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Like a Virgin (song)

"Like a Virgin" is a song recorded by American singer Madonna from her second album of the same name. The song was written and composed by Tom Kelly and Billy Steinberg, and it was released as the album's lead single on October 31, 1984. A dance song with two hooks, Madonna sings in a high register while a continuous arrangement of synths are heard along the bassline. The song's lyrics are ambiguous, consisting of hidden innuendos and open to various interpretations.

Upon release, "Like a Virgin" received positive reviews from music critics, who frequently singled out Madonna's vocals. It became her first number-one in the Billboard Hot 100, and topped the charts in Australia and Canada, while reaching the top ten elsewhere; "Like a Virgin" has sold over six million copies worldwide. The accompanying music video was directed by Mary Lambert, and showed Madonna sailing down the canals of Venice in a gondola, as well as roaming around a castle wearing a white wedding dress. The video received positive feedback; authors singled out the expression of Venetian vitality, and noted references to Saint Mark.

Madonna has included "Like a Virgin" in eight of her concert tours, the most recent being the Celebration Tour of 2023–2024; the song's performance at the inaugural MTV Video Music Awards has been deemed a defining moment in pop culture, as well as one of the best performances in the show's history. "Like a Virgin" has been covered and parodied by a number of artists, including Elton John and "Weird Al" Yankovic. It's also been sung or referenced in feature films and TV shows such as Reservoir Dogs (1992), Moulin Rouge! (2001) and Glee (2010), among others. "Like a Virgin" has been recognized as one of Madonna's best songs, as well as the one that turned her into a superstar; "Like a Virgin" has also been credited with encouraging women and female performers from the time to embrace their sexuality.

Background

"Like a Virgin" was written by Billy Steinberg and Tom Kelly; the former had just begun a new relationship after a long rough period, and came up with the lyrics one day while driving a pickup truck around his father's vineyards in the Coachella Valley. Steinberg went on to reveal in an interview for the Los Angeles Times that the song was not written with a female singer in mind; it was inspired by how he coped with the difficult situation after ending a previous relationship. When he took the lyrics to Kelly, together they decided that it would be a sensitive ballad, but could not decide how to include the word "virgin" in it. Steinberg elaborated: "I wasn't just trying to get that racy word virgin in a lyric. I was saying [...] I've been battered romantically and emotionally like many people— but I'm starting a new relationship and it just feels so good, it's healing all the wounds and making me feel like I've never done this before". They then recorded a demo, with Kelly singing lead and Steinberg singing backup.

After the demo was recorded, Kelly invited Warner Bros. Records A&R executive Michael Ostin to his house to listen to it. Ostin, who was set to meet with Madonna the following day, wanted to play the demo for her, as he believed the lyrics and groove were "perfect" for her; "when I played it [for Madonna] she went crazy, and I knew instantly it was a song for her and that she could make a great record out of it," Ostin recalled. In a 2009 interview with Rolling Stone, the singer was asked by Austin Scaggs what were her first impressions after listening to the demos of "Like a Virgin" and "Material Girl"; she replied, I liked them both because they were ironic and provocative at the same time but also unlike me. I am not a materialistic person, and I certainly wasn't a virgin, and, by the way, how can you be like a virgin? I liked the play on words; I thought they were clever. They're so geeky, they're cool. I never realized they would become my signature songs, especially the second one.

Recording and production
In mid-1984, Madonna met with Nile Rodgers at New York's Power Station studio to start working on her second studio album; Rodgers put together an "economical" rhythm section, consisting of himself on guitars, Bernard Edwards from Chic on bass, and Tony Thompson on drums. According to author Fred Bronson, Rodgers did not want Madonna to record "Like a Virgin", as he felt the lyric "like a virgin" was not a "terrific" hook, nor an "all-time catch phrase". However, he began to have second thoughts after hearing the demo; "I couldn't get it out of my head after I played it, even though I didn't really like it [...] but it grew on me. I really started to like it. [...] But, my first reaction to it was, 'This is really queer'", Rodgers recalled. The producer then "handed [my] apology [to Madonna] and said, 'you know... if it's so catchy that it stayed in my head for four days, it must be something. So let's do it", thus the song was finally recorded. Madonna was very eager to release her work with Rodgers, despite "Borderline" being a top-ten hit at the time; "not that I didn't love Reggie Lucas and 'Borderline' [...] but the thing is, when I put out my first record it didn't really do that well. [...] So it kind of had a resurgence right at the time we were going to release 'Like a Virgin'", she recalled. Of the recording process, Billy Steinberg commented: When Madonna recorded it, even as our demo faded out, on the fade you could hear Tom saying, "When your heart beats, and you hold me, and you love me..." That was the last thing you heard as our demo faded. [She] must have listened to it very, very carefully because her record ends with the exact same little ad-libs that our demo did. That rarely happens that someone studies your demo so carefully that they use all that stuff. We were sort of flattered how carefully she followed our demo on that.

Jason Corsaro, the record's audio engineer, persuaded Rodgers to use digital recording, a new technique at the time which Corsaro believed was going to be the "future" of recording because test pressings always sounded consistent. To ensure this, Corsaro used a Sony 3324 24-track DASH recorder, and a Sony F1 PCM adaptor for the stereo mix; Madonna recorded her vocals inside a small, wooden, high-ceilinged piano room at the back of Studio C, also known as Power Station's "R&B room". Corsaro then placed gobos around her while using the top capsule of a stereo AKG C24 tube microphone, with a Schoeps microphone preamplifier and a Pultec equalizer; "that was part of the Power Station way — nothing was subtle and everything had a particular sound", the engineer recalled. Once the track was approved, Robert Sabino added the keyboard parts, playing mostly a Sequential Circuits Prophet-5, as well as some Rhodes piano and acoustic piano; Rodgers also played a Synclavier. Madonna, although not required, was present every minute of the recording sessions and the mixing process, Corsaro commented: "Nile was there most of the time, but she was there all of the time. She never left".

Composition and lyrics
Composed as a dance-oriented song, the intro of "Like a Virgin" consists of two hooks. According to the sheet music published by Alfred Publishing Inc., it is written in the key of F-sharp major, with a moderately groove tempo of 118 beats per minute; Madonna's vocals range from the tonal nodes of low-tone G♯3 to high-tone C♯5. Rikky Rooksby wrote in The Complete Guide to the Music of Madonna (2004) that the bassline on the intro is a re-working of the three-note bass motif present in the Four Tops' "I Can't Help Myself (Sugar Pie Honey Bunch)" (1965), where Chuck Berry provided the chord arrangement. The bassline shares similarities with Michael Jackson's "Billie Jean" (1983), especially during the second verse. Madonna sings in her high register, while drum arrangement by Tony Thompson can heard alongside the bassline; this is supported by a synthesizer arrangement, giving it a circular progression through all the seven diatonic chords of I–IV–viio–iii–vi–ii–V–I. In the second chorus, the singer exclaims the title phrase, followed by a Hey! sung in falsetto; the outro has "breathless" ad-libs such as "can't you hear my heart beat... for the very first time?".

Lyrically, "Like a Virgin" has been described as an "ode to a lover who makes the singer feel like new". Madonna commented: "I like innuendo, I like irony, I like the way things can be taken on different levels"; this statement highlighted the ambiguity of the lyrics of the song, which is hung on the word "like". According to Rooksby, the song can be interpreted in many different ways: actual virgins are encouraged to hold their compose before their first sexual encounter; in the case of men and more sexually experienced women, however, the lyrics talk about how they can re-live the feelings of their first sexual encounter.

Release and critical reception
"Like a Virgin" was released as the album's lead single on October 31, 1984. Rodgers wanted "Material Girl" to be released as the lead single, but "Like a Virgin" was chosen instead, a decision Madonna herself found "quite controversial". Afterwards, the song was included on the singer's compilations, The Immaculate Collection (1990), Celebration (2009) and Finally Enough Love: 50 Number Ones (2022). Upon release, "Like a Virgin" was met with generally positive reviews from music critics. On his biography of the singer, J. Randy Taraborrelli described it as a "coy song that suggested [she] really was a virgin - excited, sexy and willing". Author Thomas J. Ferraro called it "hilariously tongue-in-cheek". In The History of American Pop, Stuart A. Kallen referred to it as "light and catchy, easy to dance to, and just plain fun". From AllMusic, Stephen Thomas Erlewine named it, along with "Material Girl", one of the album's "definitive statements" that "overshadow" the rest of the songs; Stewart Mason from the same website, felt it was "pure bubblegum fluff" and the song in which Madonna "sounds most like Marilyn Monroe". Rolling Stone's Debby Miller deemed it "terrific", and opined that, despite her "little-girl voice [...] when she chirps, 'You made me feel/Shiny and new/Like a virgin', [...] you know she's after something". The same magazine then said that, "even if the word 'virgin' is the only sexual reference in the lyrics, ['Like a Virgin'] still sounds saturated in lust". From Billboard, Brian Chin praised the singer's "flawlessly phrased, witty" vocals and referred to the song as her "most pop-oriented cut yet". Kenneth Partridge, also writing for Billboard, compared it to "Billie Jean" and referred to it as a "complex song about purity and sex". Parade's Samuel Murrian singled out "just how clever and skillfully constructed this song is".

The staff of Cash box opined that, "though the hooks are not as interesting as on her previous singles, Madonna's voice is in full force". While Yahoo!'s Nicole Hogsett said it was a "flirtatious, innocent-sounding (yet not innocent at all) [...] undeniably fun discussion of love", The Guardian called it "saucy". Amy Davidson from Digital Spy praised its "instantly memorable" lyrics, and said it had "one of the best basslines in pop". For The Arizona Republic, Ed Masley wrote that, "['Like a Virgin'] features young Madonna at her chirpiest" and, when compared to other singles such as "Justify My Love" (1990), it "does feel pretty virginal". Stereogum's Tom Breihan pointed out that "Rodgers' production and the Chic members' playing is sharp and in-the-pocket [...] [Madonna] projects personality all over it. But she also sounds tinny and small", ultimately concluding that it was a "pretty good" song. In less favorable reviews, Entertainment Weekly's Dave Karger felt it came off a bit repetitious and immature. The Backlot's Louis Virtel opined it's the Madonna song that has "aged [the] worst and most" since its release. Sal Cinquemani from Slant Magazine dismissed "Like a Virgin" as a novelty.

Commercial performance
On November 17, 1984, "Like a Virgin" debuted at number 48 of the Billboard Hot 100, and was the week's most added song to radio stations. One week later, the single entered the Dance Club Songs chart at number 26. On December 15, following the release of the Like a Virgin album, the song reached the Dance chart's first position, giving Madonna her second number one there after the "Holiday"/"Lucky Star" release from October 1983. Additionally, it was the sixth Dance Club number one produced by Nile Rodgers. After six weeks on the chart, "Like a Virgin" reached the Hot 100's top spot on December 22, tying Prince's "When Doves Cry" as the fastest-rising number one single of the year. With this feat, Madonna became the year's fourth female artist to top the Hot 100, following Deniece Williams, Cyndi Lauper and Tina Turner; "Like a Virgin" was the second number one by an act from Sire Records ―the other being "Pop Muzik" (1979) by M.

On January 10, 1985, the song was certified gold by the Recording Industry Association of America (RIAA) for shipping a million copies across the United States. Nine days later, after having spent five consecutive weeks on the Hot 100's first spot, "Like a Virgin" became the longest running number one for a female since "Flashdance... What a Feeling" (1983) by Irene Cara; it spent a total of six consecutive weeks at number one. "Like a Virgin" was also Madonna's first top-ten entry on the Hot R&B/Hip-Hop Songs chart, peaking at 9. On Billboard Hot 100 year-end chart for 1985, "Like a Virgin" was placed at placed at two; on the Dance Club Songs year-end chart, it peaked at number three.

In Canada, the single debuted in the 71st position of RPM's Top Singles chart on the week of November 24, 1984; it reached the top spot on January 19, 1985, and was ranked 35 on the magazine's 1985 year-end chart. In the United Kingdom, "Like a Virgin" debuted at number 51 on the UK Singles Chart on November 17, 1984, and reached the third position almost two months later; it spent two weeks at number three, and eighteen on the chart overall. It was the fourth best-selling song of 1984 in the United Kingdom, and was certified gold by the British Phonographic Industry (BPI) for shipment of 500,000 copies. According to Music Week magazine, over 768,129 copies of the single have been sold as of 2008. In Australia, "Like a Virgin" became Madonna's first number one song on the Kent Music Report chart; in New Zealand, it entered the charts on December 9, 1984, and peaked at number two, remaining on that spot for two weeks. "Like a Virgin" proved to be a success across Europe as well, peaking within the top ten of the charts of Austria, Belgium, France, Germany, Ireland, Netherlands, Norway and Switzerland. It came in at number one on the European Hot 100 Singles chart. It was less successful in Japan, where it barely reached the top 20. According to Italian newspaper Corriere della Sera, "Like a Virgin" has sold over six million copies worldwide.

Background and synopsis

The music video for "Like a Virgin" was directed by Mary Lambert, who had previously worked with Madonna on "Borderline"; it was filmed on location in Venice and New York at a cost of $150,000, "way more than we'd ever spent on a video" according to Warner Bros. creative director Jeff Ayeroff. Shooting in Venice was Lambert's idea, as "[Madonna] singing in a gondola was the most outrageous thing I could think of". The visual interspersed footage of the singer as "a knowing virgin", dressed in a white wedding dress, with scenes of her "strutting" throughout Venice in a "sluttish getup". Also present are a male lion wandering through the streets, and a man in a lion's mask. Madonna herself explained the concept: "[Mary] wanted me to be the modern-day, worldly-wise girl that I am. But then we wanted to go back in time and use myself as an actual virgin"; she also recalled that, at one point, she was "leaning against this pillar with [the lion's] head in my crotch [...] I thought he was going to take a bite out of me".

It begins with Madonna getting off a boat at the Brooklyn Bridge. The setting then moves to Venice, where a "flirtatious" Madonna watches the lion walk through the streets; she then walks to the beat of the music. Later on, the singer is seen walking through Ca' Zenobio degli Armeni, a "fairytale castle" dressed in a "virginal" white wedding gown. These scenes are interspersed with shots of Madonna dancing suggestively on a gondola. Towards the end, the singer meets a man wearing a lion mask who carries her into a bed. In the final shot, the couple rides off together in a gondola, and the video ends with the New York skyline.

"Like a Virgin" was added to MTV on the week of November 10, 1984. In 1986, the song's performance from the Madonna Live: The Virgin Tour release was published as a video and nominated for Best Choreography at the MTV Video Music Awards. Five years later, the performance from the Madonna: Truth or Dare documentary was also released as music video and received nominations for Best Female Video and Best Choreography at the 1991 MTV Video Music Awards. The official video can be found on Madonna's video compilations The Immaculate Collection (1990), and Celebration: The Video Collection (2009).

Reception and analysis
The video was generally well received by critics. For The Independent, Ben Kelly pointed out that, "her ambition is on full display [in the video]. As the camera cuts between her eyes and those of a lion, it's hard to tell who looks hungrier"; he named it one of Madonna's ten best music videos. "Like a Virgin" was considered the singer's eighth best video by Idolator's Mike Neid, who referred to it as a "timeless release". Louis Virtel placed it in the 27th position of The Backlot's ranking of the singer's music videos. Ferraro called it "funny, funky and bright". Georges-Claude Guilbert, in Madonna as Postmodern Myth (2015), highlighted the "games with carnival masks, men, lions and 'werelions', [and] allusions to eighteenth-century practices", adding that it was an "extremely sexy" clip. Author Michael Campbell concluded that with the video, Madonna created "the formula that would set the tone for her subsequent work: combine provocative, shocking and controversial themes and images with bright, accessible music".

Author Margaret Plant noted the expression of Venetian vitality in the video, writing that "old sacrosanct Venice was propelled into a pop world of high-energy gyration, and endless circulation". Tom Bromley wrote that the lion represented Saint Mark, the patron saint of Venice; Plant also noted references to Saint Mark, adding that Madonna appeared to "stretch the boundaries of tolerance in the video", since Saint Mark represented a time in Venice when acts such as homosexuality and fornication were a capital offense. Plant also wrote that the scene in which the masked man carries Madonna, symbolized an instance of the Saint taking the simulated Virgin: Madonna became a symbol for La Serenissima, the Republic itself. Andrew Greeley opined that the video "celebrates a powerful erotic fantasy", finding parallels to "the way we are in the presence of God . . . Is not the gentle care with which [Madonna's] lover treats her the way God alleges that he treats us?"

1984 MTV Video Music Awards
On September 14, 1984, Madonna opened the inaugural MTV Video Music Awards ceremony with "Like a Virgin"; she initially wanted to perform with a full-grown Bengal tiger, but this idea was quickly nixed. Instead, she emerged from a 17-foot wedding cake, donning a white wedding dress with a bustier, pearls, rosaries, lace fingerless gloves, and a belt with a buckle that read "Boy Toy". During the number, she slithered and writhed across the floor, with her dress going up and her underpants showing. The singer explained that this was not intentional, as one of her shoes had come off at the beginning and she simply had tried to reach for it; "I thought, 'Well, I'll just pretend I meant to do this,' and I dove on the floor and I rolled around", she later recalled.

MTV's Jessie Peterson opined that the performance put Madonna "on the map as Queen of Pop Music", and established the VMAs as "the place where water-cooler moments happen". Ian Anglis, on Performance and Popular Music: History, Place and Time, saw the performance as Madonna's "coming-out party", further adding that it gave MTV "legitimacy when [it was trying] - by the roundabout means of award ceremonies and live music - to convince the world [...] of the worthiness of music video".

For Courtney E. Smith, "although Cyndi Lauper took home the Moon Man for Best female video, [Madonna] made 1984 all about the 'Blonde ambition' [...] The act she put on that night convinced a lot of us that we shouldn't just buy in to her image, but that we wanted to [...] run out and buy a copy of her second album". Similarly, Tom Breihan pointed out that many of the performers and presenters were already established figures: Rod Stewart, Huey Lewis And The News, and David Bowie among others, yet, "all anyone remembers is Madonna singing 'Like A Virgin' in public for the very first time". For the staff of Rolling Stone, it's a moment in pop culture "as indelible as the Beatles on Ed Sullivan". It was named one of the best performances in the show's history by Slant Magazine and Billboard, with the singer's bridal look considered one of her most memorable and iconic.

Other performances
On May 16, 1984, Madonna performed "Like a Virgin" at artist Keith Haring's birthday party, which took place on New York's Paradise Garage; she wore a leather jacket personally painted by the artist, and sang on a brass bed covered with frilly material and strewn with white roses. It was also sung on promotional television appearances throughout late 1984 and early 1985. Furthermore, "Like a Virgin" has been included on eight of Madonna's concert tours: Virgin (1985), Who's That Girl (1987), Blond Ambition (1990), the Girlie Show (1993), Confessions (2006), MDNA (2012), Rebel Heart (2015―2016), and Celebration (2023―2024). On the first one, Madonna once again wore a white wedding dress and asked the audience if they wanted to marry her; she would then thrust her hips at their affirmative response, and sang a few lines from "Billie Jean". On his review of one of the San Diego concerts, Robert Hilburn felt the singer was "at her best when working off an idea or concept", citing the song's performance as an example. The performance was included in the VHS release Madonna Live: The Virgin Tour, recorded in Detroit, Michigan. For 1987's Who's That Girl World Tour, the song was performed in a medley with "Material Girl" and "Dress You Up"; Madonna changed her clothes in an onstage telephone booth and emerged wearing a dress covered in toys, trinkets and other plastic paraphernalia. Halfway through, she bent over to revel a pair of lace panties, which she then threw into the crowd, and sang a fragment of "I Can't Help Myself (Sugar Pie Honey Bunch)". Towards the end, she was joined by a young male dancer who acted as a bridegroom. The number was deemed one of the concert's strongest by the Washington Post's Richard Harrington. Two different performances can be found on the videos Who's That Girl: Live in Japan, filmed in Tokyo on June, and Ciao Italia: Live from Italy, filmed in Turin on September.

On the Blond Ambition World Tour of 1990, Madonna sang a slowed version of the song with a Middle East theme. She wore a gold metallic corset with conical cups, designed by Jean Paul Gaultier, and sang on top of a red velvet bed flanked by two male dancers, also in conical brassieres. As the artist sang, she humped the bed and pretended to masturbate, while the dancers caressed her body and stroked their own brassieres. Greg Kot from the Chicago Tribune singled out the performance for being "both seductive and hilarious", while Richard Harrington said it was the concert's "only clear miscalculation, probably meant to shock, but [was] only distressing". Three different performances can be found in Blond Ambition Japan Tour 90, taped in Yokohama, Blond Ambition World Tour Live, taped in Nice, and in the documentary Madonna: Truth or Dare. In Toronto, Canada, police threatened to arrest Madonna on obscenity charges, if she didn't alter the performance's masturbation sequence; the show went unaltered, and the singer later issued a statement saying she was willing to be arrested to protect her freedom to "express myself as an artist". The incident was referenced and can be seen in Madonna: Truth or Dare. The song's performance on the Girlie Show (1993) took place in a Berlin cabaret setting; Madonna sang in a heavy German accent, pronouncing the word "Virgin" as "Wurgin", dressed in a look similar to that of Marlene Dietrich in the 1930 film Morocco, consisting of top hat and tails. Guilbert highlighted the singer's "funny" accent during the number. The performance recorded on November 19, 1993, at the Sydney Cricket Ground, was included on The Girlie Show: Live Down Under home video release (1994).

In April 2003, while promoting her ninth studio album American Life, Madonna did an impromptu acoustic rendition of "Like a Virgin" at New York's Tower Records. That same year, a medley of "Like a Virgin" and "Hollywood" ―from American Life― was performed by Madonna, Britney Spears and Christina Aguilera during the MTV Video Music Awards. It began with Spears, dressed in a white wedding gown, emerging from a giant wedding cake ―a reference to Madonna's 1984 performance―, singing the song's first verse; then, a dark-haired Aguilera, also in bridal gear, began to sing the chorus. Madonna took the stage dressed as groom with black top hat and tuxedo, and began singing "Hollywood". The three women danced together across the stage, before ending the performance with two open mouth kisses. Sal Cinquemani opined that "[Madonna] rarely shares the stage with other stars, and for it to be Britney and Christina [...] was nothing short of surreal"; according to Glamour's Christopher Rosa, it was an "important moment in our nation's history", that "spawned an entire generation of gay men". On the Confessions Tour, Madonna, dressed in a "dominatrix equestrian" outfit, sang "Like a Virgin" on top of a black saddle as the backdrops flashed X-ray radiographies of the injuries she suffered on a horse-riding accident. The number was positively received by Liz Smith for the Baltimore Sun, who named it one of the concert's best. The performance from the August 15–16 London concerts was included on the singer's second live album The Confessions Tour (2007).

On the Rome stop of 2008's Sticky & Sweet Tour, Madonna dedicated "Like a Virgin" to Pope Benedict XVI; she also did a capella renditions of the track on the Vancouver, Okland, and Buenos Aires concerts per the crowd's request; one of these performances was included on the Sticky & Sweet Tour live album release (2010). For the MDNA Tour of 2012, Madonna reworked "Like a Virgin" into a "gothic waltz", which she sang in bra and panties, backed by a piano player wearing a top hat. Halfway through, a male dancer put a corset around her waist and tightened the strings until she couldn't sing anymore. For The Kansas City Star, Timothy Finn compared the rendition to the work of Leonard Cohen; according to Scott Marvis from the Pittsburgh Post-Gazette, the number saw Madonna singing in "her most seductive vocal". The performance of the song at the November 19–20, 2012 shows in Miami, at the American Airlines Arena, were recorded and released in the singer's fourth live album, MDNA World Tour (2013). A remix of the song with a "pulsing industrial beat" was created by French producer Denis Zabee, and performed by the singer on her Rebel Heart Tour (2015―2016); Madonna danced alone on the stage, doing moves similar to Michael Jackson's and, at one point, opened her blouse to show off her lingerie and cleavage. The number was positively received by Alex Needham from The Guardian, who pointed out that Madonna sang the track "with all the allure and aggression with which she infused it when it was first released". The New York Daily News' Jim Farber felt the singer danced "with a freedom and innocence that made her, at 57, seem once again new". The song's performance at the March 19–20, 2016 shows in Sydney's Allphones Arena was recorded and released on Madonna's fifth live album, Rebel Heart Tour (2017).

On the Celebration Tour, "Like a Virgin" was mashed up with "Billie Jean" and used as an interlude. The number, which depicted silhouettes of Madonna and Jackson dancing with each other, was criticized by the Washington Blade's Kevin Naff: "[It] screamed 'He's the King of Pop and I'm the Queen' — it felt thirsty and superfluous". Nick Levine from NME also dismissed the performance, deeming it "misguided in light of Jackson's sullied reputation" and "the only dud visual in an otherwise stunning show".

Cover versions and usage
In 1985, The Lords of the New Church covered "Like a Virgin" for their compilation album Killer Lords; AllMusic's Gary Hill singled out the "funny and obnoxious" rendition. That same year, "Weird Al" Yankovic recorded "Like a Surgeon", a parody of the song, for his album Dare to Be Stupid; an acquaintance of Madonna, who happened to be friends with Yankovic's manager, suggested the idea, noting that it would not take long for Yankovic to satirize the song. The track received positive reviews, with AllMusic's Eugene Chadbourne deeming it "perhaps his best parody ever". "Like a Surgeon" peaked at number 47 of the Billboard Hot 100. Six years later, Scottish band Teenage Fanclub included a rendition of "Like a Virgin" on The King (1991), their second studio album.

In 2002, French–Dutch group Mad'House did a Eurodance take on the song, that was included on their album Absolutely Mad. "The Madonna Trilogy", a mashup of "Like a Virgin", "Lucky Star" and "Burning Up", was recorded by The Meat Purveyors. At the 2008 MTV Video Music Awards, Katy Perry performed "Like a Virgin" alongside Travis Barker and DJ AM. Doda included "Like a Virgin" in the 2009 re-edition of her album Diamond Bitch. Elton John sang the track at the 2010 Rock for the Rainforest concert. 2NE1 recorded the song for their album Collection (2012); that same year, JoJo sang it at a Harvard-Westlake School charity held at LACMA, and Peruvian singer Wendy Sulca recorded a spanglish version. In 2014, Cristina Scuccia, a nun who won that year's The Voice of Italy season, released a ballad rendition of the song as her debut single; Madonna herself praised Succia. Romanian singer Alexandra Stan recorded version the song with a new orchestration done by Chris Trace in late January 2017; In 2019, Big & Rich did a rendition of the song with an altered melody; that same year, Mötley Crüe covered the song for the soundtrack of The Dirt.

In 1985, Max Baer Jr. approached Kelly and Steinberg with a proposal to turn the song into a film, just as he had done with Ode to Billy Joe (1970), and even began negotiations with them. However, the ABC threatened to sue after hearing of the negotiations; lawyers claimed the songwriters had already agreed to sell the rights to the network for a television film. Baer subsequently sued ABC for interfering with his prospective economic advantage, and was awarded $2 million by a court, who agreed that the network had wrongly interfered with the producer's plans. During the opening scene of Quentin Tarantino's 1992 film Reservoir Dogs, the character Mr. Brown (played by Tarantino himself) insists that "Like a Virgin" is "about a girl who meets a guy with a big dick"; when Madonna met Tarantino at a party after the film's release, she gave him an autographed copy of her album Erotica, signing, "Quentin: it's about love, not dick". In Baz Luhrmann's Moulin Rouge! (2001), "Like a Virgin" was turned into a "delightful comic number" performed by Jim Broadbent. A sing-along of the track was performed by the titular character (Renée Zellweger) and a group of prostitutes at a Thailand jail in the 2004 film Bridget Jones: The Edge of Reason; four years later, in "The Becoming", the fourteenth episode of the fourth season of American medical drama Grey's Anatomy, Cristina Yang (Sandra Oh) hums the song while she removes the hearts of 50 cadavers. It was namechecked in the Train's "Hey, Soul Sister" (2009) with the lyric "I believe in you/Like a virgin you're Madonna". In "The Power of Madonna" (2010), fifteenth episode of American television series Glee, "Like a Virgin" was sung by three couples played by Jonathan Groff, Jayma Mays, Lea Michele, Cory Monteith, Matthew Morrison, and Naya Rivera; the performance was praised by Entertainment Weekly's Tim Stack, who hailed it as "one of the more ambitious numbers of the night".

Recognition
"Like a Virgin" has been recognized as one of Madonna's best songs, as well as the one that turned her into a superstar. Samuel Murrian named it the singer's ninth greatest song, that marked "the moment she went from being a big star to being an icon". It was also named her third best by Gay Star News' Joe Morgan. PopMatters's Enio Chola added that, "when ['Like a Virgin'] hit, [Madonna's] status was elevated to that of pop culture icon. [...] [it's] the song that defined for us who Madonna was (at the time) and would be turning into (in the near future)". Sal Cinquemani named it "iconic", as well as "the first—if not the—signature song of her career".

Entertainment Weekly's Chuck Arnold named it the second best song of Madonna's catalogue, as well as one of the best songs from the 1980s decade; a similar opinion was shared by Andrew Unterberger from Billboard, who named it one of the decade's "defining" tracks, and the singer's 10th best. Writing for Consequence, Allison Franks and Michael Roffman said it would always remain a "cultural artifact of the 1980s". Mike Wass from Idolator named it "one of the most iconic pop songs of all time". Matthew Jacobs added that it was the singer's most famous song, as well as a "staple at wedding receptions, on the airwaves and on lists of controversial moments in popular culture". Nicole Hogsett deemed it an "undeniable classic". "Like a Virgin" is one of the songs that "have come to define our times, influenced trends and triggered change in politics and culture", discussed in the 2003 documentary Impact: Songs That Changed The World.

Cultural impact
On an article celebrating the Like a Virgin album's 35th anniversary, John Murph noted that "white conservatives" made "a nationwide fuss" following the single's release. Family organizations criticized it, as they believed it promoted sex outside marriage and "undermined" family values, while others sought to ban it along with the music video. Despite not being included on its "Filthy Fifteen" list, it has been argued that "Like a Virgin" is one of the songs that led to the creation of the Parents Music Resource Center in 1985. Benjamin Brand and David J. Rothenberg wrote in Music and Culture in the Middle Ages and Beyond: Liturgy, Sources, Symbolism (2016), that the song's lyrics, specifically the word "virgin", "seemed to violate a respected - if not revered - state in 1984, both in the physiological and Christological sense of the word". Carol Clerk noted that the song attracted an "unprecedented level of attention from social groups", something uncommon for a female singer; the author believed the public listened "superficially" to the lyrics, thus believed that they detailed or called on an "innocent's sexual initiation". She concluded by saying that, while one section of the population was outraged, others were taking joy at the "very notion of a virginal Madonna". The singer herself said she was surprised at the public's reaction; "everyone interpreted it as 'I don't want to be a virgin anymore. Fuck my brains out!'. That's not what I sang at all. 'Like a Virgin' was always absolutely ambiguous", she explained.

The term "Madonna wannabe" was created to describe the thousands of girls who tried to emulate Madonna's style; both Adam Sexton and William McKeen noted that most of the singer's admirers were young girls raised with an image of old-fashioned female stereotypes, and saw in the artist a role model, someone who "injects middle-class ideas of femininity with examples of what feminism means to her [...] equal opportunity". Madonna became the "last word in attitude and fashion. The epitome of cool". Enio Chola concluded that with the song, "[Madonna] became a liberating mainstream sexual force"; author Debbi Voller added that "Like a Virgin" gave rise to "the icon Madonna". According to Chuck Arnold, "Like a Virgin" paved the way for female artists to "unapologetically explore the sexual wilderness", adding that "no one had to act like a virgin anymore" following its release. On the same vein, Thomas Harrison wrote that the "sexually charged" imagery of the song and its video, encouraged other female performers to embrace their own sexuality. For HuffPost, Caroline Sullivan pointed out that before Madonna, no other female singer had ever "shoehorned the subject virginity into a pop song so bluntly, or made it clear that no matter what you were - virgin or sexually experienced - it was absolutely fine". A similar opinion was shared by Jude Rogers from The Guardian, who claimed that until Madonna emerged, "the V-word" wasn't used by female singers "unless they were singing Christmas carols". Out's Nathan Smith gave a detailed analysis: From a contextual perspective, another appeal of 'Like A Virgin' was the way it reconstituted sex in mainstream music within discourses of religion and innocence. In a decade plagued by mass hysteria because of the HIV/AIDS crisis, and the way sex (for both heterosexual and homosexual couples) was characterized by illness, viral exchanges, and the threat of 'contamination'. Madonna's song moved away from discussing the seemingly abject nature of sex, in an epoch so preoccupied by the dangers of sex and illness. 'Like A Virgin' told women that they could be in charge of their erotic agendas, could, should, and would enjoy their sexual escapades, and did not even have to be virgins to do so. (Maybe just act a little virginal?)

Track listings and formats

 * US 7-inch single
 * 1) "Like a Virgin" – 3:38
 * 2) "Stay" – 4:04

 * US and Canadian 12-inch maxi single
 * 1) "Like a Virgin" (extended dance remix) – 6:04
 * 2) "Stay" – 4:04

 * German and UK CD maxi single (1995)
 * 1) "Like a Virgin" (extended dance remix) – 6:04
 * 2) "Stay" – 4:04

Personnel

 * Madonna – vocals
 * Rob Sabino – synthesizers, synth bass
 * Nile Rodgers – guitars
 * Bernard Edwards – bass
 * Tony Thompson – drums

Production credits
 * Tom Kelly – songwriter
 * Billy Steinberg – songwriter
 * Nile Rodgers – producer
 * Jellybean Benitez – 12-inch remixer
 * Larry Williams – photography (12-inch cover art)

Credits adapted from the album and the 12-inch single liner notes.

title: Like a Virgin (song)


text:
Barbara and the Uniques

Barbara and the Uniques was a 1960s and 1970s R&B girl group.

History
The group began when the Du-ettes, a group from Chicago featuring Barbara Livsey and her cousin, Mary Hayes, was liquidated in 1965. Barbara got together with her sister Gwen Livsey and a friend, Doris Lindsey, and released the soul ballad "There It Goes Again" (written by Eugene Record of The Chi-Lites) as Barbara and the Uniques in 1970. The song was very successful at the local level, causing Arden Records to distribute it nationally. The song became an R&B hit, reaching #16 on the R&B charts. It was a minor US Billboard Hot 100 hit, where it reached #91.

The group followed up with two singles on the Arden label in 1971: "You're Gonna Make Me Cheat on You" / "I'll Never Let You Go" and "You Make Me Feel So Young Again" / "Take Me As I Am". In 1972, the group moved to Abbot Records and released "He's Gone", which also featured "Take Me As I Am" as the B-side.

Gwen and Doris quit the group and were replaced with male session singers. Now dubbed Barbara Blake and the Uniques on 20th Century Records, in 1974, they released "Prized Possession" / "It's Not That Easy" and "Teach Me" / "Everlasting Thrill". Both releases failed to make an impact, but still the group's eponymous LP was released in 1975. A 1975 single, "Need Your Love So Bad" / "Let Me Down Easy", also was not a chart hit.

The band broke up when their contract with 20th Century Records expired.

The Du-Ettes' regional hit song “Every Beat Of My Heart” has been featured in a Whole Foods market television commercial.

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

title: Barbara and the Uniques


text:
Talk:Ubu Roi

Note
Dada was not a movement at the time this play debuted. Should "Dada" be changed to mention that it was a "precursor to absurdist theater" perhaps? Or did it become a classic among the Dadaists? -- Wells_298
 * I agree, and I've made a change in that vein. This article needs and deserves serious work, I hope I'll be able to revisit it before too long. --Ryano 12:06, 24 August 2005 (UTC)

 * His plays were widely and wildly hated for their lack of respect to royalty (especially French royalty) but his works gained popularity as time went on.

I don't think France was a monarchy in 1896. Could someone explain this comment? Bastie 10:10, 5 October 2005 (UTC)

This article says Jarry started the play at 17; the article on Alfred Jarry claims 15. Which is right? Lovely Chris

 * Have you tried adding the two figures together? I get 32, which sounds reasonable enough. Lupine Proletariat 13:35, 4 July 2006 (UTC)

Meaning of Ubu
It is implied elsewhere that ubu means turd. Is that right ? -- Beardo 07:02, 13 August 2006 (UTC)
 * I have no idea, but it would be fitting. 23skidoo 12:44, 13 August 2006 (UTC)
 * It's a corruption of "Hébé", from M. Hébert, the teacher on whom the Ubu character was orginally based. I'm not aware of it having any other meaning. --Ryano 15:45, 13 August 2006 (UTC)
 * "The present translators have chosen to render the title character's name as 'King Turd,' which is certainly in keeping with the grossness of his character and the language of the play, but the reader should know that 'Ubu' is in origin a nonsense word, not specifically scatological. (The derivative "Ubuesque," has come to mean, in French and English, "ludicrous" or absurd.")  -From Dover Thrift Editions version of Ubu Roi Copyright 2003. 65.188.151.124 00:22, 5 December 2006 (UTC)

Pere Ubu
I`m new to wikipedia, so sorry if i`m somewhat irrelevant. It just seemed strange for me that neither on Ubu Roi page nor on Alfred Jarry page was the acclaimed experimental/post-punk music group Pere Ubu mentioned. Consider adding it as Trivia or as an act that was influenced by Jarry? Shelemin 21:33, 26 January 2007 (UTC)

summary
how about a summary?

English translation?
Was this ever translated to English? Korodzik 07:45, 2 November 2007 (UTC)

Adaptation
I see no reference here to the 1978 animated short adaptation "Ubu" by Geoff Dunbar. Check link: http://www.bcdb.com/cartoon/61055-Ubu.html Ddog666 (talk) 21:07, 9 December 2007 (UTC)

How about this one? Brilliant version from 1965 http://www.imdb.com/title/tt0303166/combined  Joel J. Rane (talk) 18:38, 21 February 2016 (UTC)

Fair use rationale for Image:UbuRoi.jpg
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BetacommandBot (talk) 07:45, 15 January 2008 (UTC)

Block Quote
My God, that block quote is long. It's almost as long as the other parts of the article combined! Can I cut/summarize most of it? --mikechen (talk) 13:06, 11 July 2010 (UTC)
 * I deleted it, and it should not be replaced unless it is made much shorter. GeorgeLouis (talk) 06:30, 17 January 2013 (UTC)

External links modified
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Featured picture scheduled for POTD
Hello! This is to let editors know that File:Programme for the première of Ubu Roi.jpg, a featured picture used in this article, has been selected as the English Wikipedia's picture of the day (POTD) for December 10, 2021. A preview of the POTD is displayed below and can be edited at Template:POTD/2021-12-10. For the greater benefit of readers, any potential improvements or maintenance that could benefit the quality of this article should be done before its scheduled appearance on the Main Page. If you have any concerns, please place a message at Wikipedia talk:Picture of the day. Thank you! Cwmhiraeth (talk) 14:08, 3 December 2021 (UTC)

 * I've cleaned the article up, and I think it looks fine now except for the "more citations needed" on the Adaptations section. It's fairly clear the information in that section is accurate and notable; they just need to have citations -- perhaps citations imported from the wiki articles they refer/link to, or from the non-English wikis of the countries the adaptations originated in. Softlavender (talk) 00:43, 8 December 2021 (UTC)

title: Talk:Ubu Roi


text: User talk:Phantomsteve

title: User talk:Phantomsteve


text:
Villafuerte

Villafuerte is a surname. Notable people with the surname include:

 * Amílcar Augusto Villafuerte Trujillo (born 1964), Mexican politician affiliated with the PVEM
 * Brandon Villafuerte, American baseball player
 * Edwin Villafuerte, Ecuadoran footballer
 * Jaime Villafuerte (born 1920), Filipino former sports shooter
 * José Voltaire Villafuerte Tenorio (born 1956), Ecuadorian retired footballer
 * Juan Villafuerte, Ecuadorian painter
 * Juan Rodríguez de Villafuerte, a Spanish conquistador
 * Luis Raymund "LRay" Favis Villafuerte Jr. (born 1968), Filipino politician
 * Luis Robredo Villafuerte, Sr. (1935-2021), Filipino politician
 * Miguel Luis Villafuerte (born 1989), Filipino politician and model
 * Noel Nieva Villafuerte, International Visual artist

title: Villafuerte


text:
Havoc (2005 film)

Havoc is a 2005 crime drama film directed by Barbara Kopple and written by Stephen Gaghan and Jessica Kaplan. It stars Anne Hathaway, Bijou Phillips, and Mike Vogel, with Shiri Appleby, Freddy Rodriguez, Joseph Gordon-Levitt, Channing Tatum, Michael Biehn, and Laura San Giacomo appearing in supporting roles. The film follows the lives of wealthy Los Angeles teenagers whose exposure to hip hop culture inspires them to imitate the gangster lifestyle and engage in slum tourism. They run into trouble when they encounter a gang of drug dealers, discovering they are not as street-wise as they had thought.

An international co-production between the United States and Germany, the film was shown at several film festivals and was then released directly on DVD in the United States on November 29, 2005.

Plot
In a parking lot, teenage filmmaker Eric attempts to document the wannabe lifestyle enjoyed by Allison Lang and her boyfriend Toby's gang of white upper-class teenagers living in the Pacific Palisades neighborhood of Los Angeles. A brawl ensues between Toby's gang and another gang, which ends with both sides fleeing just before police arrive. Later that night, Toby's gang goes to a party at Eric's house, and Allison's relationship with Toby as well as her other friends Emily and Sam is further revealed. At the end of the party, Allison performs oral sex on her boyfriend.

The next day, Allison meets with her father, Stuart, at work to discuss family problems, the awkward conversation revealing the virtually non-existent relationship Allison has with her parents. Afterwards, she and her friends drive downtown into East Los Angeles, intent on buying marijuana, eventually encountering Mexican drug dealer Hector and his crew. Toby and Hector make a deal, but Toby believes that Hector did not sell him enough for what he paid, and attempts to confront Hector, who pulls a gun on him, humiliating him in front of his friends. Allison persuades Hector to let Toby go.

The next night, Allison and her girlfriends return to the location of the drug deal. There, she and her friends once again meet up with Hector and his crew, who invite them to a party at his house. Before they leave, Hector informs Allison of a motel where his crew regularly party, and invites her to stop by if she wishes. The next day, Eric continues his film project at Allison's home, with Allison turning his interview of her into a bizarre mind-game.

That evening, Allison meets up with Hector again in a store, and he shows her around his neighborhood, while talking about his family and lifestyle. His guided tour abruptly ends when the police arrive in force, ostensibly on a drug bust. Allison winds up being arrested with the other present gang members, but – save for an argument with her parents and Toby – is let off the hook. The experience only serves to increase Allison's fascination with the inner-city lifestyle. The night after her release, Allison and Emily agree to head downtown the next evening to hang out with Hector's crew.

The two meet up with Hector and his gang at a motel, and a night of partying and drinking results in Allison and Emily asking Hector if they can join his crew. Hector informs them of their initiation; to join the gang, the two must roll a dice; the number they roll corresponds to the number of gang members they must have sex with.

Allison rolls a one, Emily rolls a three. Hector and Allison pair off, but Allison has second thoughts and refuses to have sex with him, and is thrown out of the room by Hector's brother when she tries to get Emily to leave with her. Emily eagerly engages in sex with Hector. His brother stands at the door waiting his turn while Allison sits outside pouting. Hector signals his brother to join in as the third member enters the room. Allison hears Emily cry out and runs into the room. Allison tries to comfort her but Emily just collapses and cries in her arms. All three men flee the room, yelling at the girls.

The next day, Allison returns to the motel and confronts Hector over the previous night, but he responds by saying he didn't do anything wrong; that he only did what she and Emily had asked him to do. At that moment, a woman shows up at the door, surprising Allison, much to the amusement of Hector, who mocks Allison for thinking he had feelings for her, and calling her a poseur who only knows how to play games and nothing about the realities of gang life.

The same day Emily is shown at a police station accusing Hector and his crew of gang rape. Allison is brought in for questioning, but claims to know nothing about a rape. Hector is subsequently arrested, and members of his crew vow to seek out and silence Allison and Emily, but wind up getting lost in Bel-Air. Meanwhile, Toby and his gang are shown posing with guns in front of Eric and his video camera, making clear on their intent to seek revenge on Hector's crew. Eric later shows Allison the footage, and Allison subsequently calls Toby and makes an ill-fated attempt to convince him that there was no rape and what he is doing is foolish.

Allison informs Emily of what Toby plans to do and reveals to Emily's parents the events at the motel. This initially upsets Emily to the point of nearly attempting suicide, but eventually the two reconcile. Meanwhile, Toby and his gang arrive at Hector's motel and bust in violently, but only succeed in frightening a group of Latina women and a baby. Toby tries to work up the nerve to shoot them, but, consumed by their desperate pleas to not hurt the baby, realizes he can't and storms out.

On their drive home, the gang passes the SUV containing the members of Hector's crew that had been looking for Allison and Emily. The two gangs exchange looks, and the screen subsequently fades to black. After a few seconds the sounds of tires squealing, people shouting and a gunshot is heard.

The film ends with Allison's "bored" segment of Eric's footage shown for a third time.

Development and writing
The original treatment of the script was written in 1993 by Jessica Kaplan, who was 14 years old at the time, and was based on her own observations of her affluent white classmates in West Los Angeles. Her script was sold to New Line Cinema two years later for $150,000, with the script being developed at Single Cell Pictures, a production company headed by Michael Stipe. Originally titled The Powers That Be, the script was a drama about Beverly Hills high school students who try to get involved with the South Central Los Angeles gangster rap music scene, and a young male teacher who helps the main character deal with a tragedy as a result of said escapades, the script went unused for two years, eventually gaining traction with the studio after it received a re-write from Stephen Gaghan. In 1997, Variety reported that Peter Horton was attached to direct. The script was later retitled Havoc.

Tony Kaye was approached to direct the film, Kaye had problems with the script, and made a series of demands, which included him having full control of rewriting the script.

On June 6, 2003, shortly before filming began, Kaplan was killed in a plane crash in Los Angeles, along with four other people, including her uncle. A dedication to Kaplan is shown preceding the credits at the end of the film.

Casting
When the script was sold in 1995, actors such as Alicia Silverstone, Stephen Dorff, Ethan Hawke, and Christian Slater were considered for roles.

Mandy Moore was originally cast as Allison, but dropped out and was replaced by her Princess Diaries co-star Hathaway shortly before filming began. Moore reportedly left the project because she felt uncomfortable with the film's subject matter. Jena Malone was originally set to play Emily, but left the project shortly after Moore's departure.

Filming
Principal photography took place around Southern California, including Los Angeles, Altadena, Brentwood, and Santa Monica, in the fall of 2003.

Release
Havoc was not given a theatrical release in the United States but received one overseas, grossing $371,000 on a $9 million budget.

Critical reception
On the review aggregator website Rotten Tomatoes, the film holds an approval rating of 45% based on 11 reviews, with an average rating of 5.3/10.

Lisa Nesselson of Variety claimed that the film "too often feels like a gussied-up '50s-style treatise about the dangers of nice girls flirting with social rebels", and suggested that the film be retitled Slumming for Dummies. Maitland McDonagh of TV Guide stated that the picture was a minor effort that was even more disappointing after considering the highly regarded names who had worked on the film, most notably Academy Award-winners Kopple and Gaghan. Richard Roeper of the Chicago Sun-Times was among the few noted critics who praised the film, calling it "harrowing and authentic", and also claimed that it might have made his list of top 10 films for 2005 had it received a proper theatrical release in the United States.

Various critics praised Hathaway's performance in the film, with Christopher Null stating that her turn proved "without a doubt that she has been underutilized as an actress for far too long."

title: Havoc (2005 film)


text:
User:Cryptnotic

ja:User:Cryptnotic

title: User:Cryptnotic


text:
User talk:DanielJL

Welcome!
Hello, DanielJL, and welcome to Wikipedia! Thanks for your contributions; I hope you like it here and decide to stay. We're glad to have you in our community! Here are a few good links for newcomers:

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P.S. Feel free to leave a message on my talk page if you need help with anything or simply wish to say hello. :)

title: User talk:DanielJL


text:
User:RattleMan

Bio
My online nickname is RattleMan. I was born in Colorado, USA in 1987. While I was living in Colorado, I began to get interested in hurricanes by watching such disasters as Hurricane Andrew unfolding in 1992, Andrew being about the first storm I remember vividly. In 1996 moved to Phoenix, Arizona, one of the most driest places in the United States. I love learning about history and watching documentaries. I am a fan of the Sonic the Hedgehog series, having played the first game back in 1991. Currently, the tropics are one of my bigger interests, and I began editing Wikipedia in July 2005 after being directly affected by 2005's Tropical Storm Arlene while on vacation.

Shortcuts
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title: User:RattleMan


text:
User talk:Son Goku

AFD
A page that you created, Second Temporal Dimension is has been nominated for deletion. I think the main qualification is lack of references. If you would like to try and save the article can you provide citations for the statements. Thanks Yomangani 15:03, 9 August 2006 (UTC)

Total re-write of the main Physics page is in progess
You might like to join us at Physics/wip where a total re-write of the main Physics page is in progess. At present we're discussing the lead paragraphs for the new version, and how Physics should be defined. I've posted here because you are on the Physics Project participant list. --MichaelMaggs 08:04, 11 October 2006 (UTC)

WikiProject Physics participation
You received this message because your were on the old list of WikiProject Physics participants.

On 2008-06-25, the WikiProject Physics participant list was rewritten from scratch as a way to remove all inactive participants, and to facilitate the coordination of WikiProject Physics efforts. The list now contains more information, is easier to browse, is visually more appealing, and will be maintained up to date.

If you still are an active participant of WikiProject Physics, please add yourself to the current list of WikiProject Physics participants. Headbomb {ταλκ – WP Physics: PotW} 16:12, 25 June 2008 (UTC)

File:Linearfe.gif listed for deletion
A file that you uploaded or altered, File:Linearfe.gif, has been listed at Files for deletion. Please see the to see why this is (you may have to search for the title of the image to find its entry), if you are interested in it not being deleted. Kelly hi! 04:05, 27 December 2010 (UTC)

title: User talk:Son Goku


text: User talk:149.142.141.177

title: User talk:149.142.141.177


text:
User:Dzzl/ish vonn mick

ish vonn mcdzzl, ish vonn macdzzl

title: User:Dzzl/ish vonn mick


text: User:Cοwsman

title: User:Cοwsman


text:
Oosterenkstadion

The Oosterenkstadion was the stadium of Dutch football club FC Zwolle. At the time of its demolition, the all-seater stadium had a capacity of 6,865 spectators. It was replaced by the FC Zwolle Stadion, later renamed the IJsseldelta Stadion.

The stadium was built in 1934 and was thoroughly renovated in the 1980s. The main stand has been named after Johan Cruijff, because Johan Cruijff had played his last official match, in 1984, against FC Zwolle.

Construction of a new stadium on the location of the current stadium was planned to start in November 2004, but was suspended when citizens of Zwolle protested against plans for a casino in the stadium. For the casino, the local gambling regulations had to be amended. A referendum on the issue in early March 2005 gave the opponents of the casino a resounding victory (approximately 76% of the voters voted against the casino), and the local government decided to abandon the plans. Almost two months later, a new plan was announced, which included a casino in the stadium within the limits set by local gambling regulations.

Construction started in March 2007. The new stadium has a planned capacity of about 10,500 spectators and the total plan (with hotel, casino, restaurants, shops and offices will cost approx. €50 million. It opened on 	29 August 2009.

On May 22, 2007, the board of FC Zwolle asked the supporters to come up with suggestions for the names of the new stands. The names had to be those of former players of PEC and of FC Zwolle. This caused an uproar among the supporters, who demanded that one of the stands be named after former chairman and club owner Marten Eibrink. A few days later, on May 26, the board announced that it had decided to name the north stand of the new stadium, where the most devout supporters would be seated, Marten Eibrink Stand. On June 1, the club started a poll on its website, in which supporters could choose from six names for the three remaining stands: Henk Timmer, Fred Patrick, Jaap Stam, René IJzerman, Leo Koopman, and Klaas Drost. On June 14, the club announced that the three stands would be named after Henk Timmer, Fred Patrick, and Klaas Drost.

title: Oosterenkstadion


text:
Talk:Super Scrabble

Deluxe Super Scrabble
I just have to say it's about damn time they made the deluxe version. :P 76.177.190.137 02:37, 10 September 2007 (UTC)

Variant Rules
The super scrabble rules need to be updated. My friends and I have discovered that a MUCH better way to play the game is making each rack EIGHT letters. A "bingo" is using ALL BUT ONE of the letters and you still get fifty point bonus! If you can bingo WITHOUT using the blank on your rack you are doing very well! A SUPER BINGO is defined as using ALL EIGHT tiles and you get a huge SEVENTY FIVE point bonus for that! The only other rule change necessary is that there must be EIGHT letters minimum in the bag for an exchange.
 * Saying here that the rules need to be updated implies that this article has out of date rules. This is not true. You have given an interesting variation on the rules. Please do not confuse things by suggesting that they are the official rules or should be referenced as such in the encyclopedia. WAvegetarian 09:16, 24 October 2005 (UTC)

External links modified
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title: Talk:Super Scrabble


text:
Piano Concerto No. 1 (Beethoven)

Ludwig van Beethoven's Piano Concerto No. 1 in C major, Op. 15, was written in 1795, then revised in 1800. It was possibly first performed by Beethoven at his first public concert in Vienna on 29 March 1795. It was first published in 1801 in Vienna with dedication to his pupil Princess Anna Louise Barbara Odescalchi (née Countess von Keglević), known to her friends as "Babette".

Although this was Beethoven's first piano concerto to be published, it was actually his third attempt at the genre, following an unpublished piano concerto in E-flat major of 1784 and the Piano Concerto No. 2. The latter was published in 1801 in Leipzig after the Piano Concerto No. 1, but was composed over a period of years, perhaps beginning ca. 1788.

Movements
1.

2. Allegro con brio (C major)

3. Largo (A-flat major)

4. Rondo. Allegro scherzando (C major)

As with the Piano Concerto No. 2, this C major concerto reflects Beethoven's assimilation of the styles of Mozart and Haydn, while its abrupt harmonic shifts demonstrate Beethoven's musical personality. It adheres to the concerto variant of sonata form and is scored for solo piano and an orchestra consisting of flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. The flute, oboes, trumpets, and timpani are tacet during the second movement.

I. Allegro con brio
Tempo: = 144

The first movement is in sonata form, but with an added orchestral exposition, a cadenza, and a coda. It has a main theme repeated many times, and there are several subordinate themes. The orchestral exposition changes keys many times, but the second exposition is mainly in G major. The development starts in E-flat major, then modulates to C minor, which ends with an octave glissando. The recapitulation is in C major.

There are three options for the cadenza to this movement, which vary in length and difficulty. The coda is played by the orchestra alone. Performances vary in length from fourteen to eighteen minutes.

II. Largo
The second movement is in the key of A-flat major, in this context a key relatively remote from the concerto's opening key of C major. If the movement adhered to traditional form, its key would be F major, the subdominant key, or in G major, the dominant key. The clarinets are given an unusually prominent role in this movement, having the melody as often as violins.

Like many slow movements, this movement is in ternary (ABA) form. Its opening A section presents several themes that are then developed in the middle B section.

Typical performances last more than ten minutes

III. Rondo. Allegro scherzando
The third movement is a seven-part sonata rondo (ABACABA), a traditional third-movement form in classical concerti. The piano states the main theme, which is then repeated by the orchestra. The two B sections (subordinate themes) are in G major and C major respectively. The middle section is in A minor.

Two short cadenzas are indicated by Beethoven in this movement, one just before the final return to the main theme, and another one immediately before the end of the movement, which finishes with a striking dynamic contrast; the piano plays a melody quietly, but the orchestra then ends the movement forcefully.

The movement typically lasts around eight to nine minutes.

Alternative cadenzas
German pianist Wilhelm Kempff wrote his own cadenzas for both the first and last movements and played these in his various recordings of the work. Canadian pianist Glenn Gould also wrote his own cadenza, which was published by Barger and Barclay, and recorded for EMI in 1996 by Lars Vogt with the City of Birmingham Symphony Orchestra under Simon Rattle

title: Piano Concerto No. 1 (Beethoven)


text:
User:Bryant Notree

Pac_Biggie.jpg

title: User:Bryant Notree


text:
Maphilindo

Maphilindo (for Malaya, the Philippines, and Indonesia) was a proposed confederation of the three Southeast Asian countries in the Malay Archipelago.

Background
The original plan for a united state based on the concept of the Malay race was attempted by Wenceslao Vinzons during the Philippines' Commonwealth era. Vinzons had envisioned a united Malay race, which he termed "Malaya Irredenta" (later another name for the union). In his 1959 book Someday, Malaysia, Major Abdul Latif Martelino (later operations officer in the infamous Jabidah massacre) also cited the vision of President Manuel L. Quezon for an integrated, pan-Malayan nationhood in the region. Quezon envisioned creating a better state which was united. Having a united race at the time would pave way for the development of the Malay. The united state would however, be achieved by the contribution of the people living in the region. Quezon was determined to make his intentions known to the people so that the vision could be easily achieved in the future.

History
Maphilindo was initially proposed as a realization of Filipino national hero Dr. José Rizal's dream of uniting the Malay peoples, seen as artificially divided by colonial frontiers. Uniting the Malay people was highly prioritised resulting in many events occurring within the region. Dr. José Rizal significantly contributed to creating and officiating events designed to unite the people. In July 1963, President Diosdado Macapagal, convened a summit in Manila where the three countries signed a series of agreements to resolve controversies over the former British colonies of North Borneo and Sarawak joining Malaysia. The treaties paved way for new developments in the region which would later contribute to the development of the country to what it is now.

While the union was described as a regional association that would approach issues of common concern, it was also perceived as a tactic employed by the Philippines and Indonesia to hinder the formation of the Federation of Malaysia as Malaya's successor state. The Philippines had its own claim over the eastern part of Sabah (formerly British North Borneo), while Indonesia protested the formation of Malaysia as a British imperialist plot. The Indonesians and the Filipinos categorised the signing of the treaty between Britain and the Federation of Malaya as a plot for the former to establish a colony within their borders. The assumption later resulted in heated conflicts between Malaysia, Indonesia, and the Philippines.

The union was dismantled a month later when Sukarno, President of Indonesia, adopted a policy of Konfrontasi (Indonesian, "confrontation") with the newly constituted Malaysia. The Indonesians claimed that the Malayan Government had announced on 29 August that Malaysia would be formed on 16 September 1963, before the result of the referendum of the wishes of the people of Borneo was known. The proclamation of Malaysia was postponed until September 16 to give the UN team time to report. The UN team reported in favor of Malaysia, but the Philippines and Indonesia refused to recognize the new federation. On 16 September, Malaysia severed diplomatic ties with the two countries. Indonesia retaliated by cutting off trade relations with the new nation.

The US, under John F. Kennedy, appeared to have given encouragement to Maphilindo as it had hoped that it would reduce the chances of Indonesia from turning communist.

title: Maphilindo


text:
Unkoku Togan

Unkoku Togan (雲谷 等顔, 1547–1618) was a Japanese painter.

He was born into a privileged family in Nagasaki, the second son of Hara Naoie, lord of Nokomi Castle in Hizen province.

Starting as an artist of the Kanō school, Togan's work soon took its inspiration from the style of Sesshu. He painted realistic landscapes, usually ink on paper.

He worked under Lord Mori of Yamaguchi Prefecture. Later, he became a Buddhist priest and abbot of Unkoku-an Temple. He died in Yamaguchi.

title: Unkoku Togan


text:
M-39 (Michigan highway)

M-39 is a 16 mi north–south state trunkline highway in Metro Detroit area of the US state of Michigan that runs from Lincoln Park, on the south end, to Southfield on the north. The official southern terminus of M-39 is at the corner of Southfield Road and Lafayette Boulevard in Lincoln Park, one block southeast of the junction of Interstate 75 (I-75, Fisher Freeway) and two blocks northwest of M-85 (Fort Street). From there the highway heads northward. The first 2.3 mi of the highway follows Southfield Road, a divided highway in the Downriver area. It then transitions into the Southfield Freeway, which is a 13.7 mi freeway that runs from I-94 in Allen Park north through Dearborn, and then the west side of Detroit, to Southfield. The northern terminus is at M-10 (Lodge Freeway) in Southfield.

The current M-39 is the third highway to bear the designation. The first dated back to the origins of the state highway system in 1919 and ran between Grand Rapids and Lansing. This highway was replaced in segments through the 1920s and 1930s by realignments or extensions of other highways in the area. The second was part of Schaefer Highway in the Detroit area from 1939 until the end of the 1950s. The current highway was commissioned when the M-39 designation was moved to Southfield Road from Schaefer Highway. During the 1960s, it was converted into a freeway in stages. Afterwards, it was extended to end at M-85 (Fort Street) before a change in the 1980s gave the trunkline its present termini.

Route description
M-39 begins at Lafayette Boulevard a block east of its junction with I-75 in Lincoln Park along Southfield Road, which continues east-southeasterly past the start of the M-39 designation under local maintenance. From there the road is a six-lane boulevard through residential areas as it runs west-northwesterly to pass under I-75 and an adjacent Conrail Shared Assets Operations rail line. In Allen Park, the highway continues through residential and commercial areas. Southfield Road crosses lines of the Canadian National Railway and Norfolk Southern Railway near the location where the highway turns to the northeast and transitions into a six-lane limited-access freeway. Immediately after this transition, the Southfield Freeway, as M-39 is now called, has an interchange with I-94. There is a second, adjacent interchange that connects to Van Born Road, and the freeway winds its way northeasterly through Dearborn. The freeway is bordered by service drives that carry one-way traffic and bear the Southfield Road name on either side. M-39 meets Outer Drive next to the Fairlane Green power center. The adjoining properties are residential to the west and commercial to the east. Near Greenfield Village, the freeway curves to the northwest around the Ford Proving Grounds before turning to the north, a direction it will maintain until the end of its run. The freeway crosses the River Rouge, passes under the line used by the Amtrak Wolverine, and meets US Highway 12 (US 12, Michigan Avenue) next to the Fairlane Town Center and Ford Motor Company's world headquarters in Dearborn near the campus of the University of Michigan–Dearborn.

North of the interchange for M-153, (Ford Road), M-39 crosses into Detroit. From there the road continues through the densely populated areas of the west side of the city. Next to the Chicago Road overpass, the freeway runs under a CSX Transportation rail line. The trunkline continues traveling to the north through a series of interchanges. The first is a partial interchange for Plymouth Road; northbound traffic exiting here is directed to use the service drive northbound to access Schoolcraft Road, and traffic can enter M-39 southbound. Next is the stack interchange with I-96 (Jeffries Freeway) with access to both the local and express lanes of that freeway. The last of the series is another partial interchange with Schoolcraft Road. As a counterpart to the Plymouth Road interchange, this one provides access from southbound M-39 to the cross street with a signed connection along the southbound service drive to Plymouth Road and an entry point for northbound traffic. Continuing north, M-39 comes to an interchange with M-5 (Grand River Avenue) which also connects to Fenkell Avenue, the 5 Mile Road equivalent on Detroit's mile road system.

There are three more interchanges along M-39 in Detroit as the freeway continues through the residential upper west side. Near the Wayne Community College District, the freeway meets McNichols Road (6 Mile). There is another interchange approximately 1 mi north at 7 Mile Road as well. The road then crosses the border between Wayne and Oakland counties to enter Southfield at the interchange with M-102 (8 Mile Road). The Southfield Freeway, and M-39, terminates at an interchange with M-10 (John C. Lodge Freeway) near 9 Mile Road. Southfield Road continues northward from the end of the freeway under local maintenance.

M-39 is maintained by the Michigan Department of Transportation (MDOT) like other state highways in Michigan. As a part of these maintenance responsibilities, the department tracks the volume of traffic that uses the roadways under its jurisdiction. These volumes are expressed using a metric called annual average daily traffic, which is a statistical calculation of the average daily number of vehicles on a segment of roadway. MDOT's surveys in 2010 showed that the highest traffic levels along M-39 were the 159,400 vehicles daily between Schoolcraft Road and Grand River Avenue in Detroit; the lowest counts were the 20,400 vehicles per day between the I-94 and Van Born Road interchanges. All of M-39, and Southfield Road on either end that is not under state maintenance, has been listed on the National Highway System, a network of roads important to the country's economy, defense, and mobility.

Previous designations
Two previous highways bore the M-39 designation. When the state highway system was first signed in 1919, the number was assigned to a highway that ran between Grand Rapids and Lansing. The westernmost end in Kent County near Alto was replaced by a realigned M-16. Within the next few years, the western end was scaled back further to the Woodbury area when M-50 was extended, with the remainder replaced by an extended M-43 around 1938.

The next trunkline to be designated M-39 was Schaefer Highway in 1939, running north–south from US 25/M-17 (at the five-way intersection of Schaefer, Oakwood Boulevard, and Francis Street) in Melvindale to US 16 (Grand River Avenue) in western Detroit. Since M-39 was moved to Southfield Road in the end of the 1950s, Schaefer Highway has been a locally maintained road.

Current designation
M-39 was reassigned to Southfield Road, which parallels Schaefer Highway 2 mi to the west, connecting I-94 with Northwestern Highway in 1958-59. By 1961, the freeway was marked as under construction on maps. The first section opened in December 1961 was 2.7 mi from Ford Road north to Chicago Road. The remainder of the freeway between I-94 and the Lodge Freeway and 9 Mile Road was opened by the middle of 1964 at a total cost of $40 million. The highway designation was extended southeasterly along Southfield Road to the new I-75 freeway and a terminus at M-85 (Fort Street) in 1966. In 1987, the M-39 designation was truncated slightly so that the trunkline no longer officially connects to M-85.

title: M-39 (Michigan highway)


text:
Air Force One (disambiguation)

Air Force One is the call sign for any U.S. Air Force aircraft carrying the President of the United States.

Air Force One may also refer to:
 * Boeing VC-25, the current Boeing 747-based Air Force One
 * Air Force One (film), 1997 film by Wolfgang Petersen
 * Air Force 1 (shoe), an athletic shoe made by Nike
 * "Air Force Ones" (song), a 2002 hip hop song by Nelly
 * Japanese Air Force One

title: Air Force One (disambiguation)


text:
File:Fight for the Rock.jpg

Summary
This is the cover art for the album Fight for the Rock by Savatage

title: File:Fight for the Rock.jpg


text:
Talk:PmWiki

Older comments
Articles about wiki engines ought to briefly describe system requirements, and perhaps note at least a few of its syntax features, if there are any relevant issues there. (for example: "uses syntax based on blahblah wiki"

 * agreed

MySQL?
I can't find anywhere how to enable MySQL storage for PmWiki. --210.213.194.226 (talk) 04:01, 19 January 2009 (UTC)

 * There is not yet (afaik) a general PageStore class that allows holding the data in MySQL databases, but there is the DataQuery plug-in that has possibly some of the functionality (created by an independent developer). --5ko (talk) 07:18, 19 January 2009 (UTC)

Books LLC, Alphascript, Betascript, Fastbook Publishing ...
I've removed the following Books LLC and Alphascript references: See: User:Fences and windows/Unreliable sources and Amazon.com controversies. °°Playmobilonhishorse (talk) 01:43, 24 January 2011 (UTC)
 * LLC Books, Free Wiki Software, ISBN 978-1156996164
 * Frederic P. Miller, Agnes F. Vandome, John McBrewster, History of wikis, ISBN 978-6130050306

Needs a limitations section desperately
This article really needs a section covering the limitations and problems with PmWiki. It is a very poor wiki for use with large amounts of content (on a specific page or in total). This article gives the impression that PmWiki is on par with many more advanced wiki engines. --173.13.177.204 (talk) 20:04, 24 October 2012 (UTC)

 * There are wikis with 10000+ namespaces (wikigroups) and 1M+ pages which have no problems running happily PmWiki for years. For wikis with very large number of pages, a number of optimizations/recipes are documented in the Cookbook. Disclosure: I am one of the developers, and I am unaware of poor performance of PmWiki with large amount of content compared to other PHP/no-database wikis - such poor performance hasn't been brought to our knowledge, neither on our public issue tracking system, nor on our public mailing lists. Where can we learn more about the problems and limitations? --5ko (talk) 14:26, 25 October 2012 (UTC)

 * About the "large content on a specific page", I invite you to create such a page on pmwiki.org - either in the PITS issue tracking group, or in the Test group, so we could look into any problems and limitations which might need fixing. Here is a page containing about 1.4M bytes of content, and it looks good. --5ko (talk) 14:53, 25 October 2012 (UTC)

 * PMwiki downside is the creator is prideful. They don't understand why anyone would "need" certain features yet at the same time say "oh ya someone created a recipe for that feature".  So they like to have their cake and eat it too.  You can't claim a feature that is not a part of the maintained base of PMwiki, but they always do.  The downside to pmwiki is not the size of the pages it can handle, but rather the ability to have many thousands of wiki pages in a format that can be easily maintained.  You could do it but imagine hosting wikipedia in flat files, a nightmare.  The same goes with levels of hierarchy.  PM has argued with people gaslighting them saying "I don't see why anyone would need more hierarchy than groups/pages" but yet touts a recipe made by others to achieve this (in a hacky way) as a feature of the program. Conclusion is if you want a minimalistic wiki, pmwiki is a great one.  But don't expect to start the next wikipedia without hiring a developer (or becoming one) to overcome the limitations (and yes they exist!) of pmwiki. -NatureWiki (user of pmwiki) — Preceding unsigned comment added by 104.175.54.158 (talk) 15:26, 26 November 2020 (UTC)

 * This comment contains several claims that are inexact and is frankly unfair. The original author completely understands that other people may need certain features, that's why he designed a highly customizable markup engine allowing easy integration of new functions and programs, without the need to modify any core files (so when you upgrade to a new PmWiki version you don't lose your customization). The documentation, and various comparison sites such as WikiMatrix never claim that a feature provided by an addon is a "core" feature -- it is always clearly marked as addon. There are indeed 900+ addons. However, there are some "core" features that can be enabled in local configuration -- these are usually marked as "options". Hierarchical WikiGroups are indeed an addon -- the default PmWiki installation only has 2-level hierarchy and unlimited namespaces (while Wikipedia has a single level hierarchy with only a few namespaces). In addition, PmWiki allows any level of hierarchy with a core feature called WikiTrails/Breadcrumbs available out of the box (pages in a single namespace, or in different namespaces, with a tree-like index with branches and subpages). The flat file storage can indeed be problematic with many files on old filesystems, but that is true for any file-based wiki. And again, the PageStore class can be easily extended to allow custom storage solutions -- people who need them have used SQLite and MySQL. For me there are 3 minor/major downsides, as of 2020: (1) it is still a "wiki" using not WYSIWYG editor but wiki markup, which has some learning curve, and even with extensive documentation it takes time to master as our attention span tends to get shorter; (2) the core doesn't have an easy click-to-install way to download and enable addons -- because the author considers having executable program scripts in writable directories a security nightmare -- developers of addons are free to implement whatever they like; (3) there isn't an out-of-the-box way to allow random people to create accounts with e-mail verification and password recovery -- although a wiki can allow random people to edit without creating accounts. --5ko (talk) 22:44, 27 November 2020 (UTC)

 * Obviously, if you need a Wikipedia clone, best is to use MediaWiki -- it is specifically designed to support an online encyclopedia, with tools for citations, references, blocking users, admin delegation, etc., while PmWiki is more about generic websites. --5ko (talk) 09:19, 6 December 2020 (UTC)

Removal of Advert template
I've refactored the article to hopefully feel less like an advertisement, and added some information and independent articles. I'd be grateful if the community could check whether the content could be further improved so we could remove the Advert template (English is not my native language). 5ko (talk) 00:06, 31 March 2024 (UTC)

title: Talk:PmWiki


text:
Air Force Ones (song)

"Air Force Ones" is a song by American rapper Nelly, from his second album Nellyville. It was released on November 4, 2002, and features fellow St. Lunatics rappers Kyjuan, Ali and Murphy Lee. The song was the third top 5 hit from Nellyville on the U.S. Billboard Hot 100, peaking at number 3. Its video, whose exteriors were shot at the SE corner of Delmar and Westgate in University City, Missouri, featured St. Louis professional athletes Marshall Faulk, Torry Holt, D'Marco Farr, Ray Lankford, and Ozzie Smith, and hip hop artists Big Tymers and WC.

Meaning
The Nike Air Force 1 is a type of shoe. In the song, Nelly and the St. Lunatics each brag about their usage and opinions of the shoes.

Remix
The official remix was included on Nelly's remix album Da Derrty Versions: The Reinvention and David Banner's album MTA2: Baptized in Dirty Water. It features the St. Lunatics on the 1st part of the chorus, David Banner, and 8Ball. David Banner is also the producer of the remix.

Track listings

 * US promo CD single
 * 1) "Air Force Ones" (clean radio edit) — 4:31
 * 2) "Air Force Ones" (clean album version) — 5:04
 * 3) "Air Force Ones" (instrumental) — 5:04

 * '''US 12" single (double A-side with "Dilemma")
 * 1) "Dilemma" (clean) — 4:49
 * 2) "Dilemma" (dirty) — 4:49
 * 3) "Dilemma" (instrumental) — 4:49
 * 4) "Air Force Ones" (clean) — 5:04
 * 5) "Air Force Ones" (dirty) — 5:04
 * 6) "Air Force Ones" (instrumental) — 5:04

title: Air Force Ones (song)


text: User talk:83.89.66.63

title: User talk:83.89.66.63


text:
The Pew Charitable Trusts

The Pew Charitable Trusts is an independent non-profit, non-governmental organization (NGO), founded in 1948.

Pew's stated mission is to serve the public interest by "improving public policy, informing the public, and invigorating civic life". Pew operates projects and conducts research across five main areas: communities, conservation, finance and economy, governing, and health. In addition, the Pew Research Center is a nonpartisan public polling and think tank that operates as a subsidiary of The Pew Charitable Trusts.

20th century
Pew was established by the merging of several charitable trusts that had been established between 1948 and 1979. The original trusts were created by J. Howard Pew, Mary Ethel Pew, Joseph N. Pew Jr., and Mabel Pew Myrin, the adult sons and daughters of Sun Oil Company founder Joseph N. Pew and his wife, Mary Anderson Pew. Honoring their parents' religious conviction that good works should be done quietly, the original Pew Memorial Foundation was a grantmaking organization that made donations anonymously.

In 1956, the foundation became the Pew Memorial Trust, based in Philadelphia, the donors' hometown. Between 1957 and 1979, six other trusts were created, representing the personal and complementary philanthropic interests of the four siblings. Assets held by the seven trusts totaled $6 billion as of 2020. The Trusts continues to be based in Philadelphia, Pennsylvania, with offices in Washington, D.C., London, and Brussels.

Although The Pew Charitable Trusts is non-partisan and non-ideological, Joseph Pew and his sons were politically conservative. The modern day organization works to encourage responsive government and support scientific research on a wide range of issues, including global marine conservation, correction reform, and biomedical research. Pew also conducts research and supports civic and cultural projects in Philadelphia.

Early priorities of the Pew Memorial Trust included cancer research, the American Red Cross, and a pioneering project to assist historically black colleges. Later beneficiaries included American Enterprise Institute, Brookings Institution, American Liberty League, John Birch Society, Oceana, and Woods Hole Oceanographic Institution.

In 2004, Pew applied to the Internal Revenue Service (IRS) to change its status from a private foundation to a public charity in order to operate its own programs more efficiently. Since that change it can now raise funds freely and devote up to 5% of its budget to lobbying the public sector.

In 2011, the Pew family was awarded the Carnegie Medal of Philanthropy in recognition of its support for The Pew Charitable Trusts.

According to the Pew Trusts' website as of 2024, four of the eleven Directors serving on the Board are named Pew.

Projects
Pew operates several projects focused on specific public policy issues: modernization of the civil legal system, Philadelphia local public policies; justice and public safety; student loans; ocean and fisheries protection; conservation of public lands and rivers; consumer finance and the greater economy; government reform; and public health issues.

Maritime protection
The Trusts, with other groups, backed an effort to create marine protected areas in the Pacific Ocean, near the Mariana Islands. The protected area was officially designated in January 2009, and includes the Mariana Trench, the deepest ocean canyon in the world. Another marine protected area that the Trusts and other groups sought to protect is Papahānaumokuākea Marine National Monument which was protected by President Bush in 2006 and expanded by President Obama in 2016.

Pew Research Center
The Trusts also funds the Pew Research Center, the third-largest think tank in Washington, D.C., after the Brookings Institution and the Center for American Progress.

Justice and corrections reform
The Trusts have worked closely with the Vera Institute of Justice on issues related to state correction policies in the Public Safety Performance Project. In 2008, Pew reported that more than one in 100 adults in the United States is in jail or prison, an all-time high. The cost to state governments is nearly $50 billion a year and the federal government $5 billion more. The report compiled and analyzed data from the federal Bureau of Justice Statistics and Federal Bureau of Prisons and each state's department of corrections.

Pew reported in 2009 that "explosive growth in the number of people on probation or parole has propelled the population of the American corrections system to more than 7.3 million, or 1 in every 31 U.S. adults." "One in 31: The Long Reach of American Corrections" examined the scale and cost of prison, jail, probation and parole in each of the 50 states, and provides a blueprint for states to cut both crime and spending by reallocating prison expenses to fund stronger supervision of the large number of offenders in the community.

Pew supported police reforms enacted by the state of Washington in 2021. Gov. Jay Inslee (D-WA) signed 12 separate police reform bills that would, among other things, require officers to intervene when they see another officer using excessive force.

Health
"Based on data, science, and non-partisan research, Pew works to reduce hidden risks to the health, safety, and well-being of American consumers." One program, the Pew Scholars Program in the Biomedical Sciences, is intended to support promising early and mid-career scientists investigating human health, both basic and clinical. The awards provide flexible support ($240,000 over a four-year period). Grantees are encouraged to be entrepreneurial and innovative in their research.

In October 2020, the Trusts unveiled research on naloxone, the lifesaving overdose reversal drug. Pew researchers concluded that expanded access to naloxone saves lives and put forth several recommendations on how to do so, including options such as co-prescribing naloxone with opioids.

During the rollout of vaccines for the COVID-19 pandemic, Pew supported the CDC's determination that it was acceptable to leave some vaccine vials partially unused (potentially "wasting vaccines") in order to vaccinate teenagers, which represented a policy shift by the CDC regarding the efficient use of vaccines.

Finances
According to the 2019 Consolidated Financial Statements, as of 30 June 2019, the Trusts owned over US$6.7 billion in assets. For the 12 months ending on that date, total revenues were about US$374 million and total expenses were about $341 million, of which about $6.6 million were for fundraising expenses.

According to IRS Form 990, filed for 2019 by Pew Charitable Trusts, the organization distributed $142,114,349 in grants in 2019; an increase from 2018, when it distributed $136,947,523 in grants.

Barnes Art Collection
The Trusts have supported the relocation of the famed Barnes Art Collection from its longtime home in Lower Merion, PA, to Center City. This has been controversial in the art world. The Barnes Foundation was established by Albert C. Barnes in 1922 to "promote the advancement of education and the appreciation of the fine arts and horticulture."

According to the Barnes Foundation:

The Barnes is home to one of the world's largest collections of Impressionist, Post-Impressionist and early Modern paintings, with especially deep holdings by Renoir, Matisse, and Picasso", as well as important examples of African art, Native American pottery and jewelry, Pennsylvania German furniture, American avant-garde painting, and wrought-iron metalwork.

Opponents of relocating the collection to a new museum along the Benjamin Franklin Parkway said that move violates Barnes's will that the collection stay intact at its original location and not be loaned, transferred or sold. Columnist Roger Ebert of the Chicago Sun-Times wrote in 2010, "It is perfectly clear exactly what Barnes specified in his will. It was drawn up by the best legal minds. It is clear that what happened to his collection was against his wishes." Yet the Barnes Foundation prevailed in a series of legal actions and the new museum opened on May 16, 2012. At the opening Barnes trustee and treasurer Stephen Harmelin noted, "There were financial challenges to be faced...questions about how the foundation as it existed could go on with its mission, worries about the safety and integrity of the collection in the long run," he said. "We were convinced that the only change that could save the Barnes was to redouble our commitment to its mission, to reach out more widely than ever before, to build, to expand and to move the collection to a more accessible location."

The Trusts became involved with the Barnes Collection when the foundation overseeing the art collection had serious financial trouble, ultimately contributing more than $20 million for a new museum. Reporter Roberta Smith of the New York Times said of the new building, "Against all odds, the museum that opens to the public on Saturday is still very much the old Barnes, only better."

The controversy involving Pew, other donors, the Barnes trustees and the collection was the subject of a documentary film The Art of the Steal. The Trusts did not participate in the film. Rebecca Rimel, then head of The Pew Charitable Trusts, said they believed the film would not be fair.

Texas Public Policy Foundation
Between 2011 and 2015, The Pew Charitable Trusts gave $4.7 million to the Texas Public Policy Foundation (TPPF), earmarked specifically for the foundation's criminal justice reform project.

title: The Pew Charitable Trusts