)

Other editions

 * Alcohol 52% is a version of Alcohol 120% without the burning engine. It can still create image files, and mount those images on up to 31 virtual drives. There are two versions of Alcohol 52%, free and 30-day trial. The free version contains an optional adware toolbar bundled and is limited to 6 virtual drives.
 * Alcohol 68% is a version of Alcohol 120% without media emulation capabilities, providing only the CD/DVD burning functions. It has since been discontinued and integrated into Alcohol 120%.
 * Alcohol 120% Free Edition is a free for non-commercial use version of Alcohol 120% with certain limitations. These include only being able to burn to one drive at a time, only using up to two virtual drives and no copy protection emulation options.
 * Alcohol 120% Retro Edition is a free version only for personal use on Windows 95/98/Me/XP (it cannot be run on Vista or later), allowing retrogamers to mount image files when using PCem or VMWare Workstation (DOSBox Pure cannot run it, because doing so will no doubt cause a crash). Li Wen'en (李文恩) talked about the issue with the developers; however, because many early programming tools were lost, debugging becomes very difficult, causing the problem may be quite time-consuming to fix or even be postponed.

Awards

 * European ShareWare Conference 2006 Epsilon Award

title: Alcohol 120%


text:
Baruch Marzel

Baruch Meir Marzel (ברוך מאיר מרזל, born 23 April 1959) is an Israeli politician and activist. He is an Orthodox Jew originally from Boston who now lives in the Jewish community of Hebron in Tel Rumeida with his wife and nine children. He was the leader of the far-right-oriented Jewish National Front party. He is now a member of Otzma Yehudit. He was the "right-hand man" of assassinated Rabbi Meir Kahane, acting as spokesman for the American-born rabbi's Kach organization for ten years. The mainstream Israeli press has described him as an "extreme right-wing activist".

Biography
Marzel was born in 1959 in Boston, Massachusetts, and emigrated to Israel with his family when he was 6 weeks old, settling in Jerusalem's Bayit Vegan neighbourhood. Although his father Shlomo was a respected educator who did not deal much with politics, Baruch joined Kahane's Jewish Defense League at age 13. He gave up his US citizenship when he ran for the Knesset. He served in the IDF Armored Corps and fought in the 1982 Lebanon War, participating in battles along the Beirut-Damascus highway, after which he served in the United States as a representative for Sar-El. Marzel and his wife Sarah have nine children.

Political activism
In 2004, he founded the Jewish National Front, and headed its Knesset list in the 2006 elections. During the election campaign, Marzel called on the Israeli military to "carry out a targeted killing against (left-wing figure) Uri Avnery and his leftist collaborators". This came in reaction to Avnery earlier saying on Israeli radio station Kol Israel that the assassination of Israeli tourism minister Rehavam Zeevi was a Palestinian "targeted killing", like the Israeli military's "targeted killings" of Palestinian political leaders. According to Gush Shalom, "the radio did not quote [Avnery's] next words: 'I am against all assassinations, both by Israelis and Palestinians.'"

Marzel was considered too far-right for Israel's hard-right parties, such as the National Union or the National Religious Party (today's HaBayit HaYehudi party). Ultimately, the Jewish National Front received 24,824 votes (0.79%), less than half the minimum 2% required to enter the Knesset.

In 2009, after fellow party member Michael Ben-Ari won a seat in Knesset on the National Union (Israel) list, Marzel agreed to serve as Ben-Ari's parliamentary aide. Marzel had originally planned to run independently. They eventually agreed not to submit their party's list on their own, and instead placed Ben-Ari on the National Union party list. In 2013, Marzel ran for the Knesset again, this time on the third slot of the newly founded Otzma LeYisrael party, which splintered from National Union. However, the party failed to cross the electoral threshold. Prior to the election, other right-wing parties, such as the Jewish Home party, had rejected including or co-operating with Marzel, considering him to be too outspoken and too far-right.

Prior to the 2015 Israeli election, Marzel was put 4th on the Yachad-Otzma Yehudit technical bloc. Marzel's inclusion came as a result of a compromise between the two parties, including the exclusion of Michael Ben-Ari and the inclusion of Marzel. In February 2015, the Election Committee disqualified Marzel, along with Arab MK Haneen Zoabi, from running in the election. The decision squeaked by with a 17 to 16 majority. The decision came after past attempts to block Marzel failed. The reasons given for the disqualification of Marzel were several statements attributed to him, which groups petitioning the move claimed qualified as "racism". Following Marzel's appeal, The Supreme Court accepted the appeals by both MK Haneen Zoabi and Marzel, against the decision of the Central Election Committee (CEC), which decided to disqualify them from participating in the next Knesset. In the end, the Yachad-Otzma bloc failed to pass the election threshold by a mere 11,000 votes, thus not entering the Knesset.

Marzel and Ben-Ari started the process in November 2022 of launching a new party that would be to the right of Otzma Yehudit.

He is a writer for the Israeli newspaper Arutz Sheva.

Legal issues
Baruch Marzel was first arrested by police at age 14. His first conviction followed three years later. According to a 2003 report in the Israeli newspaper Yedioth Ahronoth, "Marzel had acquired a police record of some 40 files before he was 30". The report goes on to detail his criminal record, including assaults on Palestinians (one earning him a 12-month suspended prison sentence), an Israeli police officer, an Israeli left-wing activist, and the journalist Uri Avnery.

In August 2012, Israeli police arrested Baruch Marzel at the entrance to the town of Kiryat Arba over his failure to report for questioning. He was suspected of being involved in several incidents in Hebron that took place six months prior, in which several Palestinians allegedly were attacked.

In 2014, Yariv Oppenheimer, chairman of Peace Now, signed a police complaint against Marzel alleging threats against his life by his followers. On his Facebook page, Oppenheimer wrote that he is "exiting the police station now, worried and pessimistic. The telephone won't stop ringing, and on the other end, human scum who follow Marzel continue to curse and threaten."

In March 2015, six days before the 2015 legislative election, the Judea-Samaria District Police filed charges in the Jerusalem Magistrate's Court alleging that Marzel attacked a Palestinian Arab in 2013. According to the indictment, on 8 February 2013, Marzel entered the home of Hebron resident Issa Amro, as the activist was passing through to visit the Cave of the Patriarchs, and began attacking the Palestinian for "unknown reasons" after Amro demanded he leave. Marzel's attorney Itamar Ben-Gvir slammed the indictment, saying it "stinks of election tampering". This was echoed by Attorney General Yehuda Weinstein, who stepped in to demand an explanation as to why the indictment came two years after the incident. In February 2017, Marzel was arrested after clashing with police while protesting the demolition of Amona, a Jewish settlement in the West Bank.

Anti-LGBT activism
Marzel has in the past advocated violence towards homosexuals in Israel, calling for a religious war against them during a radio interview.[source needed] In 2006, in the days leading up to a planned gay pride parade in Jerusalem, Marzel reportedly stated that, "The stabbing incident during last year's parade will seem minor in comparison with what is anticipated this year. We have to declare a holy war."[no source] Marzel also was involved in the controversial March 2009 flag parade through Umm al-Fahm. He led protests against the eighth Jerusalem Gay Pride parade of 2010, opining that "[homosexuality] is a disease of choice, and a man can change his taste and his ways. When someone has AIDS, they tell them not to infect others, so why are these people allowed to march here in Jerusalem and infect us with their disease?"

During the 2012 Gay Pride march in Jerusalem, Marzel led a counter-demonstration in the ultra-Orthodox neighborhood of Mea Shearim. He brought with him to the demonstration three donkeys. Each of the donkeys bore a sign, one of which read "I'm proud too", a second one read "Proud Donkey", and the third one simply read "Pride March". Five years later, during the 2017 Jerusalem gay pride march, Marzel again led a counter-demonstration. Despite his previous rhetoric, Marzel stated that he did not protest against LGBT people on a personal level, saying: "I'm not fighting against these people personally, but against the parade and the phenomenon. [...] The nuclear family is a holy thing, and it's important to protect it."

Anti-assimilation activism
Marzel is seen as a central figure in the anti-assimilation Lehava group, along with Rabbi Ben-Zion Gopstein. In 2006, Marzel sent an open letter to Linor Abargil, asking her not to marry non-Jewish Lithuanian NBA player Šarūnas Jasikevičius. A similar open letter was addressed in March 2010 to Israeli model Bar Refaeli, urging her not to marry her non-Jewish boyfriend at that time, American actor Leonardo DiCaprio. Representing the Lehava organization, Marzel tried to convince Refaeli that her ancestors would have opposed such a marriage. In 2013, he was among 50 activists who held an anti-assimilation protest at a wedding between an Arab man and a Jewish woman. In July 2014, Facebook removed Marzel's page after readers complained about incitement.

Baruch Goldstein party
In 2000, Marzel organized a Purim party at the grave of Baruch Goldstein, the religious extremist who perpetrated the 1994 Cave of the Patriarchs massacre. Marzel was quoted as saying, "We decided to make a big party on the day he was murdered by Arabs."

"The Radical Jew"
A short film about Baruch Marzel called The Radical Jew was the Winner of Best Short Documentary at the Charlotte Film Festival and the Golden Strands Award for outstanding short documentary at Tallgrass Film Festival.

title: Baruch Marzel


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Lists of diseases

A medical condition is a broad term that includes all diseases and disorders.

A disease is an abnormal condition affecting the body of an organism.

A disorder is a functional abnormality or disturbance.

 * Lists of animal diseases
 * List of autoimmune diseases
 * List of cancer types
 * List of childhood diseases and disorders
 * List of endocrine diseases
 * List of eponymous diseases
 * List of eye diseases and disorders
 * List of intestinal diseases
 * List of infectious diseases
 * List of human disease case fatality rates
 * List of notifiable diseases - diseases that should be reported to public health services, e.g., hospitals.
 * Lists of plant diseases
 * List of pollution-related diseases
 * List of skin conditions
 * List of diseases by year of discovery

 * Disorders
 * List of communication disorders
 * List of genetic disorders
 * List of heart disorders
 * List of liver disorders
 * List of neurological conditions and disorders
 * List of mental disorders
 * List of eating disorders
 * List of mood disorders
 * List of personality disorders
 * List of voice disorders
 * List of vulvovaginal disorders

title: Lists of diseases


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Joel Stebbins

Joel Stebbins (July 30, 1878 – March 16, 1966) was an American astronomer who pioneered photoelectric photometry in astronomy. He was director of the University of Illinois Observatory from 1903 to 1922 where he performed innovative work with the selenium cell. In 1922 he became director of the Washburn Observatory at the University of Wisconsin–Madison where he remained until 1948. After 1948, Stebbins continued his research at Lick Observatory until his final retirement in 1958.

Stebbins brought photoelectric photometry from its infancy in the early 1900s to a mature technique by the 1950s, when it succeeded photography as the primary method of photometry. He used the new technique to investigate eclipsing binaries, the reddening of starlight by interstellar dust, colors of galaxies, and variable stars.

Biography
Joel Stebbins was born in Omaha, Nebraska, on July 30, 1878, the son of Charles Stebbins, an office worker at the Union Pacific Railroad and his wife Sara Ann née Stubbs. Stebbins had two sisters, Eunice and Millicent. He attended elementary and high school in Omaha, before entering the University of Nebraska–Lincoln in 1896. He received his Bachelor of Science (BS) degree in 1899, and remained for a year as a graduate student before leaving for the University of Wisconsin–Madison, where he studied astronomy at the Washburn Observatory under George C. Comstock.

Stebbins published his first paper, concerning the light curve of Nova Persei with Comstock in 1901. He then received a fellowship from the University of California's Lick Observatory. He earned his Doctor of Philosophy (PhD) degree there under the supervision of William Wallace Campbell, writing a thesis on the spectra of Omicron Ceti. His was only the third PhD to be awarded for astronomy by the University of California. His thesis was subsequently published in the Astrophysical Journal in 1903.

Even before Stebbins received his doctorate, he took a job as an instructor in astronomy at the University of Illinois at Urbana–Champaign and director of the University of Illinois Observatory. He married May Louise Prentiss, who had been a classmate at the University of Nebraska, in Lincoln on June 27, 1905. They had two children, a son, Robert, and a daughter, Isabelle.

Stebbins began making observations with a polarizing photometer. Frustrated by its use, he worked with F.C. Brown to develop a photometer based on a selenium cell. Beginning in 1907, Stebbins began the first measurements using the selenium cell photometer first on the moon and then later, as the sensitivity of the instrument was improved, on variable stars. He examined eclipsing binaries such as Algol starting in 1910. By 1913, Henry Norris Russell had developed the theory of eclipsing binaries, and Stebbins realized that there were many undiscovered ones. He soon found that Beta Aurigae and Delta Orionis were eclipsing binaries. Further discoveries followed.

The development of the photoelectric cell by Jakob Kunz revolutionized astronomical photometry. Kunz's photoelectric cells were many times more sensitive than what was available commercially and therefore able to detect faint star light. In 1915, Stebbins used the new photometers to examine Beta Lyrae, a more irregular binary system. The new equipment allowed observations of increasingly faint stars. Stebbins work was recognized with the American Academy of Arts and Sciences' Rumford Prize in 1913, and the United States National Academy of Sciences' Henry Draper Medal in 1915. The University of Illinois Observatory has been designated a National Historic Landmark based on the significance of Stebbins' and Kunz's work.

In 1922, Stebbins relocated to the University of Wisconsin–Madison, where he became the director of the Washburn Observatory in succession to George C. Comstock. Stebbins conducted systematic photometric studies of the O-type and B-type main-sequence stars and globular clusters. In later years, he became interested in cosmic dust. His students included Olin J. Eggen, Charles M. Huffer, Gerald Kron and Albert Whitford.

Stebbins retired from the University of Wisconsin-Madison and the Washburn Observatory in 1948 at the age of seventy, and then went to work at the Lick Observatory, collaborating with Gerald Kron, who had once been his student. They used photometric methods to obtain new values for the luminosity of the Cepheids. This confirmed Walter Baade's extragalactic distance scale.

Having dealt with the bright Cepheids, Stebbins and Kron used photometric techniques to study the Sun, which is orders of magnitude brighter than any other object in the sky. Obtaining an accurate assessment of its stellar color and magnitude. He retired for good at the age of eighty.

Stebbins also contributed to ornithology, with his pioneering paper, with E.A. Fath, The Use of Astronomical Telescopes in Determining the Speeds of Migrating Birds.

In his later years, he suffered from leukaemia. He died at Palo Alto hospital on March 16, 1966. He was survived by his wife May, son Robert and daughter Isabelle. Some of his papers are in the University of Illinois Archives, but most of his correspondence and scientific papers are preserved in the University of Wisconsin-Madison Archives. Some of his correspondence, related especially to his early and later days at Lick Observatory, resides in the Mary Lea Shane Archive of Lick Observatory, which is held at the archives of the University of California-Santa Cruz.

Honors
Awards Honors
 * Rumford Prize of the American Academy of Arts and Sciences (1913)
 * Henry Draper Medal of the National Academy of Sciences (1915)
 * Bruce Medal of the Astronomical Society of the Pacific (1941)
 * Gold Medal of the Royal Astronomical Society (1950)
 * Henry Norris Russell Lectureship of the American Astronomical Society (1956)

 * Elected to the United States National Academy of Sciences (1920)
 * Elected to the American Academy of Arts and Sciences (1921)
 * Elected to the American Philosophical Society (1925)

Named after him
 * The crater Stebbins on the Moon
 * Asteroid 2300 Stebbins

title: Joel Stebbins


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Bishop (artillery)

The Bishop, formal designation Ordnance QF 25-pdr on Carrier Valentine 25-pdr Mk 1, was a British self-propelled gun vehicle based on the Valentine tank and armed with the QF 25-pounder gun-howitzer, which could fire an 87.6 mm 11.5 kg HE shell or an armour-piercing shell. A result of a rushed attempt to create a self-propelled gun, the vehicle had numerous problems, was produced in limited numbers and was soon replaced by better designs.

Design and development
The rapid manoeuvre warfare practiced in the North African Campaign led to a requirement for a self-propelled artillery vehicle armed with the 25-pounder gun-howitzer. In June 1941, the development was entrusted to the Birmingham Railway Carriage and Wagon Company. A prototype was ready for trials by August and 100 were ordered by November 1941.

The vehicle was based on the Valentine II hull, with the turret replaced by a fixed boxy superstructure with large rear doors. It was nicknamed the Bishop for its high mitre-like superstructure.

The 25-pounder gun-howitzer was fitted in this superstructure. As a consequence of the gun mounting, the resulting vehicle had a very high silhouette, which is a disadvantage in desert warfare. The maximum elevation for the gun was limited to 15 degrees, reducing the range to 6400 yd, about half that of the same gun on a wheeled carriage. To increase range, crews would build large earthen ramps and run the Bishop onto them, tilting the vehicle back to increase the elevation. The maximum depression was 5 degrees, traverse was 8 degrees, and the vehicle could also carry a Bren light machine gun. By July 1942, 80 Bishops had been built; as the last 20 were being built, an order for a further 50 was placed, with an option for a further 200 but the tender was abandoned in favour of the American 105 mm Howitzer Motor Carriage M7. Turkey received 48 Bishops in 1943.

Combat history
The Bishop first saw action during the Second Battle of El Alamein in North Africa and remained in service during the early part of the Italian Campaign. Due to its limitations and the Valentine's characteristic slow speed, the Bishop was poorly received. The Bishop was replaced by the M7 Priest (105 mm) and Sexton (25-pounder) when those became available in sufficient numbers and surviving Bishops were diverted for training in self-propelled gun tactics.

British self-propelled guns with ecclesiastical names
The US 105 Millimeter Howitzer Motor Carriage M7 which replaced the Bishop, was given the service name "Priest" by the British, as part of its superstructure was said to resemble a priest's pulpit. Following this line of names, a 1942 self-propelled gun armed with the 57 mm QF 6 pounder anti-tank gun was the Deacon, and a 1943 vehicle with the QF 25-pounder on a chassis derived from the M3 Medium tank was the Sexton. This practice was continued after the war with FV433 Abbot and ended in 1993 when they were replaced with the AS-90.

title: Bishop (artillery)