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Don't Cry for Me Argentina

"Don't Cry for Me Argentina" is a song recorded by Julie Covington for the 1976 concept album Evita, later included in the 1978 musical of the same name. The song was written and composed by Andrew Lloyd Webber and Tim Rice while they were researching the life of Argentine leader Eva Perón. It appears at the opening of the first and second acts, as well as near the end of the show, initially as the spirit of the dead Eva exhorting the people of Argentina not to mourn her, during Eva's speech from the balcony of the Casa Rosada, and during her final broadcast.

The Evita album had taken 3–4 months to record, since Rice was not satisfied with the intensity of the initial recordings. The song had a number of different titles before "Don't Cry for Me Argentina" was chosen as the final one. The song shares its melody with "Oh What a Circus" from the same show and lyrically consists of platitudes where Eva tries to win the favour of the people of Argentina. It was released in the United Kingdom on 12 November 1976 as the first single from the album, accompanied by national and trade advertising, full-colour posters, display sleeves as well as radio interviews.

The song reached number one on the UK Singles Chart and earned a gold certification from the British Phonographic Industry (BPI), with over a million copies sold. It also reached the top of the charts in Australia, Belgium, Ireland, New Zealand and the Netherlands. "Don't Cry for Me Argentina" was critically appreciated, with Rice and Lloyd Webber winning the 1977 Ivor Novello award in the category of Best Song Musically and Lyrically. When Evita moved to a London theatre, Covington—who had become disenchanted with the whole project—refused to reprise the part of Eva, and the role went to Elaine Paige. "Don't Cry for Me Argentina" has been covered by multiple artists, including The Carpenters, Olivia Newton-John, and Sinéad O'Connor as well as actors Lea Michele and Chris Colfer from the TV series Glee.

In 1996, American singer Madonna played the title role in the film adaptation of the musical and recorded her rendition of "Don't Cry for Me Argentina". Released as the second single from the film soundtrack on 16 December 1996, her version received positive reviews from music critics who praised her vocal performance. A separate version called the "Miami Mix", which included re-recorded vocals in English and Spanish and an Argentinian bandoneon, was promoted to radio. Madonna's version reached number one on the European Hot 100 Singles chart and the national charts of the Czech Republic, France, Hungary, and Spain. It also became a top-ten hit on the US Billboard Hot 100 and many other charts worldwide, while attaining gold or platinum in six countries.

Background and development
"Don't Cry for Me Argentina" was written by Andrew Lloyd Webber and Tim Rice while they were developing Evita in 1976. Both were extremely intrigued by the stories surrounding the life of Eva Perón while researching her during the mid-1970s. Evita was initially produced as an album, before being adapted for the stage, following a formula that Lloyd Webber and Rice had employed during the production of Jesus Christ Superstar, their previous musical. The duo had written the songs for a female singer with good vocals.

Rice and Lloyd Webber's research showed that Eva had not in reality delivered any major oration on the day of her husband Juan Perón's inauguration ceremony, but not long after becoming Argentina's new First Lady, she started making highly emotional speeches, the intensity of which they wanted to capture with "Don't Cry for Me Argentina". The song was composed to appear at the opening and near the end of the show, initially as the spirit of the dead Eva exhorting the people of Argentina not to mourn her, and finally during Eva's speech from the balcony of Casa Rosada. Its melody is similar to the opening song of the musical, "Oh What a Circus", which puts emphasis on Eva's funeral. As "Oh What a Circus" ended with the character Che's sarcastic questioning of the mourning behind Eva's death, "Don't Cry for Me Argentina" started with only few lines being sung, while the rest of the song was reserved for the finale.

After the song was composed, Lloyd Webber and Rice were struggling to find a suitable musical actress for the songs and the title role, since the only one they knew, Yvonne Elliman, had moved to the United States. One day they were watching the British musical television show, Rock Follies, where they noticed actress and singer Julie Covington, who played an aspiring rock musician. Covington had played in London musicals like Godspell, and her acting abilities in Rock Follies convinced Rice and Lloyd Webber to sign her for Evita.

Covington was extremely intrigued by their proposal, considering Eva Perón to be a non-commercial idea for a musical. Nevertheless, she thought that the songs were great compositions and signed on for recording them. Lloyd Webber and Rice immediately started recording, and the first demos were those of "Don't Cry for Me Argentina", "I'd Be Surprisingly Good for You" and "Buenos Aires", with just piano as an accompaniment. They moved on to sign a deal with MCA Records, to release an album based on the songs, however with extremely poor royalty rates since the record company executives did not expect the album to be a success. In the meantime, singers for all the other roles of the musical were also signed, and the cast moved to Olympic Studios in 1975 to start recording.

Recording and composition
Personnel working on the Evita album included recording engineer David Hamilton-Smith, Simon Philips on drums, Mo Foster on bass, Joe Moretti and Ray Russell on guitars and Anne Odell on keyboards. David Snell played the harp while Anthony Bowles conducted the London Philharmonic Orchestra, while another choir called the London Boy Singles was directed by Alan Doggett. Members of The Grease Band, including bassist Alan Spenner and rhythm guitarist Neil Hubbard, also played on the album. It took a total of 3–4 months to finish the recording.

The intensity which Rice looked for in the track was not immediately achieved during recording, because it is a sentimental ballad and because of its lyrics. As the delivery date of the recording approached, they got more tense since most of the album was put together. Only this song was left as they could not decide on the final title, and Rice tried out names which did not make sense within the political and dramatic atmosphere of the story. They had initially tried out various lyrics as the main hook and title of the song including "It's Only Your Lover Returning" and "All Through My Crazy and Wild Days" amid fears that mentioning Argentina would reduce the commercial appeal. Rice recalled, "What a crass decision! It was probably the only time (honest) that I had made the mistake of caring more about a lyric's potential outside the show than its importance within it, and as a result both song and show suffered." Covington had already recorded the phrase "Don't Cry for Me Argentina" for using it in the beginning of the show. Shortly before the album was finally mixed, Lloyd Webber suggested to Rice that the line also worked as the title of Eva's speech. As soon as Covington recorded with the new name, the song fit "perfectly" in the mood of the sequence and was included in the album.

The title of the song comes from an epitaph on a plaque at Eva Perón's grave in the La Recoleta Cemetery in Buenos Aires. The plaque was presented by the city's taxi drivers' union and roughly translates as: "Don't cry for me Argentina, I remain quite near to you." Roger Ebert of the Chicago Sun-Times wrote "For years I have wondered, during 'Don't Cry for Me, Argentina,' why we were not to cry. Now I understand: We need not cry because (a) Evita got everything out of life she dreamed of, and (b) Argentina should cry for itself. Even poor Juan Peron should shed a tear or two; he is relegated...to the status of a 'walker,' a presentable man who adorns the arm of a rich and powerful woman as a human fashion accessory." The song's lyrics are a "string of meaningless platitudes" according to Rice, who felt that it worked as an emotionally intense but empty speech by a "megalomaniac woman" trying to win the favor of the Argentines. It features the lyrics "And as for fortune, and as for fame / I never invited them in / Though it seemed to the world they were all I desired / They are illusions".

Lloyd Webber's orchestral accompaniment added a different level to the track, with its composition consisting of pizzicato strings, and its flowing tempo introducing Covington's opening vocals. The song jumps from being light to heavy and extravagant, with one section of it being hummed by choral voices. As the final lyrics goes, "But all you have to do is look at me to know / That every word is true" is sung, the London Philharmonic Orchestra comes into play with a huge climax and ends. According to the sheet music published by Music Sales Group, the song starts with a sequence of G/D–A7/D–D–Bm/D, changes to E–E/D–A/C♯–E7–A–D, with the chorus featuring a chord progression of A–Bm–Dmaj7–Gmaj7–G–F♯m7. The song is composed in the key of C major with Covington's vocals spanning from the nodes of E3 to G♯5. According to Snelson the song is not only based on J.S.Bach's Prelude in C Major but also on Gounod's Ave Maria adaptation.

Release and reception
Following the completion of the recording of the album, the Evita team switched on to full promotion of the release, with photographer Tony Snowdon shooting the promotional pictures. The single version of "Don't Cry for Me Argentina" was released in the United Kingdom on 12 November 1976, accompanied by national and trade advertising, full-colour posters, display sleeves as well as radio interviews. Another song from the musical, "Rainbow High", was listed as its B-side. MCA marketing manager Stuart Watson explained to Billboard that their chief goal was to "get an explanation of the story of Eva Perón over to the public".

The song received critical appreciation, with The Sunday Times calling it a "masterpiece". However, Rice and Lloyd Webber felt that they needed more promotion to reach the general audience who would buy the record. They had initially decided for a number of television show appearances and performances, but Covington was uninterested in the project altogether and refused to promote it further. Her reasons included wanting to perform the song with the same studio orchestra and accompaniments, and she was also against a single release from the album.

The song was never performed live on the British music show Top of the Pops, since Covington refused and whenever it was featured on the show, a montage of images of the real Eva was shown in the backdrops. However, during the week it was number one, she appeared in the audience. Rice and Lloyd Webber then targeted BBC Radio 1, which was in its infancy, but still popular among the general crowd. They had a fairly tight selection of songs they aired on their channels, and Radio 1 refused to add "Don't Cry for Me Argentina" in their playlists. Rice and Lloyd Webber panicked and were almost on the verge of releasing another track from Evita called "Another Suitcase in Another Hall", recorded by Barbara Dickson, as the second single. But Radio 1 finally relented and started playing the song due to positive response from audiences.

"Don't Cry for Me Argentina" debuted at number 37 on the UK Singles Chart on the week ending 25 December 1976. It started climbing up the chart but for 3 weeks it was kept from reaching the top spot by David Soul's "Don't Give Up on Us". On the week ending 12 February 1977, the song reached the top of the charts. It was first certified silver in January 1977, and then certified gold a month later by the British Phonographic Industry (BPI), selling almost one million physical copies in the United Kingdom. Together with digital sales since it has sold about 1.01 million copies according to the Official Charts Company.

The single also reached the top of the charts in Australia, Belgium, Ireland, New Zealand and Netherlands; in the latter country it sold around 100,000 copies. Seeing the success of the single, Rice and Lloyd Webber proceeded with promoting the song in the United States. However, the personnel at MCA Records' US office were not able to come to terms regarding how to promote the adult contemporary oriented track; it was ultimately never sent to Top 40/CHR radio, and did not appear on any US charts.

Aftermath and impact
When the cast of the London musical version of Evita was being decided, Rice and Lloyd Webber naturally approached Covington to play the title role. However, she chose not to reprise the role. Producer Hal Prince wanted to cast a relatively unknown actress to play Eva, and thus Elaine Paige was signed for the part. In 1977, Rice and Lloyd Webber received the Ivor Novello award in the category of Best Song Musically and Lyrically.

During the 1982 Falklands War between the United Kingdom and Argentina, the song was sometimes played sarcastically by British regimental bands as they deployed to the Falklands. They changed the lyrics, singing it as "You don't frighten me Argentina / The truth is we will defeat you / We'll sink your carrier, with our Sea Harrier / And with our Sea Kings subs'll be sinking". At the same time the Covington recording was banned from play on the BBC. In the Philippines, the presentation of the musical was repressed during the dictatorship (1972–86) of President Ferdinand Marcos, due to the perceived similarities between the First Lady Imelda Marcos and Eva Perón. In the United States, the song is also closely linked with Patti LuPone, who performed the role of Eva in the original Broadway production of the show.

Track listing and formats

 * 7" single
 * 1) "Don't Cry for Me Argentina" – 5:24
 * 2) "Rainbow High" – 2:31

 * 7" Double hit single
 * 1) "Don't Cry for Me Argentina" – 5:23
 * 2) "I Don't Know How to Love Him" (Performed by Yvonne Elliman) – 3:55

 * 7" Old Gold single
 * 1) "Don't Cry for Me Argentina" – 5:24
 * 2) "Another Suitcase in Another Hall" (Performed by Barbara Dickson) – 3:00

Credits and personnel

 * Julie Covington – vocals
 * Andrew Lloyd Webber – songwriter, record producer
 * Tim Rice – songwriter, record producer
 * David Land – record producer
 * David Hamilton-Smith – recording engineer
 * Simon Philips – drums
 * Mo Foster – bass
 * Joe Moretti – guitars
 * Ray Russell – guitars
 * Anne Odell – keyboards
 * David Snell – harp
 * London Philharmonic Orchestra

Credits adapted from the 7" single liner notes.

Background
In 1996, Madonna starred in the film Evita, playing the title role. For a long time, Madonna had desired to play Eva and even wrote a letter to director Alan Parker, explaining how she would be perfect for the part. After securing the role, she underwent vocal training with coach Joan Lader since Evita required the actors to sing their own parts. Lader noted that the singer "had to use her voice in a way she's never used it before. Evita is real musical theater — it's operatic, in a sense. Madonna developed an upper register that she didn't know she had." From the moment she was signed in the film, Madonna had expressed interest in recording a dance version of "Don't Cry for Me Argentina". According to her publicist Liz Rosenberg, "since [Madonna] didn't write the music and lyrics, she wanted her signature on that song... I think on her mind, the best way to do it was go in the studio and work up a remix".

For this, in August 1996, while still mixing the film's soundtrack, Madonna hired remixers Pablo Flores and Javier Garza. According to Flores, the singer wanted something that "would be dance but faithful to the movie and to Argentina with a latin feel". Madonna herself said she wanted the remix to have a "Latin flavor and elements of Tango music". The mix was completed in two weeks at Miami and Los Angeles. Madonna had to re-record the vocals of the track in English and Spanish, while an Argentinian bandoneon was added to the song's intro. Named the "Miami Mix", it was sent to radio stations and DJs on late December 1996. The song was officially released as the soundtrack's second single on 16 December 1996 in the United Kingdom, while in the United States, the track was released on 11 February 1997. Barney Kilpatrick, VP of promotion for Warner Bros. Records, said that "the only reason this mix is being done was to accommodate Top 40 radio [...] since we have a two-disc soundtrack, we're interested in selling albums, not singles". Warner Bros wanted to create buzz for the film with the song, not the single remix. There were also talks of releasing an Evita EP, containing remixes of "Buenos Aires", "Don't Cry for Me Argentina" and "Another Suitcase in Another Hall", but it never materialized.

Recording and composition
Recording sessions for the film's songs and soundtrack began in September 1995, and took place at the CTS Studios in London with Madonna accompanied by co-actors Antonio Banderas and Jonathan Pryce. However, trouble arose as Madonna was not completely comfortable with laying down a "guide vocal" simultaneously with an 84 piece orchestra inside the studio. She was used to singing over a pre-recorded track and not have musicians listen to her. Also, unlike her previous soundtrack releases, she had little to no control over the project; "I'm used to writing my own songs and I go into a studio, choose the musicians and say what sounds good or doesn't [...] To work on 46 songs with everyone involved and not have a big say was a big adjustment", she recalled. An emergency meeting was held between Parker, Lloyd Webber and Madonna where it was decided that the singer would record her part in a more contemporary studio while the orchestration would take place somewhere else. She also had alternate days off from the recording.

According to the singer, she was very nervous during the first day of recording. She allegedly found herself "petrified" when it came to doing the song; "I had to sing 'Don't Cry For Me Argentina' in front of Andrew Lloyd Webber [...] I was a complete mess and was sobbing afterward. I thought I had done a terrible job", she recalled. The final version recorded had many similarities to the original version by Covington, although it had a much faster pace and was created as an orchestral pop to cater to the contemporary music scene. According to the sheet music published by Musicnotes.com, Madonna's version of the song is set in common time, with a slow groove tempo of 90 beats per minute. Madonna's vocals on the song span from G3 to C5.

Original version
Upon release, the song generally received positive feedback. J. D. Considine, from The Baltimore Sun, said it was one of the "big songs" from the soundtrack. Peter Keough, from the Boston Phoenix, praised Madonna's "stunning delivery" of the track. He wrote: "[Madonna] sings a softly lush soprano that captures Evita's quiet vulnerability. Her full-lipped, precise notes stride across the song's grandiose orchestrations. Webber's songs allow her all the room she needs to be many things; she succeeds at them all". Greg Kot from the Chicago Tribune, opined that "her interpretation of the show-stopper 'Don't Cry for Me Argentina' doesn't try to outreach the many previous versions, but instead brings it back to earth with a low-key dignity". Robert Christgau called it a "dismal track" and criticized its mixing. Writing for Entertainment Weekly, Chuck Arnold opined that "while credible, [Madonna's rendition] was not going to make anybody forget Patti Lupone". The Guardian's Jude Rogers wrote: "Sorry Andrew Lloyd Webber, but it's no 'Live to Tell'"; nonetheless, she praised the singer's vocal capacities. A very positive review came from the Hartford Courant's Greg Morago, who called the song "a calculated, theatrical triumph of shameless pandering and steely determination that parallels the pop diva's own rise to the top. Madonna makes this song her own; she was born to play the chignon-coiffed, diamond-studded Santa Evita". The Huffington Post's Matthew Jacobs considered it as one of Madonna's most important songs, a "stand-in for the transition from Sexy Madonna to Adult Madonna". Writing for the Los Angeles Times, David Gritten opined that "show-stoppers like 'Don't Cry for Me Argentina', which need to be belted out, sound comfortable for her".

A reviewer from Music Week rated it five out of five, calling it "a strong and fairly faithful rendition". In her review of Evita, Janet Maslin from The New York Times commented that the track was "tinglingly sung". A negative review came from NMEs Alex Needham, who wrote; "by 1996 Madonna was fast turning into the pop equivalent of Sunset Boulevards Norma Desmond, croaking, 'I'm still big! It's just the Top 40 that got small!", and that "'Don't Cry For Me Argentina' stank then, stinks now". Author Lucy O'Brien wrote in the book, Madonna: Like an Icon, that although Madonna's vocals lacked emotional complexity in the tune, she nevertheless created a "compelling" version, "right up to its grand orchestral finale". George Hatza from The Reading Eagle, said that "[Madonna] sings 'Don't Cry For Me Argentina' in a beautiful, soaring, goosebump-inducing contralto". Peter Travers from Rolling Stone, wrote: "Madonna, to her credit, puts on quite a show. She sings. She tangos [...] She even belts out 'Don't Cry for Me Argentina' to prove she's just folks". Sal Cinquemani from Slant Magazine commented: "Easily one of Madonna's greatest vocal performances to date, the singer's dramatic interpretation of Evita's unofficial theme song was both loyal and bizarrely autobiographical". Spin's Annie Zaleski wrote that the "nuanced but proud" rendition of the song "marked the start of Madonna’s Serious Phase, one where she balanced youthful coquettishness with a more mature, introspective outlook". J. Randy Taraborrelli, author of Madonna: An Intimate Biography, wrote that "As Evita Perón [...] she is supple and strong, and doesn't sound at all out of place". The song was nominated for an inclusion in AFI's 100 Years...100 Songs.

Remix version
AllMusic's Jose F. Promis praised the "Miami Mix" version of the song; "['Don't Cry For Me Argentina'] was transformed into a passionate, flowing dance number", highlighting Madonna's "truly impassioned performance which infuriated musical purists but delighted her fans and public alike". In 2017, Billboard ranked the "Miami Mix" as the 95th greatest pop song of 1997; Andrew Unterberger wrote that the remix "is just as responsible for the song's chart success as Madonna's Celine Dion vocal ambitions, taking the song from the balcony to the dance floor and giving it back to the people". In 2018, the same magazine called the remix "a weirdly enjoyable menage à trois between Broadway, Latin and club music, with a pounding beat and lively tango that flourishes with Madonna’s earnest delivery". Similarly, Medium's Richard LaBeau deemed the remix "bizarre in theory but works terrifically in execution".

Chart performance
In the United States, the popularity of the "Miami Mix" version of the song enabled it to become the song with the most radio adds, and jumped to number 18 on the Hot 100 Airplay chart. Demand for the song continued to increase forcing Warner Bros. to release the CD single, and the song becoming eligible to chart. It debuted on the Billboard Hot 100 at number 17 the week of 22 February 1997, selling 46,000 units in its first-week. The single ultimately peaked at number 8 the week of 1 March 1997, becoming the first top 10 to originate in a stage musical since 1985 and Webber's first top 10 single in the US. The track also ranked within the top 20 of Billboard's Adult Contemporary and Adult Top 40 charts while the "Miami Mix" reached the top of the Billboard Hot Dance Club Songs chart. It ranked at number 87 on the year end chart for 1997.

In Canada, the song debuted on the RPM Top Singles chart at number 34, the week of 10 March 1997. It ultimately reached a peak of number 11, the week of 7 April 1997. "Don't Cry for Me Argentina" reached number 1 on the European Hot 100 Singles, the week of 8 February 1997. In the United Kingdom, the song reached number 3 on the week of 28 December 1996, and was present on the top 100 for a total of 13 weeks. The song was certified gold by the British Phonographic Industry (BPI) on 19 November 2021 for sales and streams exceeding 400,000. In Italy, it reached the second position on the Musica e dischi chart. In Australia, "Don't Cry for Me Argentina" peaked at number 9 on the ARIA Singles Chart, staying on this position for one week and a total of 13 weeks on the chart. On the year-end ARIA charts, the song ranked at number 56. In France, it topped the SNEP Singles Chart for one month. In Ireland, the song peaked at number 8, the week of 19 December 1996. The single also proved to be a commercial success in other countries such as Belgium, Germany, Spain and the Netherlands, where it managed to have top 5 placement.

Promotion and live performances
No official video was shot for the song. Instead, the scene from the movie, where Eva performs the song at the balcony of the Casa Rosada, was used. In 1993, two years before being cast in Evita, Madonna performed an impromptu version of the song during her first visit to Argentina with the Girlie Show. Eight years later, on 2001's Drowned World Tour, an instrumental version of the song was used as an interlude, featuring several dancers doing a Tango number. The performance on 26 August 2001, at The Palace of Auburn Hills, outside of Madonna's hometown of Detroit was recorded and released in the live video album, Drowned World Tour 2001. On the Buenos Aires stop of her Sticky & Sweet Tour in December 2008, after performing "You Must Love Me", Madonna also performed "Don't Cry for Me Argentina" as scenes from Evita played on the backdrop screens. The performances of both songs in the city were recorded in the live DVD titled, Sticky & Sweet Tour (2010). The singer once again performed the song in Argentina during The MDNA Tour in December 2012. For the performance, she had the word "Eva" painted across her back. Madonna also did a "passionate rendition" of "Don't Cry for Me Argentina" during the Miami stop of her Rebel Heart Tour on 23 January 2016, accompanied by acoustic guitar. On 6 December, Madonna performed "Don't Cry for Me Argentina" during the Carpool Karaoke segment of The Late Late Show with James Corden.

Track listings

 * EU & UK CD single
 * 1) "Don't Cry for Me Argentina" (performed by Madonna) – 5:31
 * 2) "Santa Evita" (performed by Orchestra/John Mauceri) – 2:30
 * 3) "Latin Chant" (performed by Orchestra/John Mauceri) – 2:11

 * EU & UK "The Dance Mixes" CD single; Australian CD single; German 12-inch single
 * 1) "Don't Cry for Me Argentina" (Miami Mix Edit) – 4:31
 * 2) "Don't Cry for Me Argentina" (Miami Spanglish Mix Edit) – 4:29
 * 3) "Don't Cry for Me Argentina" (Miami Mix) – 6:51
 * 4) "Don't Cry for Me Argentina" (album version) – 5:31

 * US 12-inch and CD Maxi-single (1997)
 * 1) "Don't Cry for Me Argentina" (Miami Mix Alternative Ending) – 7:59
 * 2) "Don't Cry for Me Argentina" (Miami Spanglish Mix) – 6:57
 * 3) "Don't Cry for Me Argentina" (Miami Mix Edit) – 4:29
 * 4) "Don't Cry for Me Argentina" (Miami Dub Mix) – 6:23
 * 5) "Don't Cry for Me Argentina" (Miami Mix Instrumental Version) – 6:55
 * 6) "Don't Cry for Me Argentina" (Miami Spanglish Mix Edit) – 4:28

 * Digital single (2022)
 * 1) "Don't Cry for Me Argentina" (Radio Edit) – 4:50
 * 2) "Don't Cry for Me Argentina" (Miami Mix Edit) – 4:31
 * 3) "Don't Cry for Me Argentina" (Miami Spanglish Mix Edit) – 4:30
 * 4) "Don't Cry for Me Argentina" (Miami Mix) – 6:57
 * 5) "Don't Cry for Me Argentina" (Miami Spanglish Mix) – 6:59
 * 6) "Don't Cry for Me Argentina" (Miami Mix Alternative Ending) – 8:02
 * 7) "Don't Cry for Me Argentina" (Miami Dub Mix) – 6:26
 * 8) "Don't Cry for Me Argentina" (Miami Mix Instrumental Version) – 6:57
 * 9) "Don't Cry for Me Argentina" (Album Version) – 5:36

Other versions
"Don't Cry for Me Argentina" has been recorded by a number of actors portraying Eva Peron in subsequent productions of Evita including Elaine Paige (1978 Original London Cast Recording), Patti LuPone (1979 Original Broadway Cast Recording) and Elena Roger (2006 London Cast and 2014 Broadway Cast Recordings). Marti Webb, who succeeded Elaine Paige in the original London production of Evita, covered the song on her album Won't Change Places, produced by Andrew Lloyd Webber in 1981, and also included it in 1995 on the album, Music and Songs from Evita. AllMusic's Joe Francis complimented the recording.

The Carpenters recorded the song for their 1977 album, Passage, coupled with "On the Balcony of the Casa Rosada" which precedes it in the musical's score. The same year, Olivia Newton-John released the song as a single from her tenth studio album, Making a Good Thing Better. In 1978, the Shadows recorded an instrumental version that reached number five on the UK Singles Chart. Also in 1978 Shirley Bassey recorded the song for her album, The Magic Is You. Simon Gage from the Daily Express praised the rendition, saying that Bassey "more than covers the ground" with it. She recorded it again in 1993 for her album Sings the Songs of Andrew Lloyd Webber. Singer Tom Jones' interpretation of the song on his 1979 album, Rescue Me, received negative reviews, with biographer Lucy Ellis describing it as "the most ludicrous massacre on the LP". American disco group Festival (produced by Boris Midney) released a version in 1979, the single from an entire LP of disco covers of songs from Evita; it reached 72 on the Billboard Hot 100. Paloma San Basilio performed the song when she played the title role on the Spanish adaptation of the musical in 1980. Nacha Guevara, who also starred in the musical in 1986, has performed the song live several times.

Singer Sinéad O'Connor recorded "Don't Cry for Me Argentina" on her album Am I Not Your Girl (1992). Her version received mixed response, with Joy Press from Spin who described the rendition as "a melodramatic, sweeping 'Je ne regrette rien'—style apologia. O’Connor had a calling. Obsessed with purity and truth, she pitched herself somewhere between Christ and the Virgin Mary, as an asexual visionary whose suffering was Inextricably Intertwined with the pain of Ireland and of the world." Released as a CD maxi single, the song reached number 31 in Belgium Flanders and number 44 in Netherlands. An easy listening cover version of the song by The Mike Flowers Pops reached number 30 in the UK singles charts in 1996. A punk rock version was recorded by alternative band Me First and the Gimme Gimmes in 1999 for their second studio album, Are a Drag. Angus Cargill, author of Hang the DJ: An alternative book of music lists was shocked by the complete revamp of the song as punk rock, saying that "there's a dark appeal in here, like the thought of taking a cattle prod to your grandma's". An unidentified piano rendition was also used as an ident for V19, a French numbers station based in Spain; an audio recording from the station, titled "Whiskey Tango Viente Y Uno" after its callsign, is included on The Conet Project.

It is covered by Lloyd Webber's younger brother and cellist Julian on the 2001 album, Lloyd Webber Plays Lloyd Webber. Another version was recorded in 2010 by TV series Glee's actors Lea Michele and Chris Colfer, as the characters Rachel Berry and Kurt Hummel respectively. It was sung as a duet with each singer taking a different stanza and performing before a different audience in a split-scene. Their solo versions were also in Glee: The Music, The Complete Season Two and reached number 67 in the United Kingdom and number 97 in US. Multinational quartet Il Divo recorded it on their 2011 album, Wicked Game, and performed it live on tours. The group's voice was considered suitable for musical numbers like "Don't Cry for Me Argentina", by Ben Walsh from The Independent. Nicole Scherzinger performed the song live at the Andrew Lloyd Webber: 40 Musical Years tribute show. Louis Virtel from The Backlot complimented her vocals, saying that the performance "has to be seen to be believed, as Scherzinger’s crystal-clear vocal soars like a glittery javelin".

title: Don't Cry for Me Argentina


text:
Soyuz TM-6

Soyuz TM-6 was a crewed Soyuz spaceflight to Mir. It was launched on 29 August 1988, at 04:23:11 UTC, for the station's third long-duration expedition, Mir EO-3. The three-person crew that was launched consisted of Research Doctor Valeri Polyakov, who became part of the EO-3 crew, as well as the two crew members of the week-long mission Mir EP-3, which included the first ever Afghan cosmonaut, Abdul Ahad Mohmand.

On September 8, Soyuz TM-6 was undocked from Mir's Kvant port and redocked onto the Mir Base Block's port. It remained there until December, when it brought Titov and Manarov of the EO-3 crew back to Earth. It also landed French astronaut Jean-Loup Chrétien, ending his 25-day-long spaceflight which started with Soyuz TM-7.

Crew
Valeri Polyakov remained behind on Mir with cosmonauts Musa Manarov and Vladimir Titov when Mohmand and Lyakhov returned to Earth in Soyuz TM-5.

The crew of Soyuz TM-6 had a unique makeup, with a commander (Vladimir Lyakhov) who had been trained to fly a Soyuz-TM solo in the event a rescue ship needed to be sent to recover two cosmonauts from Mir, no flight engineer, and two inexperienced cosmonaut-researchers. One was Valeri Polyakov, who would remain aboard Mir with Titov and Manarov to monitor their health during the final months of their planned year-long stay. The other was Intercosmos cosmonaut Abdul Ahad Mohmand, from Afghanistan.

Mission parameters

 * Mass: 7070 kg
 * Perigee: 195 km
 * Apogee: 228 km
 * Inclination: 51.6°
 * Period: 88.7 minutes

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

title: Soyuz TM-6


text:
Rod Brind'Amour

Roderic Jean Brind'Amour (born August 9, 1970) is a Canadian professional ice hockey coach and former player who is the head coach for the Carolina Hurricanes of the National Hockey League (NHL).

He was selected in the first round, ninth overall, by the St. Louis Blues in the 1988 NHL Entry Draft. Brind'Amour has also played for the Philadelphia Flyers and Carolina Hurricanes, the latter with whom he captained to the Stanley Cup in 2006, marking the first championship in franchise history.

Early years
Born in Ottawa but raised in Prince Rupert and Campbell River, British Columbia, Brind'Amour was drafted by the St. Louis Blues in the first round, ninth overall, of the 1988 NHL Entry Draft. He played the next season at Michigan State University.

He became known for working out constantly, earning the nickname "Rod the Bod". During his time at Michigan State, Brind'Amour would go from a game directly into the weight room, where he would undertake a strenuous workout. Spartans head coach Ron Mason said Brind'Amour's workouts became so intense they would turn the lights out on him, and when that failed to work, they would padlock the room to bar his entry.

St. Louis Blues
At the conclusion of the 1988–89 Central Collegiate Hockey Association (CCHA) season with the Spartans, Brind'Amour joined the Blues during the 1989 Stanley Cup playoffs. He made his debut in Game 5 of the Blues' division semifinals against the Minnesota North Stars, and scored a goal on his first shot. In his first full NHL season, 1989–90, Brind'Amour scored 27 points in the Blues' first 24 games and finished third on the Blues with 26 goals. For his efforts, Brind'Amour was selected to the 1989–90 All-Rookie Team.

When the Blues lost team captain and top defenceman Scott Stevens as compensation for the free agent signing of Brendan Shanahan, they suddenly had a big hole on their defense. General Manager Ron Caron targeted Philadelphia Flyers blue liner Murray Baron as his solution.

Philadelphia Flyers
Brind'Amour was traded to the Philadelphia Flyers (along with Dan Quinn) in exchange for Murray Baron and Ron Sutter just before the start of the 1991–92 season. He spent his years in Philadelphia as an alternate to captain Kevin Dineen and then Eric Lindros, filling in as captain and wearing the "C" when the latter was out of the lineup. It was there he started his reputation of being one of the best shutdown centres of the NHL.

When the Flyers faced the Pittsburgh Penguins in the first round of the 1997 playoffs, Brind'Amour scored two short-handed goals during a single power play. The Flyers made it to the Stanley Cup Finals, which they lost to the Detroit Red Wings.

During his stint with Philadelphia, Brind'Amour was considered one of the NHL's "ironmen" with a consecutive games streak of 484 played, a Flyers franchise record. He culminated his career as a Flyer after 633 games with franchise records as the seventh all-time in assists with 366, tenth all time in goals with 235 and ninth overall in points with 601. He was inducted into the Flyers Hall of Fame on November 23, 2015, in a game against the Carolina Hurricanes, with whom he was an assistant coach at the time.

Carolina Hurricanes
Following his return from an ankle injury during the 1999–2000 season, Brind'Amour was traded to the Carolina Hurricanes (along with Jean-Marc Pelletier) in exchange for Keith Primeau.

Brind'Amour formed one-third of Carolina's "BBC Line", also featuring Bates Battaglia and Erik Cole, during the Hurricanes' run to the Finals in 2002.

Brind'Amour was named captain of the Hurricanes before the 2005–06 season and led the Hurricanes to win the Stanley Cup that season, defeating the Edmonton Oilers in the Finals in seven games. During the subsequent off-season, Brind'Amour signed a five-year contract extension with the Hurricanes.

In December 2006, Brind'Amour recorded his 1,000th career NHL point, and in February 2007, he scored his 400th career goal.

On February 14, 2008, in a game against the Pittsburgh Penguins, Brind'Amour tore his anterior cruciate ligament (ACL) in the first period, ending his season. However, Brind'Amour would return for the 2008–09 season, playing in 80 games while recording 16 goals and 35 assists as the Hurricanes reached the Eastern Conference Finals.

On January 20, 2010, Brind'Amour was replaced as Hurricanes captain by Eric Staal, previously an alternate captain. Brind'Amour then served as an alternate captain for the remainder of the season. Following the conclusion of the season, Brind'Amour retired from professional hockey, having played 1,484 career NHL games, after which he moved into Hurricanes' management as a director of forwards development. His number 17 jersey was retired in a ceremony on February 18, 2011. The ceremony took place prior to a game against the Philadelphia Flyers, which at the time was coached by Peter Laviolette. Thus the two teams Brind'Amour spent the bulk of his career with, as well as the coach he won the Stanley Cup with, were present to honour him. It is the third number to be officially retired by the Hurricanes since moving to Raleigh, North Carolina, after Ron Francis' number 10 and Glen Wesley's number 2. Brind'Amour was among the last few players in the NHL who had also played in the League during the 1980s. At the time of his retirement, he finished his professional career 18th in all-time NHL games played.

Coaching career
On June 7, 2011, Brind'Amour was introduced by the Carolina Hurricanes as their assistant coach and development coach, retaining his role in developing the franchise's forwards while also spending time behind the bench in the NHL.

Brind'Amour represented the Hurricanes in a ceremony before the Charlotte Checkers' first home game as Carolina's new American Hockey League (AHL) affiliate.

On May 8, 2018, Brind'Amour was hired as the Hurricanes' head coach. In his first season as head coach, Brind'Amour guided the team to its first playoff berth in a decade, leading them to the Eastern Conference finals where they were swept by the Boston Bruins.

On April 26, 2021, Brind'Amour became the first head coach in Hurricanes history to lead the team to the playoffs in three consecutive seasons. On June 17, Brind'Amour agreed to a three-year contract extension with the Hurricanes. That same day, Brind'Amour was awarded the Jack Adams Award, given annually to the NHL's coach of the year.

Personal life
Brind'Amour was married to Kelle Sullivan Gardner, with whom he had three children. The couple divorced in 2004.

On July 10, 2010, Brind'Amour married Amy Biedenbach, the daughter of former North Carolina State University basketball standout and former UNC Asheville men's basketball coach, Eddie Biedenbach. The couple have one son together.

Brind'Amour's oldest son, Skyler, was drafted by the Edmonton Oilers 177th overall in the 2017 NHL Entry Draft, and currently plays as a member of the Florida Panthers organization for their AHL affiliate, the Charlotte Checkers. The Checkers became affiliated with the Panthers following the 2019–20 season after the Carolina Hurricanes ended their affiliation with the team after ten seasons. Skyler Brind'Amour played for the Quinnipiac University Bobcats, and helped the team to win its first NCAA title in 2023.

title: Rod Brind'Amour


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Baron Mordo

Baron Karl Amadeus Mordo (known as Baron Mordo) is a character appearing in American comic books published by Marvel Comics, commonly as an adversary of Doctor Strange. The character was created by writer Stan Lee and artist Steve Ditko, and first appeared in Strange Tales #111 (Aug. 1963). Baron Mordo is a gifted magician, especially adept in the black arts of magic, including summoning demons.

Karl Mordo was studying the magic arts under the Ancient One in Tibet when Dr. Stephen Strange arrived. Strange foiled Mordo's plot to kill the Ancient One, leading to Mordo being cast out and Strange eventually becoming Sorcerer Supreme. Mordo has since clashed several times with Dr. Strange, at times with the backing of the demon Dormammu, briefly even impersonating Dr. Strange.

The Baron Mordo character has appeared in other forms of media, such as animated television series, films, and video games. Chiwetel Ejiofor portrays the character in the Marvel Cinematic Universe film Doctor Strange (2016) and an alternate universe version in Doctor Strange in the Multiverse of Madness (2022).

Publication history
Created by Stan Lee and Steve Ditko, Baron Mordo first appeared in Strange Tales #111 (Aug. 1963).

Fictional character biography
A Transylvanian nobleman (born in Varf Mandra), Karl Amadeus Mordo became a student of the Tibetan sorcerer known as the Ancient One. When Mordo plotted to kill his teacher, Dr. Stephen Strange learned of the plot. Mordo was forced to cast restraining spells to prevent Strange from warning the Ancient One. In desperation, Strange decided to accept the Ancient One's offer to take him on as his mentor in magic to have some hope of stopping Mordo. The Ancient One, however, was fully aware of Mordo's plot and of Strange's desire to warn him. Pleased at Strange's unselfish decision, the Ancient One's magical teachings immediately freed the doctor and explained the full situation. Thus informed in the face of his recent experiences, Strange agreed to become the Ancient One's apprentice despite the requirement that he abandon his former life. The Ancient One trained him to be a formidable opponent of Mordo. Eventually Mordo was exiled by the Ancient One. Mordo's abilities were similar to those of Doctor Strange, but Mordo was particularly skilled at astral projection and hypnosis, as well as mesmerism. He was more than willing to use powerful black magic and invoke demons, both of which Strange was reluctant or unable to do. Mordo's use of these darker arts would sometimes backfire.

The evil Mordo became an open foe of Doctor Strange. He sent his astral form to hypnotize the Ancient One's servant into poisoning his food, hoping the old man would reveal his secrets of magic. However, Strange tricked him into returning to his physical body after engaging in astral contact with him, thus breaking his hold over the servant, who helped the Ancient One to recover. Mordo disguised himself as Sir Clive Bentley, and trapped Doctor Strange with a drugged candle that paralyzed him, but Strange was able to use his mental powers to call a local girl to free him. He opposed Doctor Strange's discipleship to the Ancient One. He set a series of new traps for Strange in a bid to wrest magical secrets from the Ancient One. Mordo took Strange's body while Strange was astral projecting for a threat he sensed that Mordo had caused, and cast a barrier around it, knowing that if his astral form was out for 24 hours it would die. Strange found it in a wax museum, but was unable to enter. However, Strange took control of a wax model in the last minute, distracting Mordo and enabling Strange to return to his body. He imprisoned the Ancient One, but was again defeated. Mordo made a deal with his new master, the demonic Dormammu of the Dark Dimension, to amass additional power to defeat Doctor Strange. He dispatched agents, other evil magicians around the World and Spirit wraiths, to search for the incognito Strange, and then banished him from the Earth. He fled from Strange, and then dispatched agents to kill Strange. He engaged in personal combat with Strange. Mordo was exiled to the Dimension of Demons by Dormammu. He battled Doctor Strange once more at Stonehenge, but was ultimately banished from Earth.

Mordo would return eventually to continue to bedevil Doctor Strange. He impersonated Doctor Strange during Strange's brief retirement, but was soon vanquished. Mordo discovered the Book of Cagliostro, and battled Strange in 18th-Century Paris. He then accompanied Strange and Sise-Neg to the dawn of time. After suffering a mental breakdown, he was placed in Doctor Strange's care, but later escaped. Mordo transformed the dead Lord Phyffe into Azrael, angel of death, and dispatched him against Strange. He sent the Man-Thing to kill Strange, and assembled thirteen people for human sacrifice to the Chaos Demon. Mordo was defeated by Strange, Jennifer Kale, and the Man-Thing. He attacked Strange, and escaped into the 1940s, but was manipulated by Dormammu.

Mordo later sold his soul to both Mephisto and Satannish for power, gaming that Strange would save him. He was trapped with Sara Wolfe, and later rescued her. Mordo himself was later imprisoned, and Sara Wolfe freed him from imprisonment. Mordo battled Dormammu to defend the Earth. He was defeated, and pretended to ally himself with Dormammu, and then allied himself with Umar to defeat Dormammu.

Umar and Mordo were eventually deposed by Clea. Mordo eventually contracted terminal cancer as a side effect of his use of black magic, and renounced evil just before his death. He later returned to life. He later allies himself with Terrax, Tiger Shark and Red Hulk as the "Offenders", to be opposed by his old rival and newly costumed Doctor Strange, aided by the other three original Defenders.

Mordo appeared in the pages of X-Factor vol. 3 #203, where it is revealed that he kidnapped politician Cartier St. Croix to lure his daughter Monet St. Croix into a trap.

During the "Dark Reign" storyline, Quasimodo researched Baron Mordo for Norman Osborn and recommends offering him small favors in exchange for his magical expertise.

Mordo appears to be deceased in Uncanny Avengers #6.

Mordo returns during the aftermath of the Last Days of Magic arc. Mordo forces a family to leave their residence, but lets the mother stay as his servant. Dormammu incinerates the woman's body as he possesses her to chastise Mordo for delaying his plans. Mordo heads to the Sanctum Sanctorum and attacks Wong with Doctor Strange confronting him and the two briefly battle before the latter is taken by Nightmare. Mordo, angered that his foe was taken by another, is confronted by Dormammu again (in the form of a swarm of rats) who proceeds to attack Mordo causing him to leave. He later catches up to Doctor Strange when he is attacked by Orb, until Dormammu arrives. He then helps Doctor Strange in banishing Dormammu directly to Shuma-Gorath.

During the "Secret Empire" storyline, Baron Mordo becomes the caretaker of Manhattan after it gets surrounded by Darkforce following Hydra's takeover of the United States. In addition to using the Sanctum Sanctorum as his residence, Baron Mordo has the Elder God Pluorrg guarding the Sanctum Sanctorum. He later catches Daredevil, Luke Cage, Cloak and Iron Fist when they are attempting to fight him. Mordo is then defeated by Doctor Strange, Spider-Woman, Ben Urich and Kingpin.

During the "Death of Doctor Strange" storyline, Baron Mordo appears with Kaecilius at the Sanctum Sanctorum where Wong, Doctor Voodoo, Zelma Stanton, and the Ghost of Bats the Dog find Doctor Strange dead. Wong accuses Baron Mordo of this crime as he states that somebody stole this opportunity from him. Just then, a classic version of Doctor Strange arrives having sensed that the worst has happened and asks what year is it. When the Three Mothers show up upon tracking Clea to the Sanctum Sanctorum, Baron Mordo and Kaecilius take their leave. Baron Mordo's castle is raided by Classic Doctor Strange, Clea, and Wong when they suspect that he stole the Eye of Agamotto and the Cloak of Levitation. Baron Mordo gives them the items stating that he wasn't the one who stole them, the investigators accepting this claim as he still denies killing Strange where Mordo's ego would have driven him to admit his guilt if he actually was responsible at this point. In New Umarria, Antarctica, Classic Doctor Strange, Clea, and Magik arrive and meet with Baron Mordo, Kaecilius, Aggamon, Tiboro, and Umar where he puts them through a murder mystery that involved bringing up why the inter-dimensional warlords fled to Earth and the framing of Baron Mordo. He concludes that Kaecilius is responsible for Doctor Strange's murder as Kaecilius plans to make Baron Mordo "squeal with all the agonies of the Purple Dimension" and then kill Classic Doctor Strange again with Doctor Strange's own powers. Baron Mordo later helps Doctor Strange, Classic Doctor Strange, Clea, Magik, Aggamon, Tiboro, and Umar in fighting the Peregrine Child and the Three Mothers.

Powers and abilities
Baron Mordo has vast magical abilities derived from his years of studying black magic and the mystic arts. He can manipulate magical forces for a variety of effects, including hypnotism, thought-casting, and illusion casting. He can separate his astral form from his body, allowing him to become intangible and invisible to most beings. He can project deadly force blasts using magic, can teleport inter-dimensionally, and can manipulate many forms of magical energy. He can tap extra-dimensional energy by invoking entities or objects of power existing in dimensions tangential to Earth's through the recitation of spells. He can also summon demons, but often does not have enough power to force them to do what he wants them to do.

Baron Mordo has some knowledge of a karate-like martial art form, and has an extensive knowledge of magical lore.

Mutant X
Baron Mordo appears in the last issue of Mutant X, being referred to as the 'Ancient One'. He is still considered a villain, though he allies himself with other heroes and villains to stop the Beyonder/Goblin Queen entity.

2099
In Secret Wars, the Avengers 2099 of the Battleworld domain of 2099 investigate the threat of the mysterious Martin Hargood. In the final issue, it is revealed he is Baron Mordo's descendant. After reclaiming his ancestral title, Martin Hargood uses Alchemax's Virtual Unreality lab to summon the Dweller in Darkness. Captain America 2099 punches Mordo out, while Roman, the son of Namor, summons a Giganto to defeat the Dweller.

Wastelanders
In the miniseries "Wastelanders" (set in the different realities of Old Man Logan), Baron Mordo is shown to run a village in The Presidential Quarter on Earth-21923 where he has the Darkhold in his possession, drew his power from a captive Agatha Harkness, and enslaved Sofia Strange. After Old Man Logan had killed Red Skull and Hulk, a power vacuum was created which led to Doctor Doom taking over the Presidential Quarter. Doctor Doom came across Baron Mordo's village at that time. He cuts off Baron Mordo's access to Harkness, kills him, and takes his Darkhold.

Television

 * Baron Mordo appears in Spider-Man (1994), voiced by Tony Jay.
 * Baron Mordo appears in The Super Hero Squad Show, voiced by Dave Boat. This version was imprisoned in a magic soda can sometime prior to the series. In his most notable appearance in the episode "Invader from the Dark Dimension!", Wong recycles Mordo's prison into the eponymous realm. When Iron Man accidentally ends up in the Dark Dimension, Mordo possesses him and escapes. Dubbing himself the "Iron Menace", Mordo takes over Stark Industries and uses technology to brainwash most of the Super Hero Squad and Lethal Legion until the Defenders, Doctor Doom, and MODOK join forces to free their allies, exorcise Mordo from Iron Man, and send the former back to the Dark Dimension.
 * Baron Mordo appears in Ultimate Spider-Man, voiced by Danny Jacobs.
 * Baron Mordo appears in the Avengers Assemble episode "Eye of Agamotto" Pt. 1, voiced by Phil LaMarr. This version is an ally of Hydra and resembles his MCU counterpart.
 * Baron Mordo appears in the Spider-Man (2017) episode "Amazing Friends", voiced by Leonard Roberts. This version is an ally of Advanced Idea Mechanics.

Film

 * Baron Mordo appears in Doctor Strange: The Sorcerer Supreme, voiced by Kevin Michael Richardson. This version is a warrior-like sorcerer who seeks victory in combat above all else, even going as far as killing innocent children, for which the Ancient One rejected him as a candidate for becoming the Sorcerer Supreme. Seeking revenge, Mordo sides with Dormammu and kills the Ancient one, but is later defeated by Doctor Strange and eaten by Dormammu for his failure.
 * Karl Mordo appears in films set in the Marvel Cinematic Universe (MCU), portrayed by Chiwetel Ejiofor.
 * Introduced in Doctor Strange (2016), this version is a member of the Masters of the Mystic Arts who trains Stephen Strange, wields the Staff of the Living Tribunal, and is noted by the Ancient One as being unable to recognize the need for moral flexibility and compromise.
 * An alternate universe variant of Mordo from Earth-838 appears in Doctor Strange in the Multiverse of Madness. This version became the Sorcerer Supreme and a member of the Illuminati after his Strange was executed by the group for drawing power from the Darkhold.

Video games

 * Baron Mordo appears in Marvel: Ultimate Alliance voiced by Philip Proctor. This version is a member of Doctor Doom's Masters of Evil and serves as one of his lieutenants.
 * Baron Mordo appears as a boss and unlockable character in Marvel: Avengers Alliance.
 * Baron Mordo appears in Lego Marvel's Avengers via the "All-New All-Different Doctor Strange" DLC pack.
 * Baron Mordo appears in Marvel: Future Fight.
 * Baron Mordo appears as a playable character in Marvel: Contest of Champions.
 * Baron Mordo appears as a playable character in Marvel Puzzle Quest.
 * Baron Mordo, based on the MCU incarnation, appears as a playable character in Lego Marvel Super Heroes 2.
 * Baron Mordo appears in Marvel Future Revolution.

title: Baron Mordo


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Ford Fox platform

The Ford Fox platform is an automobile platform that was used by Ford Motor Company. Introduced for compact sedans in the 1978 model year, the Fox architecture was utilized for a wide variety of configurations for Ford and Lincoln-Mercury vehicles. In its original form, the platform was used through the 1993 model year; a substantial redesign of the Ford Mustang extended its life into the 21st century, ending production in 2004. Produced across 26 model years, the Fox platform is the second-longest car architecture ever designed by Ford Motor Company (behind the Panther platform, 33 model years).

Designed to be relatively lightweight and simple, the Fox platform was initially developed to replace several derivatives of the Ford Falcon compact architecture dating from 1960. For 1978, the Ford Fairmont and Mercury Zephyr were the first models derived from the chassis, replacing the Ford Maverick and Mercury Comet. As downsizing expanded into the intermediate segment, the Fox platform came into use for mid-size applications, replacing the larger Ford Torino chassis. While best known for underpinning the Ford Mustang pony car, the Fox platform also saw use in personal luxury segments, underpinning coupes for all three Ford divisions.

During the mid-1980s, the usage of the Fox platform began to decline as Ford transitioned its compact and mid-size vehicle lines to front-wheel drive. After the 1992 model year, the Ford Mustang was the sole model to use the chassis. For 2005, the fifth-generation Ford Mustang adopted the rear-wheel drive D2C platform, the fifth and final vehicle architecture developed as a Fox-platform replacement.

Background and development
In the American automotive industry, 1973 marked a significant period of transition. In May, the EPA released the first comprehensive list of fuel economy data; in addition for providing information for consumers, the data was required to establish protocols for CAFE and gas-guzzler taxes. October 1973 marked the beginning of the first 1970s oil crisis, leading gas prices to increase to US$.55 per gallon.

Under chairman/CEO Henry Ford II and president Lee Iacocca, several changes were made at the executive level of Ford Motor Company. William O. Bourke, ex-chairman of Ford of Europe and one-time managing director of Ford of Australia, was made executive vice president of North American Operations; Robert Alexander, previously with Ford of Europe as vice president in charge of car development, was moved to same position in the United States. Hal Sperlich was Ford Vice President of Product Planning and Research.

A proponent of downsizing, Sperlich conceived of a "World Car" that could be sold in both Europe and North America as a solution to the needs of the various divisions. At the time, the Ford small-car product line included the subcompact Pinto and the Mustang II and the compact Maverick; while the Mustang II was several months from release, the Maverick was derived from the Falcon. Lincoln-Mercury sold no small cars of its own, importing the Capri from Ford of Europe. Ford of Europe sold the Escort as its smallest car; Ford UK sold the Cortina while Ford of Germany sold the Taunus

Fox platform development
In December 1973, Lee Iacocca formally approved development of the Fox platform. Sharing its name with the Audi Fox (although not named after it), Ford executives experienced with the automotive industry outside the United States sought to benchmark a new design from a popular European subcompact design.

Development started in early 1973 on both a short-wheelbase version to replace the Pinto/Cortina/Taunus lines and a long-wheelbase version that would become the Fairmont. Although the Fairmont would be the first Fox-based car to reach the market, development was guided by an anticipated sport coupe to be based on the new platform.

By 1974 the difficulties faced in meeting the conflicting regulatory requirements in different markets and differing production methods used by the various divisions had killed the world-car idea. While unable to replace the Cortina/Taunus, the Fox platform remained a multiple-wheelbase design, as the short-wheelbase version remained in development to replace the Mustang II. In 1975 North American Automobile Operations took over development of the Fox platform from Sperlich's Product Planning and Research group.

The first running Fox (Fairmont) prototype was a Cortina with a modified suspension, using MacPherson struts and torsion bars. The torsion bars would not appear in the final version.

Chassis overview
The Fox platform, like most compact and mid-size cars of the late 1970s, was designed with a rear-wheel drive layout. In contrast to the full-size Fords and Mercurys of the time, the Fox platform used unibody construction.

The Fox platform used MacPherson strut front suspension, continuing the use of a live rear axle suspension configuration. Initially configured with rear drum brakes, four-wheel disc brakes were added to higher-performance vehicles, including the Continental Mark VII, Ford Mustang SVO, 1994–2004 Ford Mustang, and the Ford Thunderbird Turbo Coupe.

Due to the use of strut front suspension, the Fox platform was designed with a wider engine bay than its Falcon-chassis predecessor. As a result, the chassis was flexible in its use of longitudinal engines, accommodating a wide variety of powertrains, including four-cylinder (naturally-aspirated and turbocharged), inline-6, V6, and V8 engines, ranging from a 2.3 L inline-4 to a 5.0 L V8. To further improve the fuel economy of Lincoln Fox-platform vehicles in the 1980s, the platform was adapted for the use of BMW diesel inline-6 engines.

The Fox platform was produced in four separate wheelbases, 100.5 inches (for the Ford Mustang/Mercury Capri; lengthened to 101.3 for the SN95 redesign), 104.2 inches (1983–1988 Thunderbird/Cougar), 105.5 inches ("standard"; sedans/wagons), and 108.5 inches ("long"; 1980 Thunderbird/Cougar XR7/ Continental Mark VII/ Lincoln Mark VII/ Lincoln Continental).

1983 model year changes
During the early 1980s, the Fox platform would be involved in major changes to many Ford nameplates. In the marketplace, redesigns of the Ford Granada, Ford Thunderbird, and Mercury Cougar had been poorly received by consumers, leading to a collapse in sales for all three nameplates from 1980 to 1982. In addition, fuel prices had stabilized to the point where consumers had shifted back to full-size cars, leading the company to postpone its planned discontinuation of the full-size Panther-platform vehicles. To rectify the sales collapse and capitalize on the move to full-size vehicles, Ford began a major model shift of many of its best-selling vehicle nameplates in all three divisions.

For 1981, Lincoln saw the first changes, as the Lincoln Continental was rechristened the Lincoln Town Car; the Lincoln Continental nameplate went on hiatus until it reappeared on a Fox platform mid-size sedan for the 1982 model year (again giving Lincoln a Cadillac Seville competitor). To eliminate further duplication, the Continental Mark VI lived out its model cycle and was replaced by the far more contemporary Mark VII for 1984.

For 1983, the Ford and Mercury product ranges saw a number of extensive changes. To move its full-size nameplates upmarket, the Ford LTD Crown Victoria and Mercury Grand Marquis became the sole full-size sedans, while the LTD and Marquis nameplates were moved to the mid-size Fox platform as restyled versions of the Granada and Cougar sedan and wagon to replace those slow selling models. To reverse the sales collapse of the Ford Thunderbird and Mercury Cougar (now solely a coupe), Ford redesigned the two coupes with radical new aerodynamic bodystyling.

The revision effectively tripled the size of the Lincoln model range while eliminating the duplication of several Ford/Mercury vehicles (the Ford Fairmont/Granada and Mercury Zephyr/Cougar sedan and wagon); the mid-size Fairmont/Zephyr were replaced by the compact Ford Tempo/Mercury Topaz for 1984 and the Cougar reverted to its coupe-only bodystyle.

SN-95
By the early 1990s, the Ford Mustang had become the sole model produced on the Fox platform. For the 1994 model year, as the Mustang underwent a major redesign (under the body family program code name Fox-4), the Fox platform itself saw major changes to its architecture. As part of the upgrade, most of its parts were redesigned carrying over only the floor pan and front suspension cross member with major changes to the suspension and improvements to noise, vibration, and harshness (NVH); the updated Mustang-specific platform became known as the SN-95 platform.

The 2003–2004 Mustang SVT Cobra became the ultimate development of the Fox/SN95 platform, with a 390 hp supercharged 4.6 L DOHC V8. The SN95 platform would be produced for 11 years, extending the life of the Fox platform to 26 years of production. For 2005, the Mustang was completely redesigned, using the all-new Ford D2C platform.

Discontinuation
As the company entered the 1980s, Ford became part of a growing trend among automobile manufacturers using front-wheel drive in its vehicles. As part of the 1983 changes to the Ford product range, the Ford Fairmont and Mercury Zephyr were phased out in favor of the front-wheel drive Ford Tempo/Mercury Topaz, introduced as 1984 models and based on a long-wheelbase variation of the Ford Escort platform.

Introduced as 1983 models, the Ford LTD and Mercury Marquis were replaced after the end of their short 1986 model year run by the Ford Taurus and Mercury Sable. As the Lincoln Continental shifted to front-wheel drive after the 1987 model year, sedan production of the Fox platform ended.

For 1989, Ford moved the Thunderbird and the Mercury Cougar to the all-new MN12 platform; while still rear-wheel drive, the new chassis introduced a number of suspension advances over the Fox platform. As the Lincoln Mark VII was replaced by the Mark VIII for 1993, the Ford Mustang became the sole Fox-platform produced by Ford.

Vehicles
In total, fifteen distinct vehicles were produced on the Ford Fox platform, with the Ford Fairmont, Mercury Zephyr, Ford Durango, Ford Mustang SVO, and Continental/Lincoln Mark VII produced exclusively on the architecture. The platform would be produced in a variety of body styles, including two-door and four-door sedans, two-door coupes, three-door hatchbacks, five-door station wagons, two-door convertibles (marking the return of the bodystyle to Ford), and a two-door coupe utility (the last coupe utility produced by Ford in North America).

title: Ford Fox platform


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Soyuz TM-7

Soyuz TM-7 was a crewed Soyuz spaceflight to Mir. It launched on 26 November 1988, at 15:49:34, and was the start of the fourth long duration expedition to Mir, Mir EO-4. The crew would join the third crew member of EO-4, cosmonaut/physician Valeri Polyakov, who was on Mir for the second half of EO-3. Also launched by Soyuz TM-7 was French astronaut Jean-Loup Chrétien, who would take part in the 24-day French mission known as Mir Aragatz. The spacecraft Soyuz TM-7 remained docked to Mir for the duration of EO-4. At the end of EO-4 in April 1989, due to delays in the launch schedule, Mir was left uncrewed, and all three EO-4 crew members were transported back to Earth.

Backup crew

 * Aleksandr Viktorenko
 * Aleksandr Serebrov
 * Michel Tognini

Mission parameters

 * Mass: 7,000 kg 15,400 lb
 * Perigee: 194 km (120 mi)
 * Apogee: 235 km (146 mi)
 * Inclination: 51.6°
 * Period: 88.8 minutes

Mission highlights
The original launch date of November 21 was moved back to permit French president François Mitterrand to view the launch, which was also attended by David Gilmour and Nick Mason of Pink Floyd, who made an audio recording of the event for potential use in a future project. The spacecraft arrived at the Mir station carrying a three-man crew, including French cosmonaut Chrétien on his second flight into space. Titov, Manarov, and Chrétien returned to Earth in Soyuz TM-6. Alexander Volkov, Sergei Krikalev, and Valeri Polyakov remained aboard Mir. On 1989 April 28, they left Mir in mothballs and returned to Earth in Soyuz-TM 7. The Soyuz-TM land landing system is effective at reducing velocity in the vertical direction. However, according to cosmonaut Sergei Krikalev, winds at the landing site often impart considerable horizontal velocity. During the rough landing, Krikalev suffered a minor injury to his knee.

Preparations for the first EVA involving a non-Soviet/non-U.S. space traveler forced the cosmonauts to cut short a TV meeting with diplomats from 47 countries on December 8. On December 9, Chrétien and Volkov depressurized the multiport docking adapter and clambered outside Mir. Chrétien was first out. He installed handrails, then attached the 15.5 kg (34 lb) Échantillons experiment rack to the handrails by springs and hooks. He also attached electrical wires leading from the rack to Mir's power supply. Échantillons carried five technological experiments with applications to the Hermes shuttle program. Volkov and Chrétien then assembled the 240 kg (530 lb) experimental deployable structure (known as ERA). They attached a mount to handrails on the frustum linking the multiport docking unit to the small-diameter portion of the work compartment. After resolving problems with cables linking ERA to a control panel inside Mir, they attached the folded ERA structure to a support arm on the platform. The structure was designed to unfold to form a flat six-sided structure 1 metre deep by 3.8 metres across. From inside Mir, Krikalev commanded the structure to unfold, but to no avail. Volkov then kicked ERA, causing it to unfold properly. According to Krikalev, taking the ERA outside helped relieve the crowding problems. The EVA lasted 5 hours and 57 minutes.

The crew took with them a cassette of Pink Floyd's newly released live album Delicate Sound of Thunder (minus the cassette box, for weight reasons) and played it in orbit; this was claimed by David Gilmour to have been the first rock music recording in space. The tape was left on Mir when the mission crew returned to Earth.

title: Soyuz TM-7


text:
J-B Weld

The J-B Weld Company is an international company that produces epoxy products. The home office is based in Sulphur Springs, Texas. J-B Weld (stylized as J-B WELD) is the name of their flagship product: a specialized, high-temperature epoxy adhesive for use in bonding materials together. The company has run advertisements showing engine block repair with J-B Weld.

The J-B Weld Company, founded in 1969 by Sam Bonham in Sulphur Springs, Texas, specializes in epoxy products. Initially, the company sold to automotive shops in Texas, but now distributes its products across the United States and in 27 other countries through various retail channels. After being purchased by private investors in 2008, the company expanded its product line, which originally included J-B Weld, J-B Kwik, J-B Stik, and Waterweld.

J-B Weld epoxy is a two-part adhesive that can bond various surfaces and withstand high temperatures up to 500 °F (260 °C) constantly and 600 °F (316 °C) for short periods. It is water-resistant, petroleum/chemical-resistant, acid-resistant, and resists shock, vibration, and temperature fluctuations. The product consists of a resin and a hardener that need to be mixed before application. The mixture sets in 4-6 hours and fully cures in up to 15 hours. It can be used as an adhesive, laminate, plug, filler, sealant, or electrical insulator and can be drilled, ground, tapped, machined, sanded, and painted when cured.

J-B Kwik is a faster-curing two-part epoxy with medium-temperature resistance up to 300 °F (149 °C). Although not as strong or heat-resistant as J-B Weld, it has the same adhesion and does not shrink when hardening. J-B Kwik is waterproof, petroleum/chemical-resistant, acid-resistant, and resists shock, vibration, and extreme temperature fluctuations.

History
The company had its beginnings in 1969 in Sulphur Springs, Texas. Sam Bonham, at the time running a machine shop, discovered a way to create what he called a "tougher than steel" epoxy. In 1968, Sam's future wife Mary persuaded him to sell his invention and he founded the J-B Weld Company. Sam died suddenly in 1989. He had commented before his death, "My life's dream is for J-B Weld to be all the way around the world, and for me to see an 18-wheeler load out of here with nothing but J-B Weld." Within a year of his death, Mary had opened a European hub in London, internationalizing the J-B Weld Company and the distribution of the product.

Initially, the company sold to automotive shops and jobbers in Texas. Now, the J-B Weld Company distributes its products through multiple retail channels - including automotive chains, home improvement centers, hardware stores, and farm stores - and does business in all states in the United States, as well as in 27 other countries. In 2008 the company was purchased by a group of private investors. Led by CEO Chip Hanson, they have expanded the product lines through innovation.

Products
The J-B Weld Company's original product line focused on a small number of products: J-B Weld (original 2-tube epoxy), J-B Kwik (4-hour epoxy), J-B Stik (epoxy putty), Waterweld (underwater adhesive/filler), and a few others.

Since 2008, the company has broadened the product line to add J-B SteelStik, KwikWood, PlasticWeld, MarineWeld, Perm-O-Seal, WoodWeld and ClearWeld.

J-B Weld epoxy
J-B Weld is a two-part epoxy adhesive (or filler) that can withstand high-temperature environments. J-B Weld can be used to bond surfaces made from metal, porcelain, ceramic, glass, marble, PVC, ABS, concrete, fiberglass, wood, fabric, or paper. Alcohol should be avoided when cleaning surfaces, as it can degrade the bond. J-B Weld is water-resistant, petroleum/chemical-resistant (when hardened), and acid-resistant. It also resists shock, vibration, and extreme temperature fluctuations. J-B Weld can withstand a constant temperature of 500 °F, and the maximum temperature threshold is approximately 600 °F for 10 minutes. J-B Weld can also be used inside a microwave oven, exposed to microwave radiation instead of infrared radiation (heat).

The product is contained in 2 separate tubes: the "steel" (black tube of resin) and the "hardener" (red tube). Equal amounts are squeezed from both tubes and mixed. For the best bond, surfaces should be roughened (or scratched) with fine or coarse sandpaper.

When first mixed, J-B Weld is subject to sagging or running (slow dripping); even more so at warmer temperatures. After about 20 minutes the mixture begins to thicken into a putty that can be shaped with a putty knife or wooden spatula. The mixture will set enough for the glued parts to be handled within 4–6 hours, but requires up to 15 hours at cool temperatures to fully cure and harden. Temperatures above 50 F shorten all these times. After the initial setting period of a few hours, heat (e.g. from a heat lamp or incandescent light bulb placed near the bond) will speed the curing time.

J-B Weld can be used as an adhesive, laminate, plug, filler, sealant, or electrical insulator. When fully cured, J-B Weld can be drilled, formed, ground, tapped, machined, sanded, and painted.

While J-B Weld Original epoxy dries to a dark grey color, J-B Weld's ClearWeld epoxy dries clear. Although its bond is not quite as strong as the Original's (3900 psi vs. 5020 psi), ClearWeld is often preferred when appearance is an important consideration.

J-B Kwik epoxy
J-B Kwik (stylized as J-B KWIK) is a two-part epoxy, intended as an adhesive or filler, that can withstand medium-temperature environments (up to 300 °F).

J-B Kwik cures much more quickly, but it is not as strong or as heat-resistant as the original J-B Weld. However, J-B Kwik has the same adhesion (1800 psi) as J-B Weld, and also does not shrink when hardening.

J-B Kwik can be used to bond surfaces made from any combination of iron, steel, copper, aluminum, brass, bronze, pewter, plus porcelain, wood, ceramic, glass, marble, PVC, ABS, concrete, fiberglass, fabric, or paper. J-B Kwik is waterproof, petroleum/chemical-resistant (when cured), acid-resistant; plus resists shock, vibration, and extreme temperature fluctuations.

title: J-B Weld


text:
Mililani Trask

Mililani Trask is a leader of the Hawaiian sovereignty movement, political speaker, and attorney. One of Trask's contributions to the Hawaiian sovereignty movement was her founding of Na Koa Ikaika o Ka Lāhui Hawaii, a native Hawaiian non-governmental organization focusing on cultural, social, and economic development, education, health, housing, land entitlements, energy, and water issues.

Outside of Hawaii, Trask has worked with the United Nations to aid indigenous people from around the world seeking independence. She was a member of the Indigenous Initiative for Peace, helped author the United Nations Declaration on the Rights of Indigenous Peoples and was elected vice chair of the General Assembly of Nations of the Unrepresented Nations and Peoples Organization. For seven years, she worked and studied under the guidance of Mother Teresa of Calcutta. She is the younger sister of activist and writer, Professor Haunani-Kay Trask. Mililani graduated Kamehameha Schools in 1969 and earned her JD from Santa Clara University School of Law in 1978.

Family
Mililani Trask was born on the island of Oahu in Honolulu, Hawaii, and she has four siblings. Mililani's mother, Haunani Cooper, was a school teacher and Haunani’s mother, Iwalani Haia, worked for the Benevolent Societies on Maui while also engaging in efforts to raise awareness around the 1893 overthrow of Queen Liliuokalani. Mililani's father, Bernard Trask, was a lawyer. Mililani's grandfather, David Trask, was the first sheriff in Honolulu and was affiliated with the Territorial Legislature for 26 years. Her uncle, David Trask Jr., was a senator, a state representative, and a leader of the Hawaii Government Employees Association. He was credited for bringing the power of collective bargaining to the union. Her other uncle, Arthur Trask, was a lawyer and political figure for the Democratic Party who was well known for his abilities as an orator and storyteller.

Office of Hawaiian Affairs
Mililani Trask worked for the Office of Hawaiian Affairs from 1998 to 2000 as a Trustee at Large. After the passage of the Rice Decision in 2000 gave non-Hawaiians voting access in OHA elections, Mililani lost her bid for reelection despite the fact that she won the 1998 election by a previously unprecedented number of votes cast by Hawaiians since the formation of OHA in 1978. In 2016 she ran for the Big Island OHA Trustee position on the grounds that the Office of Hawaiian Affairs needed to be more accountable to its beneficiaries. In press interviews and meetings on the topic, she has addressed the need for reform and a change in leadership. Although she did not win the 2016 election, she urged Native Hawaiians to vote. ""OHA wants to retain wardship – have the state provide it with the revenue, but they are not willing to work with their own people to provide critical needs like housing and poverty alleviation. We have to stop making the goal of self-governance be the opportunity to suck at the state and federal teat. It is not that. It is economic self-sufficiency and that's where we should be going and we're not.""

Mililani Trask has stated that, because the decisions made by OHA impact all of Hawaii, there needs to be more accountability and a focus on the most critical needs of Hawaiians in terms of education, housing, healthcare, incarceration, poverty and jobs instead of political campaigns. Mililani Trask also holds eighteen years of experience with ceded Hawaiian land trusts and affordable housing.

On February 24, 2022, the OHA Board of Trustees announced the selection of Mililani Trask to replace Keola Lindsey who resigned on February 1.

title: Mililani Trask


text:
Feminist geography

Feminist geography is a sub-discipline of human geography that applies the theories, methods, and critiques of feminism to the study of the human environment, society, and geographical space. Feminist geography emerged in the 1970s, when members of the women's movement called on academia to include women as both producers and subjects of academic work. Feminist geographers aim to incorporate positions of race, class, ability, and sexuality into the study of geography. The discipline was a target for the hoaxes of the grievance studies affair.

The geography of women
The geography of women examines the effects geography has on gender inequality and is theoretically influenced by welfare geography and liberal feminism. Feminist geographers emphasize the various gendered constraints put in place by distance and spatial separation (for instance, spatial considerations can play a role in confining women to certain locations or social spheres). In their book Companion to Feminist Geography, Seager and Johnson argue that gender is only a narrow-minded approach to understanding the oppression of women throughout the decades of colonial history. As such, understanding the geography of women requires a critical approach to questions of the dimensions of age, class, ethnicity, orientation and other socio-economic factors. An early objection to the concept of geography of women, however, claimed that gender roles were mainly explained through gender inequality. However, Foord and Gregson argue that the idea of gender roles emerges from a static social theory that narrows the focus to women and portrays women as victims, which gives a narrow reading of distance. Instead, they claim that the concept of the geography of women is able to display how spatial constraint and separation enter into the construction of women's positions. In 2004, theorist Edward Said critiqued the idea of geographical spaces in such a context where actions on gendered practices of representation are fabricated through dominant ideological beliefs. In response, feminist geographers argue that misrepresentations of gender roles and taken-for-granted feminist movements reveal that the challenges of the colonial present lie within the confinement of women to limited spatial opportunities. Therefore, feminist geographies are built on the principle that gender should be applied and developed in terms of space.

Socialist feminist geography
Socialist feminist geography, theoretically influenced by Marxism and Socialist feminism, seeks to explain inequality, the relationship between capitalism and patriarchy, and the interdependence of geography, gender relations, and economic development under capitalism. Socialist feminist geography revolves around questions of how to reduce the gender inequality caused by patriarchy and capitalism, and focuses predominantly on spatial separation, gender place, and locality. Uncertainty regarding appropriate articulation of gender and class analysis fuels a key theoretical debate within the field of socialist feminist geography. For example, when analyzing married mainland Chinese immigrant women living in New York City, women remain the primary object of analysis, and gender remains the primary social relation. However, socialist feminist geographers also recognize that many other factors, such as class, affect women's post-migration experiences and circumstances.

Socialist feminist geographers first worked primarily at the urban scale: Anglo-American feminist geographers focused on the social and spatial separation of suburban homes from paid employment. This was seen as vital to the day-to-day and generational development and maintenance of traditional gender relations in capitalist societies.

Socialist feminist geographers also analyze the ways in which the effects of geographical differences on gender relations not only reflect, but also partly determine local economic changes. Judith Butler's concept of "citationality" explores the lack of agency surrounding the facilitation of the presence of women within the discipline of geography. Subsequently, feminist geographers conclude that whenever performative measures are taken to diminish women's rights in geographical space, surrounding conventions adapt to make it seem as the norm. For instance, Susan Hanson and Geraldine Pratt's book "Gender, Work, and Space" reveals how geographical elements, such as the configuration of workplaces, the distribution of resources, and the design of urban and rural environments, contribute to shaping and reinforcing gender disparities within the realm of work.

Feminist geographies of difference
Feminist geographies of difference is an approach to feminist geography that concentrates on the construction of gendered identities and differences among women. It examines gender and constructions of nature through cultural, post-structural, postcolonial and psychoanalytic theories, as well as writings by women of color, lesbian women, gay men, and women from third world countries. In this approach, feminist geographers emphasize the study of micro-geographies of body, mobile identities, distance, separation and place, imagined geographies, colonialism and post-colonialism, and environment or nature.

Since the late 1980s, many feminist geographers have moved on to three new research areas: categories of gender between men and women, the formation of gender relations and identities, and the differences between relativism and situational knowledge.

Firstly, feminist geographers have contested and expanded the categories of genders between men and women. Through this, they have also begun to investigate differences in the constructions of gender relations across race, ethnicity, age, religion, sexuality and nationality, paying particular attention to women who are positioned along multiple axes of difference.

Secondly, to gain a better understanding of how gender relations and identities are formed and assumed, feminist geographers have drawn upon a broader extent of social theory and culture. Building upon this theoretical platform, feminist geographers are more able to discuss and debate the influence that post-structuralist and psychoanalytic theories have on multiple identifications.

Lastly, the difference between relativism and situated knowledge is a key area of discussion. Through these discussions, feminist geographers have discovered ways to reconcile partial perspectives with a commitment to political action and social change.

Critical human geography
Critical human geography is defined as "a diverse and rapidly changing set of ideas and practices within human geography linked by a shared commitment to emancipatory politics within and beyond the discipline, to the promotion of progressive social change and to the development of a broad range of critical theories and their application in geographical research and political practice."

Critical human geography emerged from the field of Anglophonic geography in the mid-1990s, and it presents a broad alliance of progressive approaches to the discipline. Critical human geographers focus on key publications that mark different eras of critical human geography, drawing upon anarchism, anti-colonialism, critical race theory, environmentalism, feminism, Marxism, nonrepresentational theory, post-Marxism, post-colonialism, post-structuralism, psychoanalysis, queer theory, situationism, and socialism.

Critical human geography is understood as being multiple, dynamic, and contested.

Rather than a specific sub-discipline of geography, feminist geography is often considered part of a broader, postmodern, critical theory approach, that draws upon the theories of Michel Foucault, Jacques Derrida, and Judith Butler, and many post-colonial theorists. Feminist geographers often focus on the lived experiences of individuals and groups in the geographies of their own localities, rather than theoretical development without empirical work.

Many feminist geographers study the same subjects as other geographers, but focus specifically on gender divisions. This has developed into concerns with wider issues of gender, family, sexuality, race, and class. Examples of areas of focus include:
 * Geographic differences in gender relations and gender equality
 * The geography of women (e.g. spatial constraints and welfare geography)
 * The construction of gender identity through the use and nature of spaces and places
 * Geographies of sexuality (queer theory)
 * Geographies of disability
 * Children's geographies

Feminist geographers are also deeply impacted by and respondent to contemporary globalization and neoliberal discourses that are manifested transnationally and translocally.

Feminist geography also critiques human geography and other academic disciplines, arguing that academic structures have been traditionally characterized by a patriarchal perspective and that contemporary studies which do not confront the nature of previous work reinforce the masculine bias of academic study. British geographer Gillian Rose's Feminism and Geography is one such sustained criticism that claims that the approach to human geography in Britain is historically masculinist. This geographic masculinization includes traditions of writing landscapes as feminine spaces—and thus as subordinate to male geographers—and subsequent assumptions of a separation between mind and body. Johnston & Sidaway describe such separation as "Cartesian dualism" and further explain its influence on geography:

Other feminist geographers have interrogated how the discipline of geography itself represents and reproduces the heterosexual male gaze. Feminist geographers such as Katherine McKittrick have asserted that how we see and understand space are fundamentally bound up in how we understand the hegemonic presence of the white male subject in history, geography and in the materiality of everyday space. Building off of Sylvia Wynter's theories of the racialized production of public and private space, McKittrick challenges "social landscapes that presume subaltern populations have no relationship to the production of space" and writes to document black female geographies in order to "allow us to engage with a narrative that locates and draws on black histories and black subjects in order to make visible social lives which are often displaced, rendered ungeographic." McKittrick stakes claim in the co-articulation of race and gender as they articulate space, writing: "I am emphasizing here that racism and sexism are not simply bodily or identity-based; racism and sexism are also spatial acts and illustrate black women's geographic experiences and knowledges as they are made possible through domination." Moreover, many feminist geographers have critiqued human geography for centering masculine knowledge emphasizing "objective" knowledge, arguing instead for the use of situated knowledge which understands both observation and analysis as being rooted in partial objectivity.

Challenges of feminist geography
Linda McDowell and Joanne P. Sharp, both foundational feminist geographers and scholars, describe the struggle of gaining recognition in academia, saying that "[it has been] a long struggle to gain recognition within geography as a discipline that gender relations are a central organizing feature both of the material and symbolic worlds and of the theoretical basis of the discipline." Feminist geographers struggle in academia in a variety of ways. Firstly, ideas that originate from feminist discourse are often seen as commonsense once the wider field accepts them, thereby rendering geography that is explicitly feminist invisible. Furthermore, feminist geography is understood to be the only subfield of geography where gender is explicitly addressed, permitting the wider discipline to disengage from feminist challenges. Finally, within the field, some geographers believe that feminist practice has been fully integrated into the academy, making feminist geography obsolete.

Challenges of feminist geography are also embedded in the subfield itself. The epistemology of feminist geography argues that the positionalities and lived experiences of the geographers are as central to scholarship as what is being researched. In this way, feminist geographers must maintain diverse identities to fully engage with the discipline. Linda Peake and Gill Valentine point out that, while feminist geography has addressed gender issues in more than twenty-five countries across the world, scholarship in the field of feminist geography is primarily conducted by white female scholars from institutions in the Global North. In this way, feminist geography faces not only barriers rooted in the academy but a lack of diversity in its own field.

Feminist geographers draw upon a broad range of social and cultural theory, including psychoanalysis and post-structuralism, to develop a fuller understanding of how gender relations and identities are shaped and assumed. This has led to the fundamental rethinking of gender and the contradictions and possibilities presented by the seeming instability and insistent repetitions of gender norms in practice. The focus on multiple identifications and the influence of post-structuralist and psychoanalytic theories has allowed feminist geographers to enter into dialogue with other strands of critical geography. This open dialogue, however, has also allowed tensions to build between geographers in the United States and geographers in Great Britain. Theoretical differences among feminist geographers are more obvious than in the past, but since 1994, the national differences between America and British geographers have begun to diminish as both parties pursue new directions.

Controversies surrounding feminist geography
In 2018, a leading journal in feminist geography entitled Gender, Place and Culture was subject to a scholarly publishing hoax known as the Grievance studies affair. James A. Lindsay, Peter Boghossian and Helen Pluckrose disingenuously submitted a paper titled "Human Reactions to Rape Culture and Queer Performativity in Urban Dog Parks in Portland, Oregon." The paper proposed that dog parks are "rape-condoning spaces", and a place of rampant canine rape culture and systemic oppression against "the oppressed dog" through which human attitudes to both problems can be measured and analyzed by applying black feminist criminology. The paper suggested that this could provide insight into training men out of sexual violence and bigotry. The paper has since been retracted. The hoax has been criticized as unethical and mean-spirited, as well as race-baiting and misogynist and critics of the hoax have suggested that the hoaxers misrepresented the process of peer review.

Notable Feminist Geographers
• Mona Domosh

• Rosalyn Deutsche

• Samantha Fletcher

• Susan Hanson

• Dolores Hayden

• Sarah Holloway

• Cindi Katz

• Doreen Massey

• Linda McDowell

• Gillian Rose

• Evelyn Stokes

• Gill Valentine

• Rachel Pain
 * Pamela Moss

Scientific journals

 * Gender, Place and Culture - A Journal of Feminist Geography Routledge ISSN 0966-369X Online ISSN 1360-0524

title: Feminist geography


text: Category:Wiki software

title: Category:Wiki software


text:
Soyuz TM-8

Soyuz TM-8 was a 1989 spaceflight which carried the fifth long duration crew to the Soviet space station Mir. It was part of the Soyuz-TM series of spacecraft, which were the fourth generation of the Soviet Soyuz. Soyuz TM-8 was the eighth crewed spaceflight to Mir, and spent 166 days in orbit.

Crew
The crew consisted of two Soviet cosmonauts. They had both been in space, but only Viktorenko had previously been to Mir, which was a 7-day visit during Mir EP-1.

Launch and docking
The Soyuz-U2 rocket was painted with advertisements. During the Soyuz spacecraft's final approach to Mir (4 metre distance), the Kurs rendezvous and docking system malfunctioned, so Viktorenko took over manual control and withdrew to 20 metres, and then docked manually. The spacecraft spent 166 days attached to Mir, for the duration of the expedition Mir EO-5.

Return to Earth
Soyuz TM-8 landed at 04:36 UTC on 19 February 1990, after an uneventful flight to Earth.

title: Soyuz TM-8


text:
Achilles (automobile)

The Achilles was an English shaft drive voiturette manufactured by B Thompson & Co. in Frome, Somerset between 1903 and 1908.

A range of cars were advertised, mostly with single-cylinder engines by Aster and De Dion. Other mechanical parts were also bought in, and it seems likely that only the bodies were originated by Achilles. At least 5 different models were produced including the 8 hp, 9 hp and 12 hp.

This car is notably seen in the French comic book Achille Talon, created by Michel Regnier (known by the pseudonym Greg), for the Pilote redaction.

title: Achilles (automobile)


text:
Wikipedia:Articles for deletion/J-B Weld

J-B Weld and JB Weld was proposed for deletion. This page is an archive of the discussion about the proposed deletion. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was an even split. Failing to reach consensus, these articles are kept (though, of course, they may be renominated). Rossami 21:53, 28 Jul 2004 (UTC)

Advertising. RickK 22:53, Jul 22, 2004 (UTC) This page is now preserved as an archive of the debate and, like other '/delete' pages is no longer 'live'. Subsequent comments on the issue, the deletion or on the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.
 * Heh, I should've anticipated this. I actually paraphrased (not copied) sections of their site, so I guess it does look like an advertisement.  Ah well, delete it and start over I guess; but I can't think of a way to compare it to other epoxies (which I have little information on) without leaving an advertising taste in the reader's mouth. --John Moser 23:00, 22 Jul 2004 (UTC)
 * Delete, your intentions may be good but the article does read like an ad, and the product does not have any particular cultural or historic importance. If you wanted to boil it down to a short paragraph, the article on Epoxy could certainly use expansion, and brief descriptions of (dare I say) the strengths and weaknesses of various products might be a good addition. Dpbsmith 23:40, 22 Jul 2004 (UTC)
 * Keep stub. Send to Cleanup.  We have lots of good, balanced articles on individual companies (and their products). This can be salvaged. Rossami 23:48, 22 Jul 2004 (UTC)
 * Keep, can be saved. - SimonP 02:21, Jul 23, 2004 (UTC)
 * Keep. Reasonable starting point for useful article about a real product.  Jgm 23:40, 23 Jul 2004 (UTC)