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Héctor & Tito

Héctor & Tito, were a Puerto Rican reggaeton duo famous for their song "Ay Amor", featuring salsa singer Víctor Manuelle, which was the group's only charting song in the United States. They are widely regarded as one of the most influential and famous pioneering duos in the history of reggaeton. The duo caught the world's attention and expanded this genre globally, paving the way for artists like Daddy Yankee and Tego Calderón. They are also known for the songs "Gata Salvaje" (featuring Daddy Yankee and Nicky Jam), "Baila Morena" (featuring Glory and Don Omar) and "Amor de Colegio" (featuring Don Omar).

The duo started their career in the 1990s with the name "Los Bambinos", after singing with other reggaeton artists. Together, they released several albums and rose to fame in all Latin America.

In 2004, the duo announced they are going to disband. Since then, they have gone on with their solo careers. Their friendship remained tense for a time though now both have publicly reconciled. They are known singularly as Héctor el Father and Tito El Bambino, and would go on to be two of the most successful acts in Latin music history. Héctor el Father retired in 2008 to become an evangelical pastor in his homeland Puerto Rico, while Tito El Bambino remains active in the music industry.

Beginnings
Efrain Fines (Tito) and Héctor Delgado were born in 1981 and 1979 respectively in Carolina, Puerto Rico. Both artists resided in the neighborhood of Parque Ecuestre and began their artistic pursuits in their teens. Héctor el Father was part of the rap group "Masters of Funk" alongside Rey and Julio Voltio, while Tito El Bambino recorded with various local DJs gaining an appearance in the famous reggaeton series "The Noise vol. 5" which was considered his big break into the music scene. Thanks to local DJs such as Chiclin and Estefano, Tito and Héctor form a friendship which evolved into a duo when Héctor separated from Masters of Funk. After appearances on many compilations from local DJs and producers from Puerto Rico, the duo connected with DJ Goldy and signed to VI Music in order to prepare their first album Violencia Musical, released in 1998. It became a huge commercial and critical success in Puerto Rico, selling over 100,000 copies at the time and turning the duo into one of the most popular music groups on the island.

International recognition
Over the course of time, the reggaeton genre gained prominence outside of Puerto Rico and despite Héctor & Tito's temporary loss of popularity due to a Christian album which didn't sell well and rap battles against Rubio y Joel and Baby Rasta & Gringo which also affected their sales; by 2002 Héctor & Tito won their lyrical battle against Rubio y Joel and regained their position as one of the most popular acts in Puerto Rico. This was good news for the company Universal Latino which entered in a partnership with VI Music to distribute Héctor & Tito's much anticipated A La Reconquista, which became one of the first widely distributed reggaeton albums during the genre's boom period of 2002-2006. Thanks to international hits such as "Duele (Cuando El Amor Se Va)", "Gata Salvaje" and "Felina", the positive reception of these songs throughout Latin America and the United States made Héctor & Tito protagonists in the expansion of the reggaeton culture alongside artists such as Don Omar, Tego Calderon and the hitmaking production duo Luny Tunes. A La Reconquista also served as a launching pad for the career of Don Omar who was signed to Héctor 'El Father' and VI Music leading to Omar writing many of the songs for the album including songs he was featured on. A La Reconquista is recognized as one of the greatest reggaeton albums of all-time and was both a commercial and critical success winning a Billboard Latin Music Award for best Latin rap album. The live version of the album, La Historia: Live which includes additional live performances of some of the duo's earlier hits was certified Latin platinum by the RIAA in 2003.

Disbanding
Due to unforeseen pressures from the unexpected success, tensions arose between the fellow artists and both decided to pursue solo ambitions amid an inamicable split. Of these tensions, were Héctor trying to get Tito to leave his Christian beliefs to the side and to dress and act more like a traditional gangster would, with Héctor going to the extent of bringing Tito naked women into the bathroom while Tito was listening to his Christian programs. Another of these strong tensions was Tito wanting to bring the duo's fame outwards worldwide, while Héctor wanted to keep their fame in and around Puerto Rico at most. Héctor changed his name from el Bambino to el Father evolving into a mafioso persona emulating his American hip hop influences such as Notorious B.I.G. and Tupac Shakur. Héctor recorded many successful records and platinum albums such as "Noches De Travesura" feat. Divino, "Mayor Que Yo" featuring various artists, and his solo project The Bad Boy which was certified Latin platinum by the RIAA in 2006. Héctor el Father also had partnerships for his record label Gold Star Music with Roc-A-Fella Records and Machete Music/Universal Latino recording a collaboration with Jay-Z on "Here We Go" from Los Rompe Discotekas, distributed by Roc-La-Familia (Roc-A-Fella's Latino division). Héctor el Father would retire from the music scene in 2008 to pursue his faith in Jesus Christ.

Post-duo solo careers
Tito El Bambino became one of the most popular acts in Latin music and is most well known for the pop-smash "El Amor" from 2009's platinum El Patrón album. Tito would feature alongside many prominent Latin music acts such as Marc Anthony, Ednita Nazario, Zion & Lennox and Wisin & Yandel.

Tito El Bambino is currently active to the present day and remains one of the most popular Latin acts in the industry. Héctor & Tito have publicly reconciled since their split in 2004.

Studio albums

 * Violencia Musical (1998)
 * Nuevo Milenio (2000)
 * A La Reconquista (2002)

Compilation albums

 * Lo De Antes (2002)
 * Season Finale 1998-2003 (2005)
 * The Ultimate Urban Collection (2007)

Live albums

 * La Historia Live (2003)

Studio albums

 * 2006: The Bad Boy
 * 2008: El Juicio Final

Live albums

 * 2007: Bad Boy: The Concert

Compilation albums

 * 2002: The Godfather
 * 2004: Los Anormales
 * 2005: Sangre Nueva
 * 2005: Gold Star Music: Reggaeton Hits
 * 2006: Los Rompe Discotekas
 * 2007: El Rompe Discoteka: The Mix Album
 * 2007: The Bad Boy: The Most Wanted Edition
 * 2008: Mi Trayectoria

Tito El Bambino

 * Top of the Line (2006)
 * It's My Time (2007)
 * El Patrón (2009)
 * Invencible (2011)
 * Invicto (2012)
 * Alta Jerarquía (2014)
 * El Muñeco (2020)

title: Héctor & Tito


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User:Mjvan12

{| style="float: right; margin-left: 1em; margin-bottom: 0.5em; width: 242px; border: #99B3FF solid 1px" Babel
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Hi
Hi, I'm mjvan12 and I have added content to a few pages in Wikipedia. I am a freshman from Oswego High School, in Oswego, IL. My political stance at this moment is republican. I have lived in Aurora, IL for sometime and enjoy editing page in that part of Illinois. I created the Chicagoland Template which was one of my first achievements.

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

title: User:Mjvan12


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Dionne Quan

Dionne Quan (born October 20, 1978) is an American actress, known for her roles as Kimi Watanabe in Rugrats and Trixie Tang in The Fairly OddParents.

Early life
Quan was born in Oakland, California to Lori and Daryl Quan, who ran a sewing machine and vacuum store in Vallejo, California. She is legally blind, having been born with optic nerve hypoplasia. Quan grew up in San Francisco, California.

When she was ten, her father heard a radio interview with a teacher who instructed students in voice-over acting, and he immediately enrolled Dionne for lessons. She obtained her first voice work at the age of 14 for television commercials and acted in high school productions. Quan graduated from Benicia High School in 1998.

Career
Quan was cast as Kimi Watanabe in Rugrats in Paris: The Movie (2000), her film debut. She continued playing the role on the series itself, Rugrats, Rugrats Go Wild (2003) and the spinoff All Grown Up!. Quan provided the voices of Trixie Tang in The Fairly OddParents as well as Yasmin in the Bratz franchise.

Due to her disability, Quan was given scripts written in Braille as opposed to standard lettering.

title: Dionne Quan


text:
Connecticut Trolley Museum

The Connecticut Trolley Museum, also known as the Warehouse Point Trolley Museum, is the oldest incorporated museum dedicated to electric railroading in the United States. Founded in October 1940, the museum is located in East Windsor, Connecticut and is open to the public April through December. The museum features static and moving displays, and self-guided tours of the state's trolley history.

Also located on the same property is the Connecticut Fire Museum which exhibits antique fire apparatus and motor coaches.

Heritage Railroad
The museum operates a 1.5 mile (2.4 km) heritage railroad over the original right-of-way of the Hartford and Springfield Street Railway Company's Rockville Branch. The Rockville Branch started at the Main Fish Market, and ran 17.5 miles (28.2 km) to Rockville, Connecticut. The branch line saw factory workers, tourists, and high school students. The interurban cars were more direct, and could hold more people than the few buses of the time. The line also serviced Piney Ridge, an amusement park located just between Broad Brook and East Windsor. Most trolley companies built parks — like Piney Ridge — to create revenue on the one day no one went to work, Sunday. Piney Ridge featured a large pipe organ, a dance floor on trolley springs, and a baseball field. The dance floor with trolley springs allowed people to ease their knees as they danced the night away. The baseball field hosted games to two major players, Babe Ruth, and Lou Gehrig. Unfortunately when the Hartford and Springfield faced financial debts, the company went out of business. Their streetcars were brought to Piney Ridge and scrapped. By 1926, the track was gone, and the Rockville Branch with it.

It would be 14 years until the Connecticut Electric Railway Association was formed and began restoring service on the line. Unlimited rides on cars are included in the admission for the day. A minimum of two different cars are run each day. Many times up to three or four cars will be rotated through during the day, giving visitors an opportunity to experience many different types of streetcars and interurbans.

Collection

The museum has a diverse collection of equipment to help tell the story of the trolley era and its impact on society. Most of the equipment is stored in one of four car barns, the Visitor Center, or the car shop. Although, there exists an outdoor storage track that is next to the car shop, it goes quite far into the woods.

The Connecticut Trolley Museum has one or more of the following cars operating for the public when the museum is open:

 * Montreal Tramways sightseeing car 4
 * Springfield Terminal combine car 16
 * New Orleans Public Service closed car 836
 * Fair Haven and Westville Railroad open air car 355
 * Boston Elevated Railway Type 5 car 5645
 * Connecticut Company closed car 1326

In addition, the museum is currently working on the following cars in the restoration shop:

 * Connecticut Company Birney Safety car (double truck) 3001
 * Nassau (New York) Electric Railway car 169
 * Oshawa Railway steeplecab 18
 * Iowa Southern Utilities Co. line car 1
 * Northern Ohio Traction & Light Co executive car 1500
 * Boston Elevated Railway PCC 3100
 * New Jersey Transit PCC 15 (Cosmetic restoration)

The Main Hall of the Visitor Center is set up with an exhibit detailing the progression of the era and its impact on society. The following cars are on display in the Visitor Center:

 * Northern Ohio Traction and Light parlor car 1500
 * Illinois Terminal PCC 451
 * Springfield Electric Railway combine car 10
 * Five Mile Beach Electric Railway car 36
 * Ponemah Mills Locomotive 1386
 * Shaker Heights Rapid Transit car 1201
 * Montreal Tramways car 2056
 * Fair Haven and Westville car 154
 * For a full list of the collection, go to their website here.

title: Connecticut Trolley Museum


text:
Cressy, Tasmania

Cressy is a small town 35 km south-west of Launceston, Tasmania. It came into existence in the 1850s to service the surrounding wheat farms. At the 2006 census, Cressy had a population of 670. It is known as Tasmania's "Trout capital" for the good fishing in the area. It is also home to an extensive agriculture research facility for the Tasmanian Institute of Agricultural Research.

Cressy Post Office opened on 17 September 1856.

Nearby towns include: Bishopsbourne, Bracknell, Liffey, Blackwood Creek, Poatina and Longford.

History
Cressy was established as the main centre for the Cressy Company. The Cressy Company's first director Captain Bartholemew Boyle Thomas chose to name company after the Battle of Crecy in the 14th Century, at which one of his ancestors fought. The Cressy Company also known as the "Cressy Establishment", was a large agricultural company which owned a significant portion of the Norfolk Plains. The first building in Cressy was The Cressy Hotel built in 1845 by William Brumby. Cressy became an official township in 1848. Much of the land in the area was owned by the O'Connor family, founded by Irish migrant Roderic O'Connor.

An Anglican theological college, St Wilfrid's, was located in Cressy from 1904 to 1929.

Brumby's Creek, the Weirs, the Macquarie Lake and the Liffey rivers serve as a popular trout fishing spot. The annual Tasmanian Trout Expo is hosted in Cressy.

title: Cressy, Tasmania


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Keeler (lunar crater)

Keeler is a large lunar impact crater that lies on the Moon's far side. It is connected along the eastern edge to Heaviside, a walled plain of similar dimensions. Keeler, however, is the younger of the two formations, with more clearly delineated features. To the northeast of Keeler is the smaller crater Stratton, and to the northwest lies Ventris.

The outer rim of Keeler is roughly circular, with a straight segment where it is joined to Heaviside. The northern portion of the rim is more irregular, with an outward protuberance to the north-northwest. Portions of the inner wall have a terrace structure, especially along the southern half. Note the terraced walls of the crater. Within the crater interior, Planté lies on the eastern floor, adjacent to the inner wall. There is an interior ridge that runs from about the midpoint toward the west-southwest. The floor is generally level, with some areas of irregularity to the south. A few small craters mark the interior plain.

Measurements with the electron reflectometer instrument on board the Lunar Prospector showed that this crater is one of a number of impact sites that show demagnetization. The low magnetic reading lies at the center of this crater, and the reduced field extends outward to about one and a half crater diameters. Scientists believe that shock demagnetization is the cause.

Keeler is one of the largest craters of Lower (Early) Imbrian age.

The crater was named after American astronomer James Edward Keeler by the IAU in 1970. Keeler was known as Crater 302 prior to naming. A highly eroded crater that is west of Keeler and somewhat larger than it was designated Crater 300, but it is currently unnamed.

Satellite craters
By convention these features are identified on lunar maps by placing the letter on the side of the crater midpoint that is closest to Keeler.

title: Keeler (lunar crater)


text:
Central Regional Dental Testing Service

Central Regional Dental Testing Service (CRDTS) is one of five examination agencies for dentists in the United States. The other examination agencies are, West Regional Examining Board, Northeast Regional Board of Dental Examiners, Southern Regional Testing Agency, and Council of Interstate Testing Agencies. These were organized to standardize clinical exams for licensure.

Member states that help create the exam are: Colorado, Georgia, Hawaii, Illinois, Iowa, Kansas, Minnesota, Missouri, Nebraska, New Mexico, North Dakota, South Carolina, South Dakota, Washington, West Virginia, Wisconsin, and Wyoming.

Other states that accept the exam for licensure: Alabama, Arizona, Arkansas, Colorado Connecticut, Georgia, Idaho, Illinois, Indiana, Iowa, Kansas, Kentucky, Maine, Maryland, Massachusetts, Michigan, Minnesota, Missouri, Montana, Nebraska New Hampshire, New Mexico, North Dakota, Ohio, Oregon, Pennsylvania, Rhode Island, South Carolina, South Dakota, Tennessee, Texas, Utah, Virginia, Washington, West Virginia, Wisconsin, Wyoming, and Vermont.

title: Central Regional Dental Testing Service


text:
Koch (crater)

Koch is a crater on the far side of the Moon. It lies in the southern hemisphere, to the south-southeast of the walled plain Jules Verne. Attached to the northeastern rim of Koch by a neck of uneven terrain is the crater Lundmark. Less than one crater diameter to the south of Koch is Crocco.

This crater has a worn and eroded outer rim. Several small craters lie along the outer rim, particularly along the northern edge. Attached to the western side is the satellite crater Koch U. The interior floor is also marked by some small craters, with a pair located just to the north of the midpoint and another along the southern inner wall.

Satellite craters
By convention these features are identified on lunar maps by placing the letter on the side of the crater midpoint that is closest to Koch.

title: Koch (crater)


text:
Rydberg (crater)

Rydberg is a lunar impact crater that is located on the far side of the Moon, just past the southwest limb. It lies due south of the Mare Orientale, in the outer skirt of ejecta that surrounds the Orientale impact feature. Just to the southeast is the crater Guthnick.

This is a little-eroded crater formation with a relatively sharp edge. The inner walls do not have much terracing, although slumped piles of talus lie along the base. At the midpoint of the interior is a central ridge, with a low spur that runs halfway toward the southern inner wall.

This crater lies near the center of the Mendel-Rydberg Basin, a 630 km wide impact basin of Nectarian age.

This feature was named after the Swedish physicist Johannes Rydberg.

title: Rydberg (crater)


text:
Electronic media

Electronic media are media that use electronics or electromechanical means for the audience to access the content. This is in contrast to static media (mainly print media), which today are most often created digitally, but do not require electronics to be accessed by the end user in the printed form. The primary electronic media sources familiar to the general public are video recordings, audio recordings, multimedia presentations, slide presentations, CD-ROM and online content. Most new media are in the form of digital media. However, electronic media may be in either analogue electronics data or digital electronic data format.

Although the term is usually associated with content recorded on a storage medium, recordings are not required for live broadcasting and online networking.

Any equipment used in the electronic communication process (e.g. television, radio, telephone, game console, handheld device) may also be considered electronic media.

Transmission
Wire and transmission lines emerged as communication tools, starting with the telegraph in the late 18th century. Samuel Morse invented the telegraph in 1832, introducing wires to transmit electrical signals over long distances. In 1844, the first successful telegraph line was established in the United States, and in the 1850s, telegraph cables were laid across the Atlantic connecting North America and Europe. At the same time the telegraph was becoming mainstream, the need to transmit images over wire emerged. The first commercially successful fax machine was developed by Elisha Gray in 1861, allowing printed images to be transmitted over a wire.

The telephone was another breakthrough in electronic communication, allowing people to communicate using voice rather than written messages. Alexander Graham Bell pioneered the first successful telephone transmission in 1876, and by the 1890s, telephone lines were being laid worldwide. Since all these significant breakthroughs relied on transmission lines for communication, a minor improvement was made by the English engineer Oliver Heaviside who patented the coaxial cable in 1880. The coaxial cable allowed for greater bandwidth and longer transmission distances.

Significant improvements in the mode of transmission were made in the last seventy years with the introduction of fiber optics, wireless transmission, satellite transmission, Free Space Optics, and the internet. Fiber optics was first developed in the 1950s but became commercially viable in the 1970s. On the other hand, wireless communication made a major improvement in the transmission mode, doing away with wires and introducing electromagnetic waves. Guglielmo Marconi invented the radio transmission in 1897, and by the 1900s, radio transmission had become a mainstream source of news, entertainment, and military communication. Satellite communication allowed data to be transmitted over much longer distances than possible. The United States pioneered satellite communication in 1958 when it first launched Explorer 1.

Free Space Optics (FSO), which uses lasers to transmit data through the air, was first developed in the 1960s. However, it was only in the 1990s that the technology advanced enough to become commercially viable. The internet, on the other hand, emerged in the second half of the last century. In the 1960s, the first protocols for transferring files were developed, making it possible to transfer files between computers. In 1989, Tim Berners Lee created the World Wide Web, making it much easier to share information through hyperlinks. In 1996, the Real-Time Transport Protocol (RTP) was introduced, allowing for live audio and video streaming over the internet. RTP was a breakthrough in online entertainment, allowing real-time events to be broadcast live to audiences worldwide.

Display and output
The history of display and output technology is long and fascinating, beginning in the early 19th century with the development of the galvanometer, which was used to detect and measure small electrical currents. In 1844, the telegraph sounder was developed, which used an electromagnet to produce a clicking sound that corresponded to the transmission of electrical signals over a telegraph line. It was followed by the telephone receiver, which used a diaphragm to convert electrical signals into sound. In the late 1800s and early 1900s, the first forms of artificial light were developed, including red light and neon. These were used in various applications, including lighting for displays and signs.

In 1910, the teleprinter was invented, which allowed for the transmission of text messages over a wire. It was followed by the development of the cathode-ray tube (CRT) by William Crookes, but it became widely available by the 1920s. The CRT was used for early television and computer displays. The radio and television tuner was also developed in the early 20th century, allowing people to receive and tune in to broadcast signals. The speaker and headphones were invented in the late 1800s and early 1900s and were used for listening to audio signals from radios, phonographs, and, later, electronic devices.

In the 1950s and 1960s, LED and LCDs were developed, allowing for the production of more compact and efficient displays for various applications such as lighting and television monitors. In the 1970s, laser light shows were introduced, which used lasers to produce dramatic visual effects for concerts and other events. The first computer monitor was developed in the 1950s, and the first commercial PC monitor was introduced in 1976. Large electronic displays were introduced in 1985, allowing for the production of large-scale displays for use in stadiums, arenas, and other public spaces. HDTV was first proposed as a term in 1936, but it was in the 1990s that standards were established for producing and broadcasting high-definition television signals. The head-mounted display (HMD) was introduced in 1968 and continues to be developed and improved to this day, allowing for immersive virtual reality experiences and other applications.

Electric signal processing
The history of electrical signal processing is closely tied to the development of electronic communications technology, beginning in the mid-18th century with the invention of the capacitor, which allowed for the capture and storage of electrical charges. In the 1830s, analog encoding methods, such as Morse code, were developed, allowing for transmitting information over long distances using electrical signals. Electronic modulation was developed between 1832 and 1927 and was a crucial development in the history of telecommunications.

Electronic multiplexing, which allowed for the transmission of multiple signals over a single channel, was first developed in 1853 using a technique called time-division multiplexing (TDM). Digitizing, or converting analog signals into digital form, was first developed in 1903 with the invention of pulse-code modulation (PCM) for telephone communications. Electronic encryption, which allowed for the secure transmission of information over electronic channels, was developed between 1935 and 1945 and played a crucial role in developing electronic communications during World War II. Online routing, or the ability to direct electronic signals to specific destinations, was first developed in 1969 with the creation of the ARPANET, a precursor to the modern internet. Electronic programming, or the ability to use electronic signals to control and automate processes, has been developed since the 1940s and continues to be an important area of research and development in electrical signal processing.

Electronic information storage
The history of electronic information storage dates back to the 18th century, with the invention of punched cards and paper tape in 1725 and 1846, respectively. Early forms of electronic storage were used to store simple text and numerical data. In the late 19th century, the invention of the phonograph cylinder and disk in 1857 and 1877, respectively, allowed for the recording and storage of audio data. In 1876, the invention of film allowed for the recording and storing of moving images.

In 1941, the invention of random-access memory (RAM) allowed for storing and retrieving digital data at high speeds and is still in use today. Barcodes were first invented in 1952 for use in grocery stores. The Universal Product Code (UPC) was standardized in 1973, allowing for storing and retrieving product information in a digital format.

In 1969, the invention of laser discs allowed for the storage and playback of high-quality video and audio data, but the format was short-lived, with its commercial life ending in 1978. Compact discs (CDs) were invented in 1982 and quickly became a popular medium for storing and playing back digital audio data. DVDs were introduced in 1993, offering higher storage capacity and the ability to store video data.

Content formats
Content or media refers to the different types of digital information that can be stored, transmitted, and consumed through electronic devices. The history of content formats dates back to the late 19th century when the first audio recording was created.

 * Audio Recording: In 1877, Thomas Edison invented the phonograph, the machine that could record and playback audio. The invention began audio recording and created different audio formats, including vinyl records, magnetic tape, and digital audio files. Vinyl records were introduced in the late 19th century and were the primary format for music until the late 20th century when digital audio formats such as MP3 and AAC were introduced. The vinyl, however, remains a cultural icon despite its obsolescence, and it retains an aura of sanctity immune to symbolic pollution. The MP3, on the other hand, was invented by Karlheinz Brandenburg from the Fraunhofer Institute. The MP3 encoder software developed by the institute enabled individuals to digitize their audio files using a compression algorithm called MPEGI-Layer III. Compressed files were stored in CDs, at the time costing $250.
 * Video Recording: Video recording technology was first introduced in 1952 when Charles Ginsburg created the first video tape recorder at Ampex Corporation. The videotape recorder technology was later refined, introducing different video formats, such as Betamax, VHS, and DVD. Betamax was released by Sony in 1975 and was an analog video recorder of the cassette format. However, it did not survive for long. The Video Home System (VHS), developed by the Victor Company of Japan in 1976, won the video format wars trumping Betamax and gaining widespread usage worldwide. The main difference between VHS and Betamax was that Betamax had sharper and clearer images while VHS had a longer run time. In the 21st century, however, these two are now part of the bygone eras. Digital video formats such as MPEG-4 and H.264 have become the dominant video recording and playback formats.
 * Digital File Formats: The introduction of digital file formats marked a significant shift in how content was stored and transmitted. In the early days of digital computing, text-based formats such as ASCII and RTF were used to store and transmit textual content. ASCII was based on telegraphic code and had a very narrow scope of use, considering it only had 128 code points. RTF, on the other hand, stands for Rich Text Format. Microsoft developed it in 1987. The format allowed for sharing of documents across platforms. RTF was especially valued because it could store important document information such as formatting, font, and style. Later, image formats such as JPEG and PNG were introduced, allowing for the storage and transmission of digital images. The introduction of digital audio and video formats further expanded the range of digital file formats available.
 * Database Content and Formats: Databases have been used to store and manage digital content since the 1960s. E.F. Codd conceptualized the relational database model in 1970. The model required applications to search data without following links and instead search through the content. The model rested on the predicate and set theory and would set the stage for future databases. The first commercially available database management system (DBMS) was introduced in 1979 by Relational Software, Inc. (later renamed Oracle Corporation). Since then, different database systems have been introduced, including relational, object-oriented, and NoSQL databases.

Interactivity
Interactivity refers to the ability of electronic media to respond to user input, allowing for a more immersive and engaging experience. The history of interactivity can be traced back to the development of input devices such as the control panel.

 * Control Panel: Control panels were first introduced in the early days of computing to interact with computer systems. These panels typically consisted of a series of switches and knobs that could be used to input data and commands into the computer.
 * Input Device: The development of input devices such as the keyboard and mouse marked a significant advancement in the field of interactivity. The introduction of graphical user interfaces (GUIs) allowed for more intuitive interaction with computer systems.
 * Game Controller: The game controller was introduced in the late 1970s with the introduction of the Atari 2600 video game console. The Atari 2600 console had no disk space and only had a RAM of 128 bytes. Its graphics clock ran 12 MHz, while its ROM only had 4 kilobytes. Despite such limitations, the device allowed users to interact with video games more immersively, paving the way for developing more advanced game controllers in the future.
 * Handheld: The introduction of handheld devices such as the Nintendo Game Boy and the Sony PlayStation Portable allowed for interactive gaming on the go. Nintendo was released in 1989 in Japan, and it was criticized for not having any backlight or graphics. The first Sony PlayStation was also released in Japan in 1994. The initial devices were handheld video games; however, more sophisticated video game consoles such as PlayStation 3, 4, and 5 have also been released. The initial handheld devices featured built-in controllers and small screens, allowing users to play games anywhere and anytime.
 * Wired Glove: The wired glove was first introduced in the early 1980s to interact with virtual reality environments. These gloves were equipped with sensors to detect hand movements, allowing users to manipulate virtual objects and navigate virtual environments. Wired gloves significantly improved from using the mouse, joystick, or trackball during virtual interactions. They were expensive, limiting their spread and expansion.
 * Brain-Computer Interface (BCI): The brain-computer interface (BCI) is the latest development in interactivity. The technology allows users to control electronic devices using their brainwaves, bypassing the need for physical input devices such as keyboards or controllers. While still in the experimental stage, BCI technology has the potential to revolutionize the way we interact.

title: Electronic media


title: User:Moosh88


text:
Shuleykin (crater)

Shuleykin is a small lunar impact crater that lies to the south of Mare Orientale, within the ring-shaped Montes Rook. It is located just on the far side of the Moon, but this area can be viewed from the Earth during periods of favorable libration and lighting, although it can only be seen from the edge.

This crater was formed following the Orientale impact event, and so is younger. It has a circular, sharp-edged rim and inner walls that slope down to the small interior floor. It has not been noticeably eroded by subsequent impacts.

title: Shuleykin (crater)


text:
Talk:Paezan languages

just some notes
Kaufman's (1990, 1994) Macro-Paesan = Cunza + Kapixaná + Betoi + Paezan + Barbacoan + Itonama + Warao

possibly Cunza+Kapixaná forms a lower node, as does Paezan+Barbacoan

Discussed
There is not such a thing like Paezan languages. Páez is an isolated language, and the other languages listed belong to the Barbacoan family. Let's go to the evidence:

 * 1) According to [1, 2, 3 and others], Guambiano (a.k.a Guambia, Moguex, Namdrik) and [1] the nearly extinct Totoró belong to the Coconucan subfamily of the Barbacoan family
 * 2) Andaquí, also extinct, makes a subfamily by itself [1] into the Barbacoan family
 * 3) The classification used in the article seems to be taken from Key (1979) and Loukotka (1968). Both are (slightly or grossly) outdated.
 * 4) Paez, according to [4, 5, 6] and many other works by Gerdel and Slocum, is an isolated language somewhat related to (but distinct from) the Barbacoan family.

 * [1] Gordon, Raymond G., Jr. (ed.), 2005. Ethnologue: Languages of the World, Fifteenth edition. Dallas, Tex.: SIL International. Online version: http://www.ethnologue.com/.
 * [2] Heinze, Carol, editor. 1978. Estudios chibchas 2. Serie Sintáctica, 9. Bogota: Ministerio de Gobierno and Instituto Lingüístico de Verano. iv, 140 p.
 * [3] Branks, Judith and Juan Bautista Sánchez. 1978. The drama of life: a study of life cycle customs among the Guambiano, Colombia, South America. Summer Institute of Linguistics Museum of Anthropology Publication, 4. Dallas: Summer Institute of Linguistics Museum of Anthropology. xii, 107 p.
 * [4] Gerdel, Florence L. 1979. "Paez." In Aspectos de la cultura material de grupos étnicos de Colombia 2, 181-202. Bogota: Ministerio de Gobierno and Instituto Lingüístico de Verano.
 * [5] Slocum, Marianna C. 1986. Gramática páez. Lomalinda: Editorial Townsend. vii, 171 p.
 * [6] Brend, Ruth M., editor. 1985. From phonology to discourse: Studies in six Colombian languages. Language Data, Amerindian Series, 9. Dallas: Summer Institute of Linguistics. vi, 133 p.

I've left a mark, and will try to edit the article as soon as I can. I'm not a registered user in en.wikipedia, but you can contact me in Wikipedia en español: es:Usuario:Cinabrium - talk page. 216.244.240.249 20:39, 1 August 2005 (UTC)

 * hi. after looking at Curnow (1998), it does seem that Campbell (1997) may not be the best thing to go by. however, Curnow does not list the extinct languages so i dont know exactly what to do with Andaqui or Caranqui. we should probably take Guambiano & Totoró out & put them under Barbacoan.

 * at any rate, i have listed a bunch of classifications below. peace – ishwar  (speak)  03:50, 2005 August 2 (UTC)

 * i moved Guambiano & Totoró. (by the way, i have an electronic copy of Curnow 1998, if you are interested). thank you writing a note here. do you know how speculative the inclusion of Andaqui is Barbacoan? peace – ishwar  (speak)  04:06, 2005 August 2 (UTC)

 * Ishwar,
 * AFAIK, the taxonomy for Andaquí or Andaki is quite speculative. I've even found some texts (not coming from aboriginal languages' specialists) confusing Andaqui with Andoque (a still-alive-but-god-knows-for-how-long language). The Chibchan/Barbacoan boundaries are still somewhat imprecise; some languages from a family have better intelligibility with members of the other than with those of their own (btw, sorry: I have not my notes at hand and it's 1:37AM here -- I'll point that curiosities later, if I can). Moving Guambiano and Totoró seems to be on the "safe side"; as you know, the relationship between Páez and Panzaleo is also very speculative, since there is not enough extant material about Panzaleo to attemp a classification. Southern highlands of Colombia have been a conflict/stress zone between different cultural groups for many centuries, so you will find many superimposing areas between languages of "Andean" and "Amazonian" stock (sorry for the oversimplification).
 * A recent study from Landaburu, made jointly by CNRS (France), Universidad de los Andes and Centro Colombiano de Estudio de Lenguas Aborígenes, doesn't place Andaqui "safely" anywhere. However, he gives us some clues: "Outside of the Chibcha [macro and microphiles], and until new valid arguments are submitted, we should have the following as different lineages: (1) The Páez and its dialects, including Paniquitá; (2) The Coconucan group, with Guambiano and Totoró... (3) The Awa or Cuaiquer, whose closeness to Ecuadorean Cayapá and Colorado is still to be demonstrated in order to stabilize the traditional Barbacoan group of linguistic literature (4) The Kamsá...". Sorry for the lousy translation :).
 * On the other hand, the (very) recent Adelaar (2004), which I haven't got since 90 pounds are a hole in my budget :) seems to exclude Andaquí from the sphere of Páez, proposing something like: Páez (Nasa Yuwe) - 	Andaquí and the languages of the Upper Magdalena valley - Barbacoan languages - Kamsá - Esmeraldeño.
 * Ethnologue's 13th ed. (1996) had different groupings, proposing a Barbacoan-Paezan family as follows:

Barbacoan-Paezan (7) ANDAQUI [ANA] (Colombia) Cayapa-Colorado (2) CHACHI [CBI] (Ecuador) COLORADO [COF] (Ecuador) Pasto (2) BARBACOAS [BPB] (Colombia) CUAIQUER [KWI] (Colombia) Paezan (2) Coconucan (1) GUAMBIANO [GUM] (Colombia) Paez (1) PÁEZ [PBB] (Colombia)
 * Finally (just because I'm very tired :)), Dietrich notes Andaquí as "isolated" and does not relate it to Páez.
 * As a preliminary conclusion (sorry for the oxymoron), I guess it would be reasonable to exclude Andaquí from the Paezan grouping too. Thanks for a stimulating discussion! And yes! I'm interested in the book. Please contact me through my talk page at Wikipedia en español. Same guy, different IP 216.244.240.249 06:06, 2 August 2005 (UTC) es:Usuario:Cinabrium - talk page

quick comparisons
Barbacoan comparison:

Paezan comparison:

Curnow et al
Hypothetical tree of Curnow & Liddicoat (1998) as displayed in Curnow (1998):

Barbacoan
 * 1) North Barbacoan
 * 2) Awa Pit (Coaiquer)
 * 3) Guambiano-Totoró
 * 4) Guambiano
 * 5) Totoró
 * 6) South Barbacoan
 * 7) Cha’palaachi (Cayapa)
 * 8) Tsafiqui (Colorado)

Gordon & Grimes (Ethnologue)
Gordon (2005) has the following for Barbacoan:

Barbacoan
 * 1) Andaqui
 * 2) Andaqui
 * 3) Cayapa-Colorado
 * 4) Chachi
 * 5) Colorado
 * 6) Coconucan
 * 7) Guambiano
 * 8) Totoro
 * 9) Pasto
 * 10) Barbacoas
 * 11) Awa-Cuaiquer

i will simpify this as (with corresponding name changes):

Barbacoan
 * 1) Andaqui
 * 2) Barbacoas (= Pasto ?)
 * 3) Cayapa (Chachi)
 * 4) Coaiquer (Awa-Cuaiquer)
 * 5) Colorado
 * 6) Guambiano
 * 7) Totoro

Gordon (2005) lists Paez as isolate, but in the 14th ed. Grimes (2000) has Paez as the single member of Paezan family.

My questions:

 * What is Barbacoas? A new language?
 * Where is Muellama? Pasto? Caranqui? Panzaleo? Cononuco? Are they left out because they are extinct?
 * They have the names, Coconucan and Pasto as lower branches, but where are these languages?
 * Why is Paez an isolate in 2005, but a part of Paezan in 2000?
 * What are they basing their classification on anyway? (!)

– ishwar  (speak)  02:29, 2005 August 2 (UTC)

Campbell & Kaufman
hi. the classification is based on Campbell (1997:173-176), who in turn bases his on Kaufman (1990, 1994). here is what Campbell says about Paezan:

 * "There is no consensus upon Paezan, and opinions vary greatly. Paez is customarily placed with Paniquitá [Columbia] and extinct Panzaleo; because there are scarcely any data on Panzaleo, the classification has no real linguistic basis (Loukatka 1968:245), Constenla Umaña 1991). No signfiicant comparative studies have been done on Paez and its possible relatives, though glottochronological studies exist. For claims of broader affinity, see the discussions of Chibchan and Barbacoan below."

on Barbacoan:

 * "Louisa Stark reports that Proto-Barbacoan split into the Cayapa-Colorado and Coaiquer branches in about 50 B . C . and that Cayapa and Colorado remained a single language until they separated in about A . D . 1000. Before the arrival of the Incas in Ecuador, the Barbacoa language extended the Guaytara River in Colombia to Tungurahua province in Ecuador and spread down the central cordillera almost to Quito (1985:158-9).

 * "The Barbacoan family is generally considered a probable relative of Paezan, though at best a very distant one (Constenla Umaña 1981:9). Mary Key (1979:38) presents the following reconstruction of “Proto-Colorado-Cayapa” sounds: /p, t, tʸ, k, ʔ, b, d, dʸ, c, č, s, š, h, m, n, ñ, l, lʸ, r, w, y; i, e, a, o, u/. Key also classifies Colorado and Cayapa with Paezan, but includes Guambiano as Barbacoan (considered Paezan by Kaufman)."

on Paezan-Barbacoan proposal:

 * "There is general agreement (among the classifications surveyed by Kaufman) that these two families form a larger grouping, and Kaufman also mentions what he takes to be clear lexical similarities, though he does not present them."

on Macro-Paesan:

 * "Kaufman groups together his families/genetic units 99 (Cunza), 100 (Kapixaná) (he also raises the possibility that 99 and 100 have a closer connection among themselves), 5 (Betoi), 6 (Paezan [sub]stock), 7 (Barbacoan family) (he favors a possible connection between 6 and 7), 98 (Itonama), and 112 (Warao), in what he calls the Macro-Paesan cluster. Kaufman explains that “ the macro-Paesan cluster is . . . supported from many quarters [is favored by others], though the work needed for developing the arguments in favour of this hypothesis remains to be done” (1994:53). Until that work is done, the decision on this broader grouping needs to be held in abeyance.

so from what Campbell says, Key (1979) has the something like the following for Paezan and Barbacoan (?), taking out the subgroupings (i havent seen Key yet):

Paezan (Key)
 * 1) Andaqui
 * 2) Cayapa
 * 3) Coconuco
 * 4) Colorado
 * 5) Paez
 * 6) Panzaleo
 * 7) Totoró

Barbacoan (Key)
 * 1) Caranqui
 * 2) Coaiquer
 * 3) Guambiano
 * 4) Muellama
 * 5) Pasto

to compare, here is Kaufman (1994) as listed in Campbell (this is the same as what is in the Wikipedia article now):

Paezan (Kaufman)
 * 1) Andaqui
 * 2) Coconuco
 * 3) Guambiano
 * 4) Paez
 * 5) Panzaleo
 * 6) Totoró

Barbacoan (Kaufman)
 * 1) Caranqui
 * 2) Cayapa
 * 3) Coaiquer
 * 4) Colorado
 * 5) Muellama
 * 6) Pasto

Kaufman (1990) rates the grouping of Paezan and Barbacoan into a Páes-Barbakóa stock as "GOOD". (Kaufman has a rating system that is GOOD, PROBABLE, PROMISING, or MAYBE.)

I havent looked at Kaufman (1994) yet. Kaufman (1990) appears to have surveyed the mainly the following (he lists others):

 * Greenberg, Joseph H. (1987). Language in the Americas. Stanford: Stanford University Press.
 * Loukotka, Čestmír. (1968). Classification of South American Indian languages. Los Angeles: Latin American Studies Center, University of California.
 * Migliazza, Ernesto. (1980). The languages of South America. Unpublished manuscript.
 * Rodrigues, Aryon. (1986). ''Línguas Brasileiras. São Paulo: Loyola.
 * Suárez, Jorge. (1974). South American Indian languages. Encyclopedia Britannica (15th ed., Vol. 17, pp. 105-112). Macropaedia.
 * Swadesh, Morris. (1959). ''Mapas de clasificación lingüística de México y las Américas. México: UNAM.
 * Tovar, Antonio; & de Tovar, Consuelo Larrucea. (1984). ''Catálogo de las lenguas de América del Sur (nueva edición). Madrid: Gredos.

– ishwar  (speak)  01:33, 2005 August 2 (UTC)

Loukotka
According Loukotka (1968:233-253), Paezan is part of the Chibcha stock. Here is his division of Chibcha:

Chibcha
 * 1) Paleo-Chibchan
 * 2) Rama
 * 3) Guatuso
 * 4) Talamanca
 * 5) Dorasque
 * 6) Guaymi
 * 7) Cuna
 * 8) Antioquia
 * 9) Chibcha
 * 10) Motilon
 * 11) Betoi
 * 12) Arhuaco
 * 13) Malibú
 * 14) Andaquí
 * 15) Paez
 * 16) Coconuco
 * 17) Barbácoa
 * 18) Sebondoy
 * 19) Mosquito
 * 20) Matagalpa
 * 21) Paya

Here are his Paez and Barbácoa divisions:

Paez
 * 1) Paez (a.k.a. Paisa)
 * 2) Nasayuwä
 * 3) Okoshkokyéwa
 * 4) Paniquita
 * 5) Panzaleo (a.k.a. Latacunga, Quito)
 * 6) Alausí

Nasayuwä, Okoshkoyéwa, & Paniquita are listed as dialects of Paez.

Barbácoa
 * 1) Barbácoa (a.k.a. Colima) *
 * 2) Pius *
 * 3) Iscuandé *
 * 4) Tumaco
 * 5) Guapi *
 * 6) Cuaiquer (a.k.a. Koaiker)
 * 7) Telembi
 * 8) Panga *
 * 9) Nulpe *
 * 10) Cayápa (a.k.a. Nigua)
 * 11) Malaba *
 * 12) Yumbo *
 * 13) Colorado (a.k.a. Tsáchela, Chono, Campaz, Satxíla, Colime)
 * 14) Colima *
 * 15) Cara (a.k.a. Caranqui, Imbaya)
 * 16) Sindagua (a.k.a. Malla)
 * 17) Muellama
 * 18) Pasto
 * 19) Mastele *
 * 20) Quijo
 * 21) Mayasquer *

( * = no documentation)

– ishwar  (speak)  00:46, 2005 August 2 (UTC)

Greenberg
Greenberg (1987) lists Paezan as a large grouping under the Chibchan-Paazean subgroup:

Chibchan-Paezan A. Chichan B. Paezan

His Paezan then is the following:

Paezan
 * 1) Allentiac
 * 2) Atacama
 * 3) Betoi
 * 4) Chimu
 * 5) Itonama
 * 6) Jirajara
 * 7) Mura
 * 8) Nuclear Paezan
 * 9) Timucua
 * 10) Warrau

His Nuclear Paezan is the following:

Nuclear Paezan
 * 1) Andaqui
 * 2) Andaqui
 * 3) Barbacoa
 * 4) Cara
 * 5) Cayapa
 * 6) Colorado
 * 7) Cuaiquer
 * 8) Choco
 * 9) Andagueda
 * 10) Baudo
 * 11) Catio
 * 12) Chami
 * 13) Choco
 * 14) Citara
 * 15) Darien
 * 16) Empera
 * 17) Napipi
 * 18) Nonama
 * 19) Saija
 * 20) Sambu
 * 21) Tado
 * 22) Tucura
 * 23) Uribe
 * 24) Waunana
 * 25) Paez
 * 26) Coconuco
 * 27) Guambiana
 * 28) Guanaca
 * 29) Moguex
 * 30) Paez
 * 31) Panikita
 * 32) Totoro

"disputed" tag removed
I've just removed the "disputed" tag I've placed some days ago. After a long and enriching discussion, the article IMHO reflects the current academic views on Páez and Paezan languages. Thanks! Cinabrium 18:43, 12 August 2005 (UTC)

Connections to Otomanguean
Hello all, I've deleted the section on Jolkesky's proposed Zapotecan-Paezan connection. First because it is not a noteworthy proposal since it has not been published, peer-reviewed or adopted by others, second because I have reviewed the proposal and found it very unconvincing, and third because this proposal was originally added to the Paez article by Jolkesky himself, if I'm reading the page history correctly. I've written about my issues with the proposal's linguistic argument here in case any editors would be interested: https://jryansullivant.wordpress.com/2020/07/02/zapotecan-and-paezan-are-not-related Nasua Narica (talk) 01:20, 4 July 2020 (UTC)
 * I support the deletion. This is WP:UNDUE for inclusion in WP for the first (=formal) reason given by you. I am not in the position to assess Jolkesky's proposal, nor your refutation of it (my reseach experience lies with languages literally on other side of the globe), but until this is published in a peer-reviewed source, and discussed/assessed by other scholars (likewise in peer-reviewed sources), even just the mention of it here is premature. –Austronesier (talk) 19:59, 4 July 2020 (UTC)

title: Talk:Paezan languages


text:
1991 Washington, D.C., riot

The 1991 Washington, D.C., riot, sometimes referred to as the Mount Pleasant riot or Mount Pleasant Disturbance, occurred in May 1991, when rioting broke out in the Mount Pleasant neighborhood of Washington, D.C., in response to an African-American female police officer having shot a Salvadoran man in the chest following a Cinco de Mayo celebration.

Background
Mount Pleasant is a neighborhood in Ward 1 of Washington, D.C. Located north of Adams Morgan and west of Columbia Heights, the neighborhood was one of the most diverse in the nation, with a population of roughly equal proportions of black, Hispanic, and white residents, along with Vietnamese, Laotians, Indians, and South Korean ones.

Shooting incident
On Sunday evening, May 5, 1991, following a Cinco de Mayo street celebration in nearby Adams Morgan, Angela Jewell, a rookie Metropolitan Police Department police officer of African American descent tried to arrest a Salvadoran man, Daniel Enrique Gomez, for disorderly conduct in the Mount Pleasant neighborhood. Witnesses disputed whether the drunken man came at her with a hunting knife, but the result was that she shot and wounded the man in the chest.

Riot
The man was shot and left paralyzed. While he was handcuffed, crowds of youths, most in their teens and twenties, formed and started to attack the police. Around 400 youths fought running street battles with the police for several hours, late into the night. Police cars were set on fire and several stores looted. The District's mayor, Sharon Pratt Dixon, told the police to hold back from making arrests for looting, allegedly because she feared it would antagonize the crowd and lead to more violence. The violence continued until early in the morning, when the crowds began to break up because of rain.

Hoping to avoid a second night of rioting, city officials met with Hispanic community leaders the next day, but the meeting did little to stop the violence. By evening, even with 1,000 riot police on the streets, the rioting started again. Police fought with as many as 600 black and Hispanic youths, some with bandanas over their faces. The rioters pushed dumpsters into the streets to block traffic, looted and damaged stores, and attacked police vehicles and city transit buses, setting several on fire. Several instances of gunfire were also reported. The police responded by firing tear gas grenades at the groups of rioting youths and by making arrests. When it was obvious that the disturbance was not going to end, the mayor declared a state of emergency and put a curfew into effect. The curfew covered a four-square-mile area of the city and included not only Mount Pleasant but also the surrounding areas of Adams Morgan and Columbia Heights.

By Tuesday night, after two nights of rioting, the curfew reduced the disorder; only isolated incidents of violence and 33 arrests were reported on the third night of rioting. Hundreds of police officers descended onto the neighborhood to enforce the 7:00 pm curfew and curb violence. Although there were some reports of rock and bottle throwing, no further stores were looted or fires set. Most people in the area stayed in their homes, afraid of being arrested for breaking the curfew. The riot was essentially over.

Aftermath
By the time the curfew was finally lifted on May 9, almost 230 people had been arrested, most of them for curfew violations. Fifty people had been injured, mostly police. Over 60 police vehicles had been either destroyed or damaged, along with 21 city transit buses. At least 31 businesses had been looted or damaged and losses to both city and private property totaled in the hundreds of thousands of dollars.

Many of the new Latino immigrants to the Mount Pleasant area had come from Central America, fleeing violence and seeking work. While there had been some friction between the police and the local community due to language and cultural differences, there had been no major outbreaks of trouble. In the months leading up to the riot, increasing levels of street crime and drug-related violence had fueled racial tensions among black, Hispanic, and white residents, which the Mount Pleasant riot brought to the forefront of the city's attention.

Only 140 of the city's police officers were Hispanic, and the community's Hispanic population had perceived oppression from the police force for some time. In the time leading up to the riots, residents often complained that police were stopping Hispanics and asking them for immigration papers for petty offenses that were ignored when committed by whites. Hispanic residents cited these tensions as a major factor sparking the riots.

In the years leading up to the riots, a predominantly white group of homeowners had been pressing police to reduce public drunkenness, urination, littering, aggressive panhandling, and other quality-of-life issues in the neighborhood. At the same time the Mount Pleasant Advisory and Neighborhood Commission, a quasi-governmental neighborhood organization, blamed many of Mount Pleasant street's problems on the easy availability of alcohol and its sale to already inebriated customers. Some Black and Hispanic residents perceived these efforts to crack down on alcohol sales as an attempt to drive lower income people and the customers they served out of the neighborhood, further fueling tensions.

After the riots, the city agreed to add more bilingual officers and 9-1-1 operators, and to station more Spanish-speaking officers in heavily Latino areas. They also agreed not to ask witnesses or crime victims about their immigration status, so that more people would feel safe in coming forward to cooperate with authorities to make the community more secure.

Mt. Pleasant Report
The United States Commission on Civil Rights transmitted a report in 1993 to the President and others based on the testimonials, research, and field investigations about the atmosphere after the riots and feelings of Latinos living in D.C. The Mt. Pleasant Report was the first volume in a series of Commission Reports on Racial and Ethnic Tensions in American Communities, Poverty, Inequality, and Discrimination. It analyzed reasons for Mt. Pleasant riots and assessed other riots, such as the 1992 Los Angeles riots, to see if there were any correlation between the two; both came from urban upheaval.

This 200-page report concluded three main issues that affected Latinos in Washington, D.C., during that time were:

 * The District of Columbia Metropolitan Police Department was perceived as conducting a practice of abuse, harassment, and misconduct against the Latino community.
 * Hispanic participation in the District of Columbia government was not proportionate to the community's portion of the general population of the District of Columbia.
 * The Latino community was not receiving its fair share of the government services.

Legacy
The DC Mayor's Office of Latino Affairs since then has made some progress with the Latino community. The 2008 Performance Accountability Report showed that more Latino organizations were getting city funds, more Latino parents were taking a bigger role in the public schools, and the government was readily making information available in Spanish.

title: 1991 Washington, D.C., riot


text:
Jeremy Paul (rugby union)

Jeremy Paul (born 14 March 1977) is a New Zealand-born Australia rugby union player. He played hooker for the Wallabies and the ACT Brumbies.

Jeremy Paul was born in New Zealand but grew up in the Redland Shire of South East Queensland. He was selected from Easts Tigers in Brisbane to represent the ACT Brumbies on a tour to the UK. Following a successful tour, he picked up a full time contract with the ACT Brumbies

At the end of 2005, Paul was awarded the John Eales Medal, receiving 194 votes from his teammates. He ruptured a tendon during the Wallabies 24-16 Tri-Nations' loss to South Africa in September 2006 and underwent surgery, and was forced to miss the European tour.

He has won 72 caps for Australia and 112 Super Rugby caps for the ACT Brumbies.

In May 2007 Paul signed with Gloucester Rugby for the start of the 2007/08 season but, for contractual reasons, he was not able to join the squad until after the 2007 Rugby World Cup. He made his Gloucester Rugby debut on 27 October 2007 in the Anglo-Welsh EDF Energy Cup against Newcastle Falcons.

He now works in finance.

title: Jeremy Paul (rugby union)


text:
Wikipedia:Articles for deletion/First cut studios

 This page is an archive of the discussion about the proposed deletion of the article below. 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 DELETE. Postdlf 23:29, 13 Jun 2005 (UTC)

First cut studios
No evidence of notability. --W(t) 05:17, 2005 May 29 (UTC)
 * Delete --Xcali 05:20, 29 May 2005 (UTC)
 * Delete. Decius 10:39, 29 May 2005 (UTC)
 * Delete, nonnotable, possible hoax even since the website provided doesn't exist. --Angr/undefined 13:28, 29 May 2005 (UTC)
 * Delete. non-notable/hoax. Jayjg (talk) 14:56, 29 May 2005 (UTC)
 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text:
Wikipedia:Cleanup Taskforce/Operation Yellow Ribbon

Operation Yellow Ribbon
The talk page shows this as a closed taskforce project. (This page was blanked in the past but it didn't have much material on it).

 * Please eval to determine if this article should be an open or closed taskforce project.

 * I believe it's closed...looks fine to me. --Woohookitty 09:40, 12 October 2005 (UTC)


text:
Wikipedia:Articles for deletion/Jeremy Paul

 This page is an archive of the discussion about the proposed deletion of the article below. 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 - made into a disambig - SimonP 02:21, Jun 14, 2005 (UTC)

Jeremy Paul
No evidence of notability, see also. --W(t) 05:19, 2005 May 29 (UTC)
 * Delete --Xcali 05:20, 29 May 2005 (UTC)
 * Local studio seems to exist in Cleveland, although it looks like they have lost their domain name to squatters. Pass. — RJH 05:39, 29 May 2005 (UTC)
 * Speedy delete, very short article with little or no context. --Angr/undefined 05:45, 29 May 2005 (UTC)
 * Delete. Decius 08:47, 29 May 2005 (UTC)
 * Delete. NN. Jayjg (talk) 14:55, 29 May 2005 (UTC)
 * dab or write an article on the rugby league player. (not sure about the musician, but he links there)Dunc|☺ 16:21, 29 May 2005 (UTC)
 * Keep now disambiguation. Jeremy Paul is an international rugby player see and plays Super 12 for the ACT Brumbies winning two Super 12 championships. I hope to write an article on him when I have time. Capitalistroadster 02:15, 30 May 2005 (UTC)
 * Keep the disambig per Capitalistroadster, remove the non-notable producer that originally inspired this VfD. Quale 16:35, 1 Jun 2005 (UTC)
 * Delete an empty dab page, what's the point? JamesBurns 07:22, 2 Jun 2005 (UTC)
 * Agree with Quale. Remove the nn producer, Keep the disambiguation.  Frjwoolley 18:15, 2 Jun 2005 (UTC)
 * Keep the dab per Capitalistroadster, zap the producer. BTW, Dunc, the Aussie plays rugby union, not league. Dale Arnett 07:24, 3 Jun 2005 (UTC)
 * Comment I normally would say delete the DAB, but leaving it, even if all entries are red, keeps the old text out of that name space. Vegaswikian 06:08, 4 Jun 2005 (UTC)

 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text:
Toxic (song)

"Toxic" is a song by American singer Britney Spears, released as the second single from her fourth studio album, In the Zone (2003). It was written and produced by Bloodshy & Avant, with additional writing from Cathy Dennis and Henrik Jonback. A dance-pop and techno-pop song with elements of South Asian music, "Toxic" features varied instrumentation, such as drums, synthesizers and surf guitar. It is played in the key of C minor with a tempo of 143 beats per minute. It is accompanied by breathy vocals and high-pitched Bollywood strings, sampled from Laxmikant–Pyarelal's "Tere Mere Beech Mein" (1981). Its lyrics draw an extended metaphor of a lover as a dangerous and addictive drug.

"Toxic" received acclaim from critics, who praised its hook and chorus, with many deeming it among the highlights of the album. It won Best Dance Recording at the 47th Annual Grammy Awards, marking the only Grammy win of Spears' career. The song topped the charts in 11 countries, including Australia, Canada, Hungary, Ireland, Norway, and the United Kingdom, and reached the top five in 15 countries. In the United States, it became her fourth top-ten single, peaking at number nine. The music video was directed by Joseph Kahn and includes references to Blade Runner, The Seven Year Itch and John Woo films. It features Spears as a secret agent who poisons her boyfriend, and includes scenes of Spears naked with diamonds on her body. Following the Super Bowl XXXVIII halftime show controversy, the video was deemed too racy for MTV and was moved to late-night programming.

Spears has performed "Toxic" in live appearances, including the 2004 NRJ Music Awards and three of her concert tours. It was the opening number of the Onyx Hotel Tour (2004), where she sang atop a bus wearing a black catsuit. Spears also performed remixed versions of "Toxic" at the Circus Starring Britney Spears (2009), the Femme Fatale Tour (2011) and Britney: Piece of Me (2013). "Toxic" has been covered by artists such as Local H, Mark Ronson, A Static Lullaby, Reece Mastin and Ingrid Michaelson, and in the TV series Glee. It has also featured in films such as Knocked Up, You Again,  Pitch Perfect 3, and TV series Doctor Who and Chuck. "Toxic" has become one of Spears' signature songs and is widely cited as among the most influential and innovative songs in pop music. The song has been included in multiple all-time lists of best songs, including by Pitchfork, NME and, in 2021, was ranked among Rolling Stone's 500 Greatest Songs of All Time.

Writing and recording
"Toxic" was written by Cathy Dennis, Henrik Jonback, Christian Karlsson, and Pontus Winnberg from production team Bloodshy & Avant. It was produced by Karlsson and Winnberg.

The song was written with American singer Janet Jackson in mind, but was initially offered to Australian singer Kylie Minogue, who turned it down. Minogue said she "listened to a snippet of it in the record-company offices and decided against it". She said she was not angry when it became a hit for Spears: "It's like the fish that got away. You just have to accept it."

"Toxic" was recorded at Murlyn Studios in Stockholm, Sweden, and Record Plant in Los Angeles. It was mixed by Niklas Flyckt at Khabang Studios in Stockholm.

On June 5, 2017, a version of "Toxic" without the pitch-correcting software Auto-Tune on Spears's vocals was leaked to YouTube. Despite a general expectation that the leak would confirm suspicions of Spears' natural vocals being poor, it was positively received overall.

Composition
"Toxic" is a classic dance-pop and techno-pop song, featuring elements of South Asian music. It features varied instrumentation, such as drums, synthesizers, violins, and high-pitched strings. It also contains surf guitar, that according to Caryn Ganz of Spin, "warps and struts like it's been fed into The Matrix." The music was also compared to the soundtracks of the James Bond film series. The hook of "Toxic" samples a portion of "Tere Mere Beech Mein", from the soundtrack of the 1981 Bollywood film Ek Duuje Ke Liye. However, it is not lifted verbatim from the score and mixes two different sections of the piece for the introduction section; later in the song, the cut-up sample is dropped in favor of a re-recorded string arrangement to improve the quality of the melody as evidenced by the multitrack recordings available on the internet. Spears' vocals on the song are breathy. Some of the refrains were inspired by pieces of classical music, such as "Flight of the Bumblebee", "Eine kleine Nachtmusik", and "Dumky Trio". NME described the song as presenting "piercing strings, hip-hop beats, eastern flavour and a dangerous escapade with temptation."

According to the official sheet music on Music-Notes, "Toxic" is set in the key of C minor, and follows a fast tempo of 143 beats per minute, but the pre-chorus is based on the C Dorian mode. Spears's vocal range spans from the low note of F3 to the high note of G5. Lyrically, "Toxic" talks about being addicted to a lover. Spears refers to her addiction in the lyrics and sings lines such as "Too high / Can't come down / Losing my head / Spinning round and round" in a falsetto. A reviewer from Popdust called the verse "The most representative lyric of the song's delirious, disorienting charm." "Toxic" ends with an outro in which Spears sings the lines, "Intoxicate me now / With your lovin' now / I think I'm ready now." Nick Southall of Stylus Magazine said the lyrics made Spears sound afraid of sex.

Critical reception

"Toxic" received acclaim. Heather Richels of The Paly Voice complimented its hook and catchiness while deeming it the most appealing song on In the Zone. While reviewing The Onyx Hotel Tour, Pamela Sitt of The Seattle Times called it the album's strongest single. Eric Olsen of Today stated the song could be the biggest hit off of its parent album while calling it "powerfully addicting." Caryn Ganz of Spin commented, "Spears hits pay dirt on 'Toxic'". Christy Lemire of Associated Press stated it was one of Spears' greatest hits and deemed it "insanely catchy", remarking that the chorus alone "makes you want to forgive the Alias wannabe video that accompanies the song." Stephen Thomas Erlewine of Allmusic called it along with "Showdown", "irresistible ear candy in what is surely Britney's most ambitious, adventurous album to date". In a separate review of Spears' greatest hits album Greatest Hits: My Prerogative (2004), Erlewine selected it as one of the "track picks" and described it as "a delirious, intoxicating rush". Jeffrey Epstein of Out compared the innovative sound of "Toxic" to Madonna's "Vogue".

Sal Cinquemani of Slant Magazine said that "Toxic" and "(I Got That) Boom Boom", "find Britney dabbling in hip-hop, but it's clear her heart lies in the clubs." Jamie Gill of Yahoo! Music Radio commented, "In the name of fairness, it will be noted that 'Toxic' and 'Showdown' could well have been good pop songs in the hands of any other singer than Spears." Joan Anderman of The Boston Globe named it "a well-titled cascade of frantic, mechanized glissandos and dreadful canned strings that buries the album's coolest (only?) chorus under a joyless mass". The song was ranked at number five in the 2004 Pazz & Jop poll by The Village Voice. "Toxic" was nominated for Best Song at the 2004 MTV Europe Music Awards, but lost to Outkast's "Hey Ya!". However, it won Best Dance Recording at the 2004 Grammy Awards, making it her first-ever won Grammy. It won Best Single at the 2004 Teen Choice Awards. Pitchfork named "Toxic" the third-best single of 2004, writing tha "finally, [Spears] just acted like an adult, rather than constantly reminding us she wasn't a girl anymore".

Commercial performance
In December 2003, it was announced by MTV News that after trying to choose between "(I Got That) Boom Boom" and "Outrageous" to be the second single from In the Zone, Spears had selected "Toxic" instead. She described it as "an upbeat song. It's really different, that's why I like it so much."

"Toxic" entered at number 53 on the Billboard Hot 100 on the issue dated January 31, 2004. It became the week's "Highest Debut". On March 27, 2004, it peaked at number nine; it was her fourth single to reach the top-ten and became her first single to reach the top ten since "Oops!... I Did It Again" in 2000. "Toxic" also topped both the Pop Songs and Hot Dance Club Songs charts. On October 24, 2023, the song was certified 6× platinum by the Recording Industry Association of America (RIAA) for track-equivalent sales of six million units. As of July 2016, "Toxic" has sold 2.3 million digital downloads in the United States, according to Nielsen SoundScan. It is her fifth best-selling digital single in the country. The song also topped the Canadian Singles Chart. "Toxic" debuted at the top of the Australian charts on March 15, 2004, and stayed in the position for two weeks. The song received a gold certification by the Australian Recording Industry Association (ARIA) for shipments over 35,000 units.

In New Zealand, "Toxic" debuted at number 38 on the issue dated February 16, 2004, and peaked at number two on March 29, 2004. It stayed at the position the following week, held off from the top spot by Eamon's "Fuck It (I Don't Want You Back)". On March 7, 2004, "Toxic" debuted at number one on the UK Singles Chart for the week ending date March 13, 2004, becoming her fourth number-one hit in the United Kingdom. In April 2004, it was certified silver by the British Phonographic Industry (BPI), with sales over 200,000 copies. According to the Official Charts Company, the song has sold 426,000 copies there. "Toxic" also peaked inside the top-ten in every country it charted. The song topped the charts in Hungary and Norway; reached the top five in Austria, Czech Republic, Denmark, Germany, Portugal, Italy, France, Sweden and Switzerland; and the top ten in Belgium (Flanders and Wallonia), Finland, and the Netherlands. "Toxic" is Spears' most streamed single in the US, with over 448 million streams as of June 2020. In July 2023, the song crossed one billion streams on Spotify, making it Spears' first billion-streaming song on the service. By that, she also became a member of Spotify's "Billions Club".

Background and release
The music video for "Toxic" was filmed on a Los Angeles soundstage in December 2003. It was directed by Joseph Kahn, who had previously worked with Spears on the music video for her 2000 single "Stronger". The editor of the video was David Blackburn, who also edited "Womanizer" and "Do Somethin'. Brad Rushing was the cinematographer. Spears first approached Kahn with a story sketch of a secret agent out for revenge against an ex-lover, for which Kahn created a treatment. Her concept was almost fully formed and detailed, including for example the scene in which she drops a drink on the passenger's lap. Spears said she wanted to join the mile high club and be a stewardess that kissed a man in the bathroom. Kahn suggested making him a fat man, so the "common man" would feel represented. Spears also told him about a scene in which she would be naked and covered in diamonds. Kahn stated he was "not sure what I was thinking about when she told me about that scene, maybe those intros to James Bond movies, but every video needs an iconic image to remember, and that's it." The choreography was a collaboration between Brian Friedman and Spears, and every scene had a completely different, strictly structured routine. After the treatment was finished, Kahn proceeded to cast his friends and acquaintances, as in most of his projects. The plane passenger on whom Spears drops a drink was played by his longtime casting director, while the fat man in the bathroom was played by the casting director's assistant. Spears's ex-boyfriend is played by Martin Henderson, who starred in Kahn's directorial debut Torque.

For the naked scenes, Spears cleared the set, leaving only Kahn, Blackburn, and Rushing with her to shoot the sequence. Spears also shot scenes in which she had to dance through a hallway of imaginary lasers in front of a green screen, something that Kahn deemed as "incredible to watch". The last few scenes of the video in which Spears murders her boyfriend concerned Kahn, who thought they would be censored. He explained, "the trick was to make it look pop at the same time" and told Henderson, "Would you like to be kissed by Britney Spears?". According to Kahn, the hint of a smile that appears on Henderson's face before Spears pours the poison into his mouth was what managed to get the shot past the censors. Although Spears was at first going to be involved in the editing process with Blackburn, she did not contact Kahn after the media scandal over her wedding in Las Vegas. "Toxic" was Spears's most expensive music video to that point, at the cost of $1 million. The music video premiered exclusively on MTV's Making the Video on January 13, 2004. The following day, Spears appeared on TRL to premiere it on regular rotation. The video was first released on the Britney Spears: In the Zone video album. An alternate karaoke version featuring the diamonds scene was released on the Greatest Hits: My Prerogative DVD.

Synopsis

The music video begins with an open shot of an airplane flying and preceded by three menacing dark birds, referencing the works of Hong Kong director John Woo. Spears appears with blonde hair dressed as a flight attendant, lifting the in-flight intercom as if on a phone call. After serving some of the passengers, she "accidentally" spills a drink into the lap of a seated male passenger; later beckoning a middle-aged, overweight, bespectacled male passenger to the bathroom where she seduces him. She peels off the man's mask to reveal an attractive man (Matthew Felker) underneath it and steals a black pass from his pocket as they passionately kiss. Spears then appears, completely re-dressed and with red hair, standing in a futuristic Paris, similar to the film Blade Runner (1982), and takes a ride on the back of a Ducati 999, driven by a shirtless male (Tyson Beckford). She wears a tight black catsuit and sports red hair, inspired by the character of Sydney Bristow from the television series Alias. As they speed past a woman, the draft from the motorcycle lifts up her dress, a homage to the iconic Marilyn Monroe scene in the film The Seven Year Itch (1955). They also pass two women, erotically frolicking in a store window.

The action narrative is repeatedly intercut with scenes of Spears, on all fours on the floor, wearing only diamonds. The look was compared to that of Kate Bush in the music video for her 1978 single, "The Man with the Child in His Eyes". Spears then enters Toxic Industries and gains access to a vault from which she steals a vial of green poison. As she leaves, she accidentally triggers a Mission: Impossible-style laser trap, which she evades with elaborate dance moves, including a back handspring. Scenes are intercut of Spears' ex-boyfriend (Henderson) making out with another woman in the shower. Spears, now dressed as a black-haired super-heroine, scales a building and enters an apartment, where her ex-boyfriend is waiting for his lover who is in the shower. She pummels him to the floor and kisses him just before pouring the poison into his mouth, killing him. Spears kisses him again and flies from the window balcony. She appears back on the plane as the flight attendant and winks at the camera. The video ends with a shot of the airplane flying off, through clouds, towards the sun, followed by five menacing screeching blackbirds, as seen at the beginning.

Response and impact
Jennifer Vineyard of MTV compared the video to Justin Timberlake's "Cry Me a River", saying that "Where her real-life ex just stalked his cheating lover in his clip, [...] Spears takes a more lethal approach." On February 10, 2004, MTV announced that due to the Super Bowl XXXVIII halftime show controversy in which Janet Jackson's breast was exposed on live television, "Toxic" along with other five music videos would be moved from daytime to late-night programming from 10 p.m. until 6 a.m. A spokeswoman for MTV announced that "given the particular sensitivity in the culture right now, we're erring on the side of caution for the immediate future." The video was nominated at the 2004 MuchMusic Video Awards in the category of Best International Artist Video, but lost to Beyoncé's "Crazy in Love". It was also nominated for four VMAs at the 2004 awards in the categories of Best Female Video, Best Dance Video, Best Pop Video and Video of the Year, but lost all of them (Rumors spread on internet forums claiming the other winners were rigged due to her non-presence that year). Corey Moss of MTV said that Spears "remains the Susan Lucci of the VMAs." Visual effects supervisors Chris Watts and Bert Yukich won the category of Outstanding Visual Effects in a Music Video at the 3rd Annual Visual Effects Society Awards.

In September 2009, the music video for "Toxic" was voted by users of the music video website MUZU TV as the sexiest music video. The video was also used on Life Is Pornography, a 2005 video art by Jubal Brown. Amy Schriefer of NPR noted that in the video, Spears was no longer trying to break away from her 1990s teen pop image and style; she was comfortable and having fun, not trying to generate any type of calculated controversy. The anime music video for Spears's single "Break the Ice" (2008) was based on the secret agent character of "Toxic". The video for "Womanizer" (2008) was created by Spears as a sequel to "Toxic". In the 2010 Glee episode "Britney/Brittany", the character of Brittany Pierce danced in a diamond suit during a cover of "I'm a Slave 4 U". In a 2011 poll by Billboard, the song's music video was voted the second-best music video of the 2000s, behind only Lady Gaga's "Bad Romance" (2009). Jillian Mapes of Billboard wrote that Spears "proved that she comes in every flavor [...] But the one role that stays constant through the dance-heavy clip: Sultry maneater." Taylor Swift's "Bad Blood" music video pays homage to the red-haired look Spears sports in the "Toxic" music video. Many comparisons were made about the similarities.

"Toxic" is still widely credited for changing the face of dance-pop in the 2000s. It introduced an influx of electropop into the modern market, providing the blueprint for various smash hits. As of July, the music video of "Toxic" has over 670 million views on YouTube.

Live performances
"Toxic" was performed by Spears at Britney Spears: In the Zone, a concert special that aired in ABC on November 17, 2003. She also performed "Toxic" as the headliner of the Jingle Ball on December 8, 2003, at Staples Center. It was the opening number of her set, and Spears appeared wearing a black top and a white fur cape. While the choreography was deemed as "erotic", Corey Moss of MTV commented that some of the effect was lost due to Spears's lip-synching and a stagehand fixing a prop during the song. On January 24, 2004, Spears opened the 2004 NRJ Music Awards with a performance of "Toxic". During the ceremony, she also presented the NRJ Award of Honor for the Career to Madonna. Spears performed "Toxic" as the opening number of 2004's the Onyx Hotel Tour. Previous to the beginning of the tour, she deemed it as the song she was most excited to perform, along with "Everytime". After an introduction in which she briefly appeared on a large video screen, Spears took the stage standing on top of a hotel bus, wearing a tight black catsuit. She was surrounded by dancers dressed as employees and columns of LED lighting, suggesting the façade of a glitzy hotel on the Vegas Strip. MTV UK commented, "OK, so she doesn't so much sing than mime along with Toxic, [...] But what do you expect when she's simultaneously performing a vigorous dance routine, ascending moving staircases and descending fireman poles?".

"Toxic" was also performed as the last song of the concert during the M+M's Tour. After "Do Somethin'", in which Spears wore a hot pink bra, a white fur coat, and a jean skirt, she ended the set with "Toxic", with four female dancers in a Shakira-like style. Following the performance, she thanked the audience and introduced her dancers. "Toxic" was also performed at 2009's the Circus Starring Britney Spears. Following an interlude in which the dancers showcased their individual moves, the stage was lit with green sci-fi effects, and Spears appeared over moving jungle gyms. Jerry Shriver of USA Today said that "fan-favorite Toxic [...] succeeded because the focus was solely on the star." Jane Stevenson of the Toronto Sun named it one of the standout performances of the show, along with "...Baby One More Time" and "Womanizer". Screen commented, "The high point of the show was the back to back performance of two of Britney's biggest hits, 'Toxic' and 'Baby One More Time' [sic], which had the crowd break out in wild applause."

The song was performed at 2011's Femme Fatale Tour. After a video intermission in which Spears finds and captures the stalker that follows her, the show continues with a martial arts-inspired remix of "Toxic", in which Spears wears a kimono and battles dancing ninjas. Keith Caufield of Billboard felt the performance was comparable to Madonna's "Sky Fits Heaven" at 2001's Drowned World Tour. Shirley Halperin of The Hollywood Reporter stated that "[the] mid-tempo numbers [...] seemed to stall out quickly, where faster offerings like 'Womanizer,' 'I Wanna Go' and 'Toxic' had the sold-out crowd jumping in place and pumping their number twos in the air." August Brown of the Los Angeles Times said, "The set's only weak spots were sonic revisions of catalog staples – the Bollywood spy-flick vamp of 'Toxic' remains utterly groundbreaking and didn’t need an Ibiza-inspired revision.". Spears performed the song during the last act from her 2013-17 Las Vegas residency Britney: Piece of Me. The number begins with a ballad version of "Toxic" and Spears is seen over a giant tree. Before the chorus begins, Spears jumps from the tree in a kind of bungee jump under a water curtain. As Spears lands in the stage, the first chords from the song starts and the performance keeps going on. In the 2016 Billboard Music Awards, it was performed as the closing song of a greatest hits medley by Spears, with brand new choreography. The song was also included in Spears's setlist for the iHeartRadio Music Festival on September 24, 2016. Spears performed the song as part of her Apple Music Festival performance in London on September 27, 2016. The song was also streamed live along with "Work Bitch" from Spears' final Britney: Piece of Me show date on December 31, 2017, on ABC's Dick Clark's New Year's Rockin' Eve to a record audience of 25.6 million.

Legacy
"Toxic" won Spears her first, and to date only, Grammy Award at the 2005 ceremony in the Best Dance Recording category and gained her credibility amongst critics. The song also won Most Performed Work at the 2004 Ivor Novello Awards. "Toxic" was ranked at number fourteen on Stylus Magazine's Top 50 Singles between 2000 and 2005. In a 2005 poll conducted by Sony Ericsson, "Toxic" was ranked as the world's second favorite song, only behind "We Are the Champions" by Queen. Over 700,000 people in 60 countries cast their votes. The song was also included on The 500 Greatest Songs Since You Were Born list by Blender. Pitchfork listed the song on The Top 500 Tracks of the 2000s. Jess Harvell commented that Spears had great pop instincts and that "Toxic" showed how "Britney always had more individualist pep than her peers, important when you're dealing with steamroller productions from the mind of Max Martin."

In 2009, NPR included "Toxic" on their Most Important Recordings of the Decade list. Amy Schriefer noted that the song's synths defined the sound of dance-pop for the rest of the decade while adding that it "still sound[s] fresh and futuristic." "Toxic" was listed on several others end of the decade lists; at number forty-seven by NME, forty-four by Rolling Stone and seventeen on The Daily Telegraph. NME called it the soundtrack to all of the fun of the decade, from "little girls at discos" to "gay clubs and hen nights." NME critics also ranked "Toxic" at number 92 on their 500 Greatest Songs list, writing that the song "reinvented popular dance music." In 2010, the song was voted in Rolling Stone's end of the decade readers poll as the fourth-best single of the decade. In 2021, the song was ranked at number 114 on the list of Rolling Stone's 500 Greatest Songs of All Time. Pitchfork listed the song at number three on their Top 50 Singles of 2004 list. Bill Lamb of About.com listed the song at number 27 on the Top 40 Pop Songs. Evan Sawdey of PopMatters commented that "Toxic" is a rare kind of song that transcends genre boundaries, and added that Spears delivered the track that defined her legacy. In May 2010, Spears revealed via Twitter that "Toxic" is her favorite song in her catalog. In 2022, in their ranking of every Spears' song, Rolling Stone ranked "Toxic" at number one. In a 2024 article, Billboard's staff ranked "Toxic" at number one on their 100 Greatest Songs of 2004 list.

Homage
Ken Freedman devoted an entire three-hour radio show to cover versions of the song. It aired on WFMU on June 9, 2021.

Cover versions
The song was covered on the 2010 American series Glee episode "Britney/Brittany" by New Directions, in a Bob Fosse-inspired performance led by the character of Will Schuester. In the United States, their version debuted at number sixteen on the Hot 100 and sold 109,000 copies on its first week, according to Nielsen SoundScan. It also charted at number thirty-seven in Australia, fifteen in Canada, and seventeen in Ireland. The song was covered again in Glee episode "100" by Dianna Agron, Heather Morris, and Naya Rivera. Northern Irish singer-songwriter Juliet Turner covered "Toxic" for the 2004 covers compilation, Even Better Than the Real Thing Vol. 2. In 2005, American folk group Chapin Sisters recorded an acoustic cover of "Toxic", which was featured on PerezHilton.com and became one of the most requested songs of the year in KCRW. German country-rock band the BossHoss recorded a cover of "Toxic" for their debut album, Internashville Urban Hymns (2005). American rock duo Local H covered the song for their first live album, Alive '05 (2005). An instrumental rendition of the song was released by American surf rock band Monsters from Mars. Norwegian alternative rock band Hurra Torpedo covered "Toxic" in their fourth release, Kollossus of Makedonia (2006). English producer Mark Ronson recorded a hip hop cover of the song, featuring American singer-songwriter Tiggers and a posthumous verse from American rapper Ol' Dirty Bastard. It was included in his second studio album, Version (2007).

English indie rock band Hard-Fi covered the song for the compilation album Radio 1 Established 1967 (2007). The song was fused with the Clash's cover of "Brand New Cadillac". American musician Shawn Lee covered the song in the album Shawn Lee's Ping Pong Orchestra (2007). French-Israeli singer-songwriter Yael Naïm released a piano-driven version of the song in her eponymous debut album (2007). British electronic music group Metronomy's cover was described as "something out of a "Weird Al" Yankovic polka medley, only not kidding." Israeli pop singer Shiri Maimon recorded a version of "Toxic" in Hebrew. American comedy singer Richard Cheese recorded a cover for his eighth album, Viva la Vodka (2009). American post-hardcore band A Static Lullaby released a cover in the compilation album, Punk Goes Pop 2 (2009). A music video was released, which featured different Spears look-alikes wearing iconic outfits from various music videos, such as "...Baby One More Time" and "Womanizer".

A cover of the song by American singer-songwriter Christopher Dallman was included in an EP titled Sad Britney, released on November 9, 2009, along with covers of "...Baby One More Time", "Gimme More" and "Radar". American acoustic trio Nickel Creek covered "Toxic" at the 2006 Bonnaroo Music Festival. Australian singer-songwriter Kate Miller-Heidke did an opera-pop version of "Toxic" during a mobile phone launch in Sydney in August 2007. She dedicated it to Spears, adding, "She's going through a bit of a hard time at the moment. ... This one's for you, mate." American singer-songwriter Ingrid Michaelson covered "Toxic" regularly on her 2010 Everybody Tour. A cover version by The Hit Crew was used in Just Dance 2. Michaelson's version ends with her and the band doing a dance break set to Spears's original song. American pop band Selena Gomez & the Scene performed a tribute to Spears during their 2011 We Own the Night Tour. The medley of hits included "...Baby One More Time", "(You Drive Me) Crazy", "Oops!... I Did It Again", "I'm a Slave 4 U" and "Toxic", mixed similar to the Chris Cox Megamix included in Greatest Hits: My Prerogative. They also performed a cover of "Hold It Against Me". During her debut on American TV singing show The Voice, American singer Melanie Martinez sang "Toxic" playing an acoustic guitar and a tambourine with her foot. Three of the judges, Adam Levine, CeeLo Green, and Blake Shelton, hit the "I Want You" button for her. In 2014, David J covered "Toxic" featuring Sasha Grey. On December 2, 2016, Madonna covered the song during a live concert broadcast through Facebook Live.

The song was also covered in 2019 by Scottish singer Nina Nesbitt and the Queercore band Dog Park Dissidents. The song is also included in the "Backstage Romance" number of Moulin Rouge!, where it is sung in a medley with "Bad Romance", "Tainted Love", "Seven Nation Army", and "Sweet Dreams (Are Made of This)".

In 2021, the duo Altégo posted a snippet of a mashup of "Toxic" and Ginuwine's "Pony" on TikTok, that quickly went viral. In January 2022, the mashup was completed and officially released through Sony Music Entertainment under the title "Toxic Pony", being credited to Altégo, Spears and Ginuwine. The mashup reached number 40 on the Billboard Pop Airplay chart. English singer Mabel recorded an acoustic version of "Toxic" for the Apple Music edition of her second studio album, About Last Night... (2022). In 2022, Spanish singer Lola Índigo covered the song during her Teatro Eslava Madrid concert. American singer Beyoncé sampled the song at the opening night of her Renaissance World Tour (2023).

In November 2023, Irish singer Lisa Hannigan covered the song for the 5th season of the TV show Fargo.

Soundtrack appearances
In the 2005 episode "The End of the World" of the TV show Doctor Who, the character of Cassandra unveils an ancient jukebox that reproduced "Toxic" as an example of "a traditional ballad" from about 5 billion years prior. NME stated that the inclusion of the song marked its cultural impact. In the 2007 film Knocked Up, the song is played when Seth Rogen and Paul Rudd are driving to Las Vegas. Director Judd Apatow explained that he initially tried to use "Toxic" in the 2005 film The 40-Year-Old Virgin in the scene where Leslie Mann is drunk driving. "Toxic" was also featured in the 2010 film You Again. A string arrangement of "Toxic" was featured in the 2020 American thriller film Promising Young Woman, with film score producer Anthony Willis saying that Toxic' is one of the greatest pop songs of the 2000s. It's such a fantastic track and has such an evocative lyric. And so if you hear that riff and you hear that tune, you're imagining the word 'toxic,' but you're not actually hearing it." "Toxic" is featured on British soap opera Emmerdale in July 2021 when Meena Jutla (Paige Sandhu) dances to the song after she murders Leanna Cavanagh (Mimi Slinger). "Toxic" was remixed with Elvis Presley's "Viva Las Vegas" by Jamieson Shaw for Baz Luhrmann's Elvis, and was released on January 6, 2023, as "Toxic Las Vegas".    "Toxic" was featured on Just Dance 2023 Edition, using the original version of the song instead of The Hit Crew's cover that was used in Just Dance 2 previously.

Track listings

 * European CD single
 * 1) "Toxic" (album version) – 3:19
 * 2) "Toxic" (instrumental) – 3:19

 * German CD single
 * 1) "Toxic" – 3:21
 * 2) "Me Against the Music" (LP version / video mix) – 3:44

 * Australian and European CD maxi single
 * 1) "Toxic" (album version) – 3:21
 * 2) "Toxic" (album instrumental) – 3:19
 * 3) "Toxic" (Bloodshy & Avant's intoxicated remix) – 5:35
 * 4) "Toxic" (Armand Van Helden remix edit) – 6:25

 * Japanese CD maxi single
 * 1) "Toxic" (album version) – 3:21
 * 2) "Toxic" (album instrumental) – 3:19
 * 3) "Toxic" (Bloodshy & Avant remix) – 5:35
 * 4) "Me Against the Music" (Gabriel & Dresden radio edit) – 3:38

 * UK CD maxi single
 * 1) "Toxic" (album version) – 3:21
 * 2) "Toxic" (Lenny Bertoldo mix show edit) – 5:46
 * 3) "Toxic" (Armand Van Helden remix edit) – 6:25
 * 4) "Toxic" (Felix Da Housecat's club mix) – 7:09
 * 5) "Toxic" (album mix instrumental) – 3:19

 * DVD single
 * 1) "Toxic" – 3:21
 * 2) "In the Zone Special" – 4:50
 * 3) "Toxic" (Lenny Bertoldo mix show edit) – 5:46

 * UK 12-inch vinyl
 * 1) "Toxic" – 3:21
 * 2) "Toxic" (Felix Da Housecat's club mix) – 7:09
 * 3) "Toxic" (Armand Van Helden remix – edit) – 6:25
 * 4) "Toxic" (Lenny Bertoldo mix show edit) – 5:46

 * US 12-inch vinyl and digital three-track remix maxi single
 * 1) "Toxic" (Armand Van Helden remix) – 9:34
 * 2) "Toxic" (Felix Da Housecat's club mix) – 7:09
 * 3) "Toxic" (Lenny Bertoldo mix show edit) – 5:46

Credits and personnel
Credits are adapted from the liner notes of In the Zone.

Recording and management

 * Recorded at Murlyn Studios, (Stockholm, Sweden) and Record Plant Studios (Hollywood, Los Angeles, California)
 * Mixed at Khabang Studio (Stockholm, Sweden)
 * Mastered at Sterling Sound (New York City, New York)
 * Colgems-EMI Music Incorporated, EMI Music Publishing Ltd. and Murlyn Songs AB, administered by Universal-Polygram Int. Publishing Incorporated

Personnel
• Britney Spears – vocals

• Cathy Dennis – songwriting and background vocals

• Henrik Jonback – songwriting, guitar

• Bloodshy & Avant – songwriting, production, recording, arrangements, all instruments, programming, digital editing

• Steve Lunt – A&R, arrangements

• Janson & Janson – strings conductors, strings arrangement

• Stockholm Session Strings – "Bollywood" strings

• Thomas Lindberg – bass

• Emma Holmgren – background vocals

• BlackCell – background vocals

• Niklas Flyckt – mixing

• J. D. Andrew – engineering assistant

• Jonas Östman – engineering assistant

Certifications and sales
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title: Toxic (song)


text: Category:New Line Cinema films

title: Category:New Line Cinema films


text:
Catullus 4

Catullus 4 is a poem by the ancient Roman writer Catullus. The poem concerns the retirement of a well-traveled ship (referred to as a "phaselus", also sometimes cited as "phasellus", a variant spelling). Catullus draws a strong analogy with human aging, rendering the boat as a person that flies and speaks, with palms (the oars) and purpose.

The poem is complex, with numerous geographic references and elaborate litotic double negatives in a list-like manner. It borrows heavily from Ancient Greek vocabulary, and also uses Greek grammar in several sections. The meter of the poem is unusual — iambic trimeter, which was perhaps chosen to convey a sense of speed over the waves.

Scholars remain uncertain whether the story of the construction and voyages of this phasellus (ship, yacht, or pinnace), as described or implied in the poem, can be taken literally. Professor A. D. Hope in his posthumous book of translations from Catullus is one translator who takes it so. His introduction calls the phasellus “his yacht, in which he [Catullus] must have made the return voyage [from Bithynia]” and the translation ends Until she made landfall in this limpid lake. / ''But that was aforetime and she is laid up now. . . However Hope also left, in his final collection of poetry Aubade'', a much freer translation, adaptation, or erotic parody, in which the phasellus seems to be, in effect, a phallus. This version says that the phasellus claims that in his hey-day with mainsail and spanker / He outsailed all vessels; and the ending becomes: At his last landfall now, beyond all resurgence, / View him careened upon a final lee-shore; / . . . Sing for the captain who will put to sea no more!

Among a number of other interpretations, Catullus 4 has also been interpreted as a parody of epic poetry, or the boat as a metaphor for the Ship of state.

title: Catullus 4