title: Metropolis (2001 film)

text: The 2001 film incorporates more elements from the Fritz Lang film "Metropolis". When making the original "Metropolis" manga, Tezuka said that the only inspiration he got from Fritz Lang's "Metropolis" was a still image from the film where a female robot was being born. In addition to adopting set designs of the original film, the 2001 film has more emphasis on a strong and pervasive theme of class struggle in a dystopian, plutocratic society and expands it to examine the relationship of robots with their human masters. (This relationship was explored by Tezuka in great detail with his popular series "Astro Boy".) The anime adaptation also removes many of the more fanciful elements out of Tezuka's manga, such as a flying, gender swapping humanoid. Here, Mitchi is replaced by "Tima", who is permanently female and cannot fly. In this version, Kenichi is an assistant to his uncle and forms a very strong friendship with Tima even though neither know she's a robot. Tima and Kenichi seem to care for each other deeply, as seen when Tima is worried about Kenichi when he's unconscious. Kenichi even goes so far as to remove Tima from the throne in an effort to save her and not allow her to become a weapon of evil. Tima was taught language by Kenichi and that she was someone unique. She also considered him her only family because he was kind to her and protected her; it seems that she loved Kenichi very much. It can be assumed that Kenichi fell in love with Tima, shown in many scenes when he blushes when he sees her writing his name so she wouldn't forget him. Kenichi didn't seem to care if Tima was robot or not, showing that he was willing to rescue her because of how much he cared for her. Tima only remembered Kenichi when he tried to save her because of everything he taught her. Tima's relationship with Kenichi ends, however, when Tima accepts her identity as a robot over that of a female human, triggering a robot revolution.


title: Metropolis (2001 film)

text: Duke Red is shown to be both a cruel and evil leader and father; it is repeatedly shown that he does not care about Rock or even consider Rock his son despite adopting him; the character Rock also deviates from the manga. He only sees Tima as a weapon to destroy humanity and even considers Tima and Rock inferior to him and anyone who is loyal to him. While his real daughter (also named Tima) died, he only rebuilt her humanoid self just to use her and has no regard or affection for what she needs. He also ignores Tima’s questions about her being human or not, showing that he does not care if Tima feels emotions or not.


title: Metropolis (2001 film)

text: Rock wasn't in the original manga, and according to the writer of the film, he was added to pay homage to Tezuka's science fiction adventure style of storytelling, while also adding depth to the story’s background and the world around it. Rock is meant to represent humanity’s dark side, and the negative emotions associated with those aspects. He also echoes Tima's story and can be considered another side of it, as they are both neglected children engineered by their father to be tools of war. In Rock's case however, he was cast aside and unwanted by Duke Red. Their stories ultimately converge, coming full circle when they both lead to their father’s downfall, with his legacy quite literally collapsing to the ground.


title: Metropolis (2001 film)

text: The film's Ziggurat combines the New Tower of Babel from Lang's original film and the manga’s Cathedral.


title: Metropolis (2001 film)

text: The Shinto religion has a delineation between the animate and inanimate. Shinto kami can be spirits, humans, objects, or in this case, robots. Therefore, robots are viewed favorably in both the manga and the film, but especially in the film, where there is a nearly equal number of robot and human characters. Most humans, like Kenichi and Shinsaku Ban, tend to sympathize with robots, causing the audience to view the Marduks and their hostility toward robots as antagonistic.


title: Metropolis (2001 film)

text: Osamu Tezuka had originally derived inspiration from Fritz Lang's 1927 German silent science fiction film of the same name, despite not actually having seen it. The manga and Lang's film do not share plot elements. The 2001 film borrowed from Lang's film more directly and incorporated plot elements from it.


title: Metropolis (2001 film)

text: During the days of Mushi Productions, Hayashi asked Tezuka if he wanted to let him make a feature based on the manga, but immediately rejected the idea.


title: Metropolis (2001 film)

text: The film took five years to create. It had a production budget of , then equivalent to roughly 9 million dollars. This made it the most expensive anime film up until then, surpassing Otomo's "Akira" (1988). In turn, its budget record was later surpassed by Otomo's "Steamboy" (2004).


title: Metropolis (2001 film)

text: The "Metropolis" soundtrack consists mainly of New Orleans-style jazz music and orchestral score composed by Toshiyuki Honda and features Atsuki Kimura's cover of "St. James Infirmary Blues" and the ending theme "There'll Never Be Good-Bye" by Minako "Mooki" Obata. The soundtrack album is available on King Records.


title: Metropolis (2001 film)

text: During the film's climactic scene, the song "I Can't Stop Loving You" performed by Ray Charles was used as most of the audio when the Ziggurat was destroyed, with sound effects only audible later on in the scene. Likely due to licensing reasons, the song was not included on the soundtrack album.


title: Metropolis (2001 film)

text: The film was first released in Japan on May 26, 2001. When it was released in the US and other foreign countries by TriStar Pictures and Destination Films, it made a total of in overseas territories outside of Japan. In the United States, the film was given a PG-13 rating by the MPAA for "violence and images of destruction" and a TV-14-LV rating when it aired on Adult Swim. It was also one of the first anime films to be submitted for consideration for Best Animated Film at the Academy Awards.


title: Metropolis (2001 film)

text: Metropolis was first released on VHS, and is now available in North America as both a 2-disc DVD, with the second disc being a MiniDVD (called a "Pocket DVD"), and a Blu-ray.


title: Metropolis (2001 film)

text: In both the United Kingdom and Ireland, Eureka Entertainment acquired the film's distribution rights as a means to release the film on Blu-ray in both countries. The UK and Ireland Blu-rays were released on January 16, 2017.


title: Metropolis (2001 film)

text: Toho-Towa Distribution, the foreign film distribution division of the film's original Japanese distributor, Toho, also handled the Japanese distribution of the 1927 version of "Metropolis".


title: Metropolis (2001 film)

text: As the license of the German "Metropolis" is held by the Friedrich Wilhelm Murnau Foundation, the film was released under the title "Robotic Angel".


title: Metropolis (2001 film)

text: "Metropolis" received highly positive reviews: based on 65 reviews from Rotten Tomatoes, Metropolis received an overall 86% Certified Fresh approval rating, with an average rating of 7.30/10. The site's critical consensus states that "A remarkable technical achievement, Metropolis' eye-popping visuals more than compensate for its relatively routine story." Film critic Roger Ebert, writing for the "Chicago Sun-Times", gave Metropolis a 4/4, calling it "one of the best animated films I have ever seen."


title: Eavesdropping

text: Eavesdropping is the act of secretly or stealthily listening to the private conversation or communications of others without their consent in order to gather information.


title: Eavesdropping

text: The verb "eavesdrop" is a back-formation from the noun "eavesdropper" ("a person who eavesdrops"), which was formed from the related noun "eavesdrop" ("the dripping of water from the eaves of a house; the ground on which such water falls").


title: Eavesdropping

text: An eavesdropper was someone who would hang from the eave of a building so as to hear what is said within. The PBS documentaries "Inside the Court of Henry VIII" (April 8, 2015) and "Secrets of Henry VIII’s Palace" (June 30, 2013) include segments that display and discuss "eavedrops", carved wooden figures Henry VIII had built into the eaves (overhanging edges of the beams in the ceiling) of Hampton Court to discourage unwanted gossip or dissension from the King's wishes and rule, to foment paranoia and fear, and demonstrate that everything said there was being overheard; literally, that the walls had ears.


title: Eavesdropping

text: Eavesdropping vectors include telephone lines, cellular networks, email, and other methods of private instant messaging. VoIP communications software is also vulnerable to electronic eavesdropping via infections such as trojans.


title: Eavesdropping

text: Network eavesdropping is a network layer attack that focuses on capturing small "packets" from the network transmitted by other computers and reading the data content in search of any type of information. This type of network attack is generally one of the most effective as a lack of encryption services are used. It is also linked to the collection of metadata.


title: Lithuania national football team

text: The Lithuania national football team () represents Lithuania in international football and is controlled by the Lithuanian Football Federation, the governing body for football in Lithuania. They played their first match in 1923. In 1940, Lithuania was occupied by the Soviet Union; the country regained its independence in 1990 and played their first match thereafter against Georgia on 27 May of that year.


title: Lithuania national football team

text: Although Lithuania has never qualified for the FIFA World Cup, nor the UEFA European Championship, they have successfully participated in the regional Baltic Cup tournament, which takes place every two years between Lithuania and their Baltic rivals, Latvia and Estonia. Lithuania has won the Baltic Cup championship 11 times, only Latvia has won it more. Despite this Lithuania holds the record for winning the most consecutive Baltic Cup championships, four titles in a row from 1996 to 2000.


title: Lithuania national football team

text: On 24 June 1923, Lithuania played their first ever game, at the Lietuvos Fizinio Lavinimosi Sąjunga Stadionas, resulting in a 5–0 loss against Estonia. In 1924, Lithuania entered the 1924 Olympics in France, losing 9–0 against Switzerland on 25 May 1924. Two days later, Lithuania suffered a 10–0 loss to Egypt, a record defeat to date. During the early years of the Lithuanian national team, Lithuania regularly played Baltic neighbours Estonia and Latvia, with Lithuania's first win coming in a 2–1 away win against Estonia on 24 August 1924 in Tallinn. In 1930, Lithuania won the third edition of the Baltic Cup in Kaunas. On 13 October 1940, Lithuania played their final game for just shy of 50 years, a 4–3 win against Latvia, following the first Soviet annexation of the country.


title: Lithuania national football team

text: Lithuania's first game following the declaration of independence in 1990 was a 2–2 draw against Georgia in Tbilisi on 27 May 1990. In the 1990s, Lithuania established a respectable presence in the World Cup and European Championship qualifiers: third place in their group in both Euro 1996 and the 1998 World Cup qualifiers. In the Euro 2004 qualifiers, they were once again contenders for qualification and managed an away draw with Germany and a home win over Scotland; however, a 1–0 defeat to Scotland in the final game ended their hopes. Although finishing fifth in their 2006 World Cup qualifying group, Lithuania were nevertheless competitive.


title: Lithuania national football team

text: Lithuania drew with world champions Italy 1–1 in Naples in a Euro 2008 qualifying game on 2 September 2006, in the first competitive game that Italy played since the World Cup final.


title: Lithuania national football team

text: On 6 September 2008, Lithuania defeated Romania 3–0 in a 2010 World Cup qualifier. The victory was regarded by many as "a historic win." It was followed by another successful 2–0 performance against Austria in Marijampolė on 10 September 2008.


title: Jon Theodore

text: Jon Philip Theodore (born December 30, 1973) is an American drummer. He is best known as a former member of the Mars Volta and as the current drummer for Queens of the Stone Age. After contributing to Bright Eyes' 2020 album, "Down in the Weeds, Where the World Once Was", Theodore joined the band in 2022 as their touring drummer.


title: Jon Theodore

text: Known for his explosive, multi-textural playing style, Theodore was a member of both Golden and Royal Trux before joining The Mars Volta in 2001. Theodore remained within the band for five years, recording the band's first three studio albums, "De-Loused in the Comatorium" (2003), "Frances the Mute" (2005) and "Amputechture" (2006), before departing at the request of guitarist and bandleader Omar Rodríguez-López.


title: Jon Theodore

text: Theodore subsequently formed a collaboration with Rage Against the Machine vocalist Zack de la Rocha, entitled One Day as a Lion, and performed on Incubus frontman Brandon Boyd's solo album, "The Wild Trapeze" (2010). In 2012, Theodore replaced his Mars Volta successor Thomas Pridgen in the supergroup Giraffe Tongue Orchestra, though by 2015 the lineup had reverted to Pridgen on drums.


title: Jon Theodore

text: In 2013, Theodore joined Queens of the Stone Age, replacing Joey Castillo, who left the band citing burnout from constant touring. Although Dave Grohl recorded the drums on Queens of the Stone Age's sixth studio album "...Like Clockwork" (2013), Theodore accompanied them on the subsequent tour and has since become a full-time member.


title: Jon Theodore

text: Theodore first started playing drums at the age of 15. He was soon involved with his high school concert band at Gilman School in Baltimore, Maryland, and took lessons on a full kit shortly after. It was at this point that he studied percussion and learned how to map arrangements; dedicated practice had already become a habit. He also listened to a great variety of music, growing to love the likes of Billy Cobham, Elvin Jones and John Bonham. He studied at the Oberlin Conservatory of Music in Ohio.


title: Jon Theodore

text: Around the end of his time in high school, he joined the band Golden and recorded and toured with them for ten years. He also played with Royal Trux for a year and a half. It was during this time that he met Cedric Bixler Zavala and Omar Rodríguez-López, who were performing their first gig with their experimental dub band De Facto in El Paso, TX. They became friends and the former At the Drive-In duo would later invite Theodore to join their Latin-tinged prog-rock band, The Mars Volta. Theodore was The Mars Volta's drummer from 2001 to 2006. On July 30, 2006, it was announced that Jon Theodore would be permanently replaced. He was quoted in Modern Drummer: "It was long overdue and unquestionably the best thing for everyone involved. We had a great run of things, made some decent records, blew it up for a minute, and had some really great times. But the life ran out of it. I'm currently working on some pretty sweet tunes for a new project. The details will follow once it takes shape." In 2012, Mars Volta bassist Juan Alderete stated, "I love Jon, and I do keep in touch with him. Jon was unhappy and when someone is unhappy, someone has to pull the trigger; and its Omar's band so he did just that. [...] They had to let him go because he wasn't into it as much as they wanted him to be."


title: Jon Theodore

text: Theodore has also completed a collaboration with Zack de la Rocha of Rage Against the Machine entitled One Day as a Lion. Their first EP was released on July 22, 2008 In January 2012, he joined Giraffe Tongue Orchestra, replacing fellow former Mars Volta drummer Thomas Pridgen. He recently played as Dam Funk's touring drummer during his Fall 2012 US Tour.


title: Jon Theodore

text: A press release from the band Queens of the Stone Age revealed that Theodore would contribute drums on their upcoming album "...Like Clockwork". He played on the title track on the album, which was the first Queens album to reach number one on the "Billboard" 200. It also reached number two on the UK Albums Chart and was nominated for three Grammy Awards, including Best Rock Album. Following the release of the album in 2013, he became the permanent drummer of Queens of the Stone Age.


title: Jon Theodore

text: In 2018, Theodore performed drums on certain sections of the score for the video game Red Dead Redemption 2. His Queens of the Stone Age bandmates Josh Homme and Michael Shuman also are featured on the score.


title: Jon Theodore

text: Theodore draws inspiration from many different forms of music but those most prevalent in his playing are jazz, fusion, and rock. He has also touched upon another factor which adds to his individual style – "Then there's a whole bunch of stuff from Haiti because my dad's Haitian. My favorite Haitian drummer is this guy called Azor... ...The Haitian music that moves me has the drumming from the voodoo rituals. It moves me because the patterns are connected to different spirits; it's a spiritual thing that is interconnected with dancing, sacrifice and devotion. It's fully passionate. There is nothing contrived about it."


title: Jon Theodore

text: In interviews he regularly cites Billy Cobham of The Mahavishnu Orchestra as his main drumming influence: "My all-time favorite drummer is Billy Cobham. I love the way he plays... ...[his] playing is so natural, powerful and dynamic at the same time. I pattern a lot of stuff after him.". He has also been heavily inspired by John Bonham of Led Zeppelin: "He had one of the best feels in the history of rock... ...because [of him] I try and play with as much bombast as I possibly can."


title: Jon Theodore

text: Theodore has also mentioned the following drummers and musicians as influences: Elvin Jones, Neil Peart, Keith Moon, Phil Rudd, Tony Williams, Sebastian Thomson, Tim Soete, Herbie Hancock, Doug Scharin, Joseph "Zigaboo" Modeliste, Mitchell Feldstein, Damon Che, Dale Crover, John McEntire, Ryan Rapsys and Brann Dailor.


title: Jon Theodore

text: Jon has stated in interviews that he is still hoping to find a 26x14 stainless steel kick but also enjoys the punchier sound of his current bass.


title: Jon Theodore

text: Theodore has also used various "jellybean" kits made with toms, snares, and bass drums made from Ludwig, Yamaha, Slingerland, Gretsch, and Sonor, among others.


title: Jon Theodore

text: Of recent times Jon has an endorsement contract with Zildjian cymbals. Like most artists his setup varies somewhat over time.


title: Jon Theodore

text: For example, he has on occasion used two 19" A Custom Projections, on others a 19" K Med Thin Dark and a 19" Avedis Med Thin and on still others a 19" A Custom Projection and a 19" Avedis Med Thin. His Zildjian profile states he uses 2x 19" Avedis med Thin crashes.


title: Jon Theodore

text: 21" Avedis Sweet Ride, sometimes with four sizzlers, 22" K Ride, 22" Avedis Medium Ride, or 23" Sweet Ride.


title: Jon Theodore

text: A "stack of totally busted stuff on a cymbal stand" was used in The Mars Volta. On the stand were two hi-hats cymbals with holes drilled through them, a splash cymbal with a cracked bell, a Zildjian ZXT Trashformer and various, smaller shredded cymbals with metal washers. Theodore switched to a 17" K China with QOTSA.


title: Jon Theodore

text: Prior to his endorsement with DW, Jon used Pearl Eliminator single kick pedal and applied surf wax for playing barefoot, along with various straight cymbal stands. Now Theodore uses DW 7000 series Hi-hat and straight cymbal stands with a 5000 pedal.


title: Jon Theodore

text: Remo coated Ambassador on snare batter, CS dots on tom and bass drum batters, clear Ambassadors on bottoms of toms and on front of bass drum.


title: Jon Theodore

text: He has also used Powerstroke 3 bass batters (and, on occasion, as resonant heads, too) with a falam pad and coated Ambassadors.


title: FourFiveSeconds

text: "FourFiveSeconds" is a song recorded by Barbadian singer Rihanna, American rapper Kanye West, and English musician Paul McCartney. It was written and produced by McCartney, Kanye West, Mike Dean, Dave Longstreth and Noah Goldstein with additional writing from Kirby Lauryen, Ty Dolla Sign, Dallas Austin, Elon Rutberg and Rihanna. Previewed by West at the iHeartMedia Music Summit on January 21, 2015, it was digitally released on January 24. "FourFiveSeconds" is a folk-pop and soul song with an instrumentation consisting of an acoustic guitar, organ and bass guitar.


title: FourFiveSeconds

text: "FourFiveSeconds" received acclaim from music critics who praised Rihanna's vocals on the song. Commercially, it peaked at number four on the US "Billboard" Hot 100 chart. In doing so it gave Rihanna her 26th top-ten song on the chart, while McCartney set a record by ending the longest break between top-ten singles on the chart. The song also peaked at number one on the US "Billboard" Hot R&B/Hip-Hop Songs chart. Internationally, "FourFiveSeconds" reached number one in Australia, Denmark, Ireland, Luxembourg, New Zealand, Norway and Sweden, as well as the top-three in Canada, France, Germany, and the United Kingdom.


title: FourFiveSeconds

text: To promote the song, an accompanying black-and-white music video was directed by Dutch photographer duo Inez and Vinoodh in New York City. Rihanna, McCartney, and West performed "FourFiveSeconds" for the first time at the 57th Annual Grammy Awards on February 8 held at the Staples Center in Los Angeles; the performance received highly positive reviews. "FourFiveSeconds" has been covered by various recording artists, including Canadian rapper Drake and British singer-songwriter James Bay.


title: FourFiveSeconds

text: On January 21, 2015, Kanye West made a surprise appearance at the iHeartMedia Music Summit, where he teased a collaboration with Rihanna that "featured acoustic guitar and a big, soaring chorus and melody with a massive hook." Earlier, on January 2, recording artist and producer Ty Dolla Sign gave an interview to "Billboard" magazine where it revealed that he, West, Rihanna and Paul McCartney worked on a track together, which was yet to receive its final title. On January 24, Rihanna posted the song on her official website, Rihannanow.com. The song titled "FourFiveSeconds" was released as single being made available for digital download on January 24 via the iTunes Store. In the United Kingdom it was digitally released on January 26 via Amazon. A CD single featuring "FourFiveSeconds" and its music video was released on February 27 in Germany.


title: FourFiveSeconds

text: "FourFiveSeconds" was written by West, McCartney, Kirby Lauryen, Mike Dean, Sign, Dave Longstreth, Dallas Austin, Elon Rutberg, Noah Goldstein and Rihanna. It was produced by West and McCartney, co-produced by Dean, while additional production was provided by Longstreth and Goldstein. The single was recorded at the Jungle City Studios in New York City, Windmark Recording in Santa Monica and No Name Studios in Mexico. Marcos Tovar along with Goldstein and Dean had done the recording of the vocals, while Brendan Morawski, Zeke Mishanec, Jeremy "Head" Hartney, Brandon Wood and Jordan Heskett served as assistant recording engineers. The vocal production of the song was done by Kuk Harrell and it was mixed by Manny Marroquin at the Larabee Studios in Los Angeles. Assistant mixing was made by Chris Galland, Jeff Jackson, and Ike Schultz. McCartney played the acoustic guitar, Longstreth played the organ and Dean played the bass guitar. The three members of Wilson Phillips - Chynna Phillips, Carnie Wilson, and Wendy Wilson - provide backing vocals on the song. Carnie Wilson said the trio were invited to appear on the song by West.


title: FourFiveSeconds

text: On February 8, during his Grammy Awards red carpet interview, West explained how the collaboration came to fruition: "I'm executive producer of Rihanna's album, and I said I'd done a few songs with Paul McCartney and she couldn't get past this record. She had to have it on her album... So now we at the Grammys doing it". West further compared Rihanna's vocals on the song to that of Scottish singer Annie Lennox: "I feel like she has this type of energy in her vocals. And she even brought it to another level of like soul and heart and artistry". In an interview with "V" magazine, Rihanna revealed, "The thing that made me fall in love with ['FourFiveSeconds'] is the juxtaposition of the music and the lyrics. When you read the lyrics it's a completely different song than what you are hearing. The music is easygoing, but the lyrical content is very loud and in your face." Although it is a first collaboration by the trio, they have collaborated separately. West and McCartney collaborated on the 2014 single "Only One", a track dedicated to West's daughter North. Rihanna and West previously collaborated on Jay-Z's 2009 single "Run This Town" — which became a commercial success and peaked at number two on the "Billboard" Hot 100 chart — and West's 2011 single "All of the Lights", a track featuring backup vocals by John Legend, Fergie, and Elton John among others.


title: FourFiveSeconds

text: "FourFiveSeconds" is an acoustic folk-pop, pop, pop rock and soul pop song, with a length of three minutes and eight seconds. Critics noted how the song has a stripped back feel to it, and that it incorporates elements of country and folk. "FourFiveSeconds" makes use of a simple instrumentation, primarily consisting of an acoustic guitar and organ, as well as a bass guitar in the background. It has been noted that West sings his lines in the song instead of rapping them, which prompted Jim Farber of the "Daily News" to write that he could have done with auto-tune to smooth out his "unsteady vocals." "FourFiveSeconds" is written in the key of D major, in common time, with a tempo of 103 beats per minute. Rihanna and West's vocals span two octaves from the low note of D to the high note of D.


title: FourFiveSeconds

text: "Billboard"'s Jocelyn Vena stated that the musical direction of the song represents a departure from the material present on Rihanna's most recent studio album, "Unapologetic" (2012), which incorporated EDM and dubstep. Hugh Mclntyre of "Forbes" also wrote that the song represents a change in musical direction for Rihanna and West, while noting that it is consistent with McCartney's style of music. Lanre Bakare of "The Guardian" described "FourFiveSeconds" as an "acoustic ballad" and the antithesis of what Rihanna and West's previous collaborations have sounded like. Writing for "Vogue" magazine, Alex Frank described the song as an "unplugged version" of Rihanna's 2011 single "We Found Love", and without the dance beats present on her previous singles.


title: FourFiveSeconds

text: "The New York Post" wrote that the lyrics "express emotions ranging from the flip to the resigned". Sharan Shetty of "Slate" stated that the song is about "heartbreak and redemption", while a Yahoo! News reviewer noted that it is about "personal travails and confusion". Nora Crotty of "Elle" magazine described the single as an "ode to repenting in the morning for the foolish mistakes you made the night before". "Billboard"'s Vena stated that a "plucky acoustic guitar" accompanies Rihanna's vocals while she sings the lines, "I think I've had enough/ Might get a little drunk/ I say what's on my mind/ I might do a little time. Cause all of my kindness/ Is taken for weakness." After the first chorus West sings, "Woke up an optimist/ Sun was shining, I'm positive/ Then I heard you was talking trash/ Hold me back/ I'm about to spazz." On the second chorus, he and Rihanna harmonize as they sing, "Now I'm four, five seconds from wylin'/ And we got three more days 'till Friday/ I'm just trying to make it back home by Monday morning." McCartney's voice can be heard sped up underneath West's opening vocals. McCartney originally played his guitar part slower and in a lower key, which West later sped up for the finished release, thus causing McCartney's voice to sound much higher than its normal tone. McCartney's lyrics were improvised mid-performance and are for the most part drowned out by West's vocals except for the lines "We can run around" and "How 'bout a mystery."


title: FourFiveSeconds

text: Peter Kandunias of Gigwise praised Rihanna's and West's vocals as well as McCartney's instrumentation. Mclntyre of "Forbes" noted: "The song puts the spotlight on Rihanna's vocals, highlighting them in a way that her club-ready, bombastic tunes don't usually." Jim Farber of "New York Daily News" stated that this collaboration is better than the previous West–McCartney collaboration. Additionally, he praised Rihanna's vocals and stated that they are a lot better than West's, "who could have used more auto-tune to firm his unsteady vocals". Farber further noted: "It's refreshing to hear Rihanna sing with so little affect, in a setting that's much less processed than most of her recordings". "Vox"s Kelsey McKinney noted that "Rihanna's voice shows significant growth in range and tone since her last album". She adds that Rihanna's performance in the opening of the song is "more vulnerable than we've heard Rihanna since 2012's 'Stay', and hints that her new album may contain more confessional slow jams like this one".


title: FourFiveSeconds

text: Spencer Kornhaber of "The Atlantic" wrote of Rihanna's vocals: "Listen to the ragged squeak in her voice in the first verse, and how she maintains control as she alternates between contemplative trills and gospel shouts during the bridge". According to Kornhaber, the song showcases "how distinctive her timbre and phrasing is", something that wasn't heard on her previous songs like the 2010 single "Only Girl (In the World)". Travis Grier of Def Pen Radio thought that the song is a good choice for Rihanna to achieve legendary status, as, "she's tackled pretty much every genre under the sun and 'FourFiveSeconds' just expands her versatility even more". Crotty of "Elle" wrote that the song is "awesome" and "sweet". "Billboard" named "FourFiveSeconds" the 21st best song of 2015.


title: FourFiveSeconds

text: The song received a nomination for Collaboration of the Year at the American Music Awards of 2015. Although "FourFiveSeconds" was described by a "Los Angeles Times" writer as "tailor-made for multiple Grammy nominations" the song failed to receive a nomination in any category for the 2016 Grammy Awards.


title: FourFiveSeconds

text: "FourFiveSeconds" debuted at number 37 on the US Mainstream Top 40 chart before the end of two days of airplay. Nielsen Music attributed the quick debut to hourly plays on radio stations owned by iHeartMedia. The song garnered 1,000 plays on 100 reports, with an audience reach of 7.4 million. "FourFiveSeconds" is Rihanna's 40th entry on the chart, while it is McCartney's first since the chart's launch in 1992. For the week dated January 31, 2015, the song debuted at number 54 on the US "Billboard" Hot 100 chart. with sales of 53,000 copies and became the chart's top new entry. Subsequently, it debuted at number 12 on the US Hot R&B/Hip-Hop Songs chart. The next week, it moved to number 25 on the Pop Songs chart, becoming its greatest gainer. Additionally, it debuted at number 34 on the US Adult Pop Songs chart and number 25 on the US Rhythmic Chart. On the "Billboard" Hot 100, it moved to number 15 with sales of over 138,000 digital downloads in its second week. It became McCartney's highest-charting single since 1986, when his single "Spies Like Us" reached number seven on the chart. The same week, it moved ten places from number 12 to number two on the Hot R&B/Hip Hop Songs chart.


title: FourFiveSeconds

text: In its third week, the song jumped to number six on the "Billboard" Hot 100 as a result of the digital downloads; it sold 181,000 copies for the week and peaked at number three on the Digital Songs chart. It marked McCartney's first top-ten on the Hot 100 chart after 29 years. He surpassed Santana, who recorded a span of 28 years between his top-tens from 1971 to 1999, thus ending the longest break between top-ten songs in the 56-year history of the chart. "FourFiveSeconds" became Rihanna's 26th top-ten single on the chart and West's 15th. The same week, it topped the US Hot R&B/Hip-Hop Songs chart and became Rihanna's fourth number one, while West's seventh. It was McCartney's second number-one song on the chart following his 1983 duet with Michael Jackson, "The Girl Is Mine". In the song's fourth week on the "Billboard" Hot 100 chart, the song moved two places and peaked at number four. The song became West's highest-charting single on the "Billboard" Hot 100 since "Heartless", which peaked at number two in 2009. It also became McCartney's first top-five hit in 31 years, one month, and one week; his last top-five hit was his 1983 collaboration with Jackson, "Say Say Say", which became his ninth solo number-one single. For the issue dated March 7, "FourFiveSeconds" moved to number 10 on the Pop Songs chart with an audience impression of over 70 million. With the achievement, Rihanna tied Mariah Carey for most top 10 songs on the chart; each of them has 23 top 10 singles. Although it didn't chart on the US Hot Country Songs chart, it has received airplay on a number of country stations in major metropolitan areas. As of July 2015, "FourFiveSeconds" has sold 1,868,000 copies in the United States.


title: FourFiveSeconds

text: In Canada, "FourFiveSeconds" debuted at number 65 on the Canadian Hot 100 for the week dated February 7. The next week it jumped 56 places to number nine with biggest gain in digital sales and radio airplay for that issue. In its third week it peaked at number four on the chart. "FourFiveSeconds" reached its peak of number three on the chart in its sixth week, for the issue date March 14. As of July 2015, "FourFiveSeconds" has sold 289,000 copies in Canada.


title: FourFiveSeconds

text: In Australia, "FourFiveSeconds" debuted at number 13 on the singles chart for the week dated February 8, 2015. The next week it jumped to number three and became Rihanna's 28th top-ten song on the chart. For the week dated February 16, the song topped the chart and became Rihanna's ninth song to reach number one. It also became West's second chart-topper and McCartney's third (post Beatles). With the feat, McCartney became the oldest artist at age 72 to reach number one on the chart, a record which was previously held by American singer Cher; she was 52 when her single "Believe" topped the chart. Furthermore, "FourFiveSeconds" also peaked at number one on the Australian Urban Singles Chart. By 2020, the single was certified 7× platinum by the Australian Recording Industry Association (ARIA), denoting equivalent sales of over 490,000 unites. In New Zealand, it debuted at number nine and peaked at number one for the week dated March 9. It became Rihanna's 31st top-ten single and sixth number-one on the chart. "FourFiveSeconds" topped the charts for five consecutive weeks and was certified double platinum by the Recording Industry Association of New Zealand (RIANZ) for selling over 30,000 copies in the country.


title: FourFiveSeconds

text: In the United Kingdom, "FourFiveSeconds" debuted at number five on the UK Singles Chart for the week ending date February 7, 2015. The next week it reached a peak of number four and sold 41,535 digital downloads. On March 8, 2015, the track reached a new peak of three on the chart. and has sold over 452,000 copies in the country, as of April 2015. As of September 2017, the song was the 311th best-selling song of all time in the UK (including streaming equivalent sales). In Ireland, the song debuted at number fourteen on the Irish Singles Chart for the week dated January 29. On March 19, in its eight-week on the chart, it reached number one. "FourFiveSeconds" attained commercial success in continental Europe too and reached the top-five on over 18 national charts. It debuted at number one on the Swedish Singles Chart on March 6 and stayed on the position for two consecutive weeks. It became fourth Swedish number-one song for Rihanna, second for McCartney and first for West. It was certified double platinum by the Swedish Recording Industry Association (GLF) and sold over 80,000 digital copies in the country alone.


title: FourFiveSeconds

text: "FourFiveSeconds" debuted at number 10 on the Danish Singles Chart on March 6. The next week topped the chart and became Rihanna's sixth and McCartney and West's first number one single on the chart. It stayed on the top of it for four consecutive weeks and was certified gold by IFPI Denmark for shipping over 30,000 copies of the song in the country. The single debuted at number 39 in the sixth week of the Norwegian Singles Chart and the next week it fell off it. In its tenth week, the song re-entered at number 11. In the twelfth week of the chart, "FourFiveSeconds" topped the chart and became Rihanna's eight, McCartney's third and West's first chart-topper in the country. The single reached number four in both Italy and Spain. In the former it was certified gold by the Federation of the Italian music industry (FIMI) denoting sales/streams of 25,000 copies. On the Swiss Singles Chart, the song peaked at number three and stayed on the position for seven consecutive weeks. It was certified gold by the IFPI Switzerland for selling over 15,000 copies in the country alone. "FourFiveSeconds" was also successful in France, where it peaked at number two on the singles chart after previously debuting at number 18.


title: FourFiveSeconds

text: The accompanying music video for "FourFiveSeconds" was directed by Dutch photographer duo, Inez and Vinoodh and shot in late December 2014 in New York City. Stephanie Bargas, Jeff Lepine and Jon Barlow served as the visual's producers, while theCollectiveShift executively produced it. Jodokus Driessen was the director of photography, with Otto Arsenault serving both as editor and cinematographer. On January 30, 2015, via her official YouTube channel, Rihanna posted a behind the scenes video from the making of the clip. The video features Rihanna, West, and McCartney performing against a white background. She explained the fashion that they used for the video, "Kanye came up with the idea of doing just some real street, denim, all-American-type look. Denim never goes out of style; it's classic, it's iconic, just like the Beatles." On February 2, Rihanna posted a snippet of the clip on her official Instagram account. It shows the singer in silhouette as she sings the lyrics; she is wearing a Sean John throwback denim jacket. The video premiered on February 3 on Rihanna's official Vevo channel on YouTube. The same day, it was digitally released on the iTunes Store.


title: FourFiveSeconds

text: According to Kreps of "Rolling Stone", "The Herb Ritts-esque black-and-white clip finds Rihanna and West just singing their collaborative track while McCartney strums the riff on an acoustic guitar, with the real highlight coming when the three musical titans share the same frame." Steven Gottlieb of VideoStatic described it as, "vertically constrained to just the center third of the screen, the focus of this silvery black-and-white clip is Rihanna's emotional performance", while McCartney and West supported her role. According to Erin Strecker of "Billboard" the video allows "each of the three superstars their moment in the spotlight. The camera mostly switches between tight individual shots of each denim-clad, passionate performer, although there are also a few scenes of all three together". Jessica Goodman of "The Huffington Post" described the video as "simple and clean, much like the song". Similarly, Nolan Feeney of "Time" called the video simple, but also "surprisingly intimate" like the single. He also described Rihanna's eye-roll in the video as "epic". Additionally, Feeney noted that the video is shot in a and compared it to the works of French-Canadian filmmaker Xavier Dolan.


title: FourFiveSeconds

text: A reviewer of MTV UK noted that the video is set in a square frame and resembles the single's artwork. Sophie Schillaci of "Entertainment Tonight" called the square "Instagram friendly". Gregory E. Miller of "The New York Post" noted that the video, shot on a minimalist set, is a departure from Rihanna's previous high-production videos. VH1's Alexa Tietjen called the visual "stunning" and further praised Rihanna's looks, West's attitude, and McCartney's "social media skills". Dee Locket of "Slate" called the visual a "performance video" in which Rihanna and West "appear to be on the verge of losing it". Billy Johnson Jr. of Yahoo! Music stated that if the visual wanted to depict Rihanna "as a fragile woman on the verge of snapping", it succeeded: "Stylistically, the black and white video finds a happy medium between the look and feel of Abercrombie & Fitch and Gap ad campaigns with Rihanna [baring] just enough cleavage to make censors nervous." Rachel Maresca of "Daily News" noted that West vents his aggression by kicking the camera. The video was nominated for Best International Video at the 2015 Much Music Video Awards.


title: FourFiveSeconds

text: Rihanna, McCartney and West performed "FourFiveSeconds" at the 57th Annual Grammy Awards held on February 8, 2015, at the Staples Center in Los Angeles. Chris Payne of "Billboard" named the performance as one of the best moments of the ceremony and praised Rihanna's vocals, "Let's face it – seeing this improbable collaboration in person is the main reason many tuned in. There are so many ways three huge personas can get in the way, but Rihanna, 'Ye, and Sir Paul knew how to bring this one to life". Joe Lynch of the same publication listed the performance at fourth out of the total of 23 performances that night, writing, "'FourFiveSeconds' ironically takes time to grow on you, but the presence of three disparate pop stars on stage with each other was one of the most deliriously awesome Grammy highlights". Isabella Biedenharn of "Entertainment Weekly" graded the performance an "A" and praised Rihanna and West's vocals and the trio's wardrobe. According to TiVo, the performance was the fifth most-viewed segment of the night. On April 4, Rihanna performed at the Final Four of the March Madness 2015 which was held in Indianapolis, Indiana. During the performance, she sang a solo version of "FourFiveSeconds", as well as, her new songs "Bitch Better Have My Money" and "American Oxygen" among others. McCartney added the song to his setlists, and was joined by Rihanna for a performance at the Desert Trip festival in October, 2016.


title: FourFiveSeconds

text: Canadian rapper Drake covered the song during his performance at the Sprite NBA All-Star Weekend concert held at the Irving Plaza in New York City on February 14. Welsh band Punk Rock Factory recorded a cover of the song, transforming it into "a punk rock anthem". English singer-songwriter James Bay covered "FourFiveSeconds" during the BBC Radio 1 Lounge on March 3. Australian pop singer Cody Simpson performed an acoustic version of the single during his visit on SiriusXM radio. Christina Garibaldi of MTV News, regarding the performance, wrote, "The 'New Problems' singer effortlessly covers Rihanna and Kanye's verses while giving off some serious John Mayer vibes." Rihanna also performed the song on the South American dates in late September, 2015. One of the shows was one of the nights of the Rock in Rio festival, held in Rio de Janeiro, Brazil. One Direction covered the song during the BBC Radio One Live Lounge on 13 November.


title: FourFiveSeconds

text: Rihanna performed the song on the Anti World Tour. Paul McCartney regularly performed "FourFiveSeconds" on his 2016/17 One on One Tour.


title: FourFiveSeconds

text: Ariana Grande, with her team members Holly Forbes and Jim and Sasha Allen, performed this song on episode twenty of the 21st season of "The Voice".


title: English units

text: English units are the units of measurement used in England up to 1826 (when they were replaced by Imperial units), which evolved as a combination of the Anglo-Saxon and Roman systems of units. Various standards have applied to English units at different times, in different places, and for different applications.


title: English units

text: Use of the term "English units" can be ambiguous, as, in addition to the meaning used in this article, it is sometimes used to refer to the units of the descendent Imperial system as well to those of the descendant system of United States customary units.


title: English units

text: The two main sets of English units were the Winchester Units, used from 1495 to 1587, as affirmed by King Henry VII, and the Exchequer Standards, in use from 1588 to 1825, as defined by Queen Elizabeth I.


title: English units

text: In England (and the British Empire), English units were replaced by Imperial units in 1824 (effective 1 January 1826) by a Weights and Measures Act, which retained many though not all of the unit names and redefined (standardised) many of the definitions. In the US, being independent from the British Empire decades before the 1824 reforms, English units were standardized and adopted (as "US Customary Units") in 1832.


title: English units

text: Very little is known of the measurement units of the British Isles prior to Roman colonisation in the 1st century AD. During the Roman period, Roman Britain relied on Ancient Roman units of measurement. During the Anglo-Saxon period, the North German foot of 13.2 inches (335 millimetres) was the nominal basis for other units of linear measurement. The foot was divided into 4 palms or 12 thumbs. A cubit was 2 feet, an elne 4 feet. The rod was 15 Anglo-Saxon feet, the furlong 10 rods. An acre was 4 × 40 rods, i.e. 160 square rods or 36,000 square Anglo-Saxon feet. However, Roman units continued to be used in the construction crafts, and reckoning by the Roman mile of 5,000 feet (or 8 stades) continued, in contrast to other Germanic countries which adopted the name "mile" for a longer native length closer to the league (which was 3 Roman miles). From the time of Offa King of Mercia (8th century) until 1526 the "Saxon pound", also known as the "moneyers' pound" (and later known as the Tower pound) was the fundamental unit of weight (by Offa's law, one pound of silver, by weight, was subdivided into 240 silver pennies, hence (in money) 240 pence - twenty shillings - was known as "one pound").


title: English units

text: Prior to the enactment of a law known as the "Composition of Yards and Perches" () some time between 1266 and 1303, the English system of measurement had been based on that of the Anglo-Saxons, who were descended from tribes of northern Germany. The "Compositio" redefined the yard, foot, inch, and barleycorn to of their previous value. However, it retained the Anglo-Saxon rod of 15 x feet (5.03 metres) and the acre of 4 × 40 rods. Thus, the rod went from 5 old yards to new yards, or 15 old feet to new feet. The furlong went from 600 old feet (200 old yards) to 660 new feet (220 new yards). The acre went from 36,000 old square feet to 43,560 new square feet. Scholars have speculated that the "Compositio" may have represented a compromise between the two earlier systems of units, the Anglo-Saxon and the Roman.


title: English units

text: The Norman conquest of England introduced just one new unit: the bushel. William the Conqueror, in one of his first legislative acts, confirmed existing Anglo-Saxon measurement, a position which was consistent with Norman policy in dealing with occupied peoples. The Magna Carta of 1215 stipulates that there should be a standard measure of volume for wine, ale and corn (the London Quarter), and for weight, but does not define these units.


title: English units

text: Later development of the English system was by defining the units in laws and by issuing measurement standards. Standards were renewed in 1496, 1588 and 1758. The last "Imperial Standard Yard" in bronze was made in 1845; it served as the standard in the United Kingdom until the yard was redefined by the international yard and pound agreement (as 0.9144 metres) in 1959 (statutory implementation was in the Weights and Measures Act of 1963). Over time, the English system had spread to other parts of the British Empire.


title: English units

text: Selected excerpts from the bibliography of "Marks and Marking of Weights and Measures of the British Isles"


title: English units

text: Many measures of capacity were understood as fractions or multiples of a gallon. For example, a quart is a quarter of a gallon, and a pint is half of a quart, or an eighth of a gallon. These ratios applied regardless of the specific size of the gallon. Not only did the definition of the gallon change over time, but there were several different kinds of gallon, which existed at the same time. For example, a wine gallon with a volume of 231 cubic inches (the basis of the U.S. gallon), and an ale gallon of 282 cubic inches, were commonly used for many decades prior to the establishment of the imperial gallon. In other words, a pint of ale and a pint of wine were not the same size. On the other hand, some measures such as the fluid ounce were not defined as a fraction of a gallon. For that reason, it is not always possible to give accurate definitions of units such as pints or quarts, in terms of ounces, prior to the establishment of the imperial gallon.


title: English units

text: Wine is traditionally measured based on the "wine gallon" and its related units. Other liquids such as brandy, spirits, mead, cider, vinegar, oil, honey, and so on, were also measured and sold in these units.


title: English units

text: The wine gallon was re-established by Queen Anne in 1707 after a 1688 survey found the Exchequer no longer possessed the necessary standard but had instead been depending on a copy held by the Guildhall. Defined as 231 cubic inches, it differs from the later imperial gallon, but is equal to the United States customary gallon.


title: English units

text: The Winchester measure, also known as the corn measure, centered on the bushel of approximately 2,150.42 cubic inches, which had been in use with only minor modifications since at least the late 15th century. The word "corn" at that time referred to all types of grain. The corn measure was used to measure and sell many types of dry goods, such as grain, salt, ore, and oysters.


title: English units

text: However, in practice, such goods were often sold by weight. For example, it might be agreed by local custom that a bushel of wheat should weigh 60 pounds, or a bushel of oats should weigh 33 pounds. The goods would be measured out by volume, and then weighed, and the buyer would pay more or less depending on the actual weight. This practice of specifying bushels in weight for each commodity continues today. This was not always the case though, and even the same market that sold wheat and oats by weight might sell barley simply by volume. In fact, the entire system was not well standardized. A sixteenth of a bushel might be called a "pottle", "hoop", "beatment", or "quartern", in towns only a short distance apart. In some places potatoes might be sold by the firkin—usually a liquid measure—with one town defining a firkin as 3 bushels, and the next town as 2 1/2 bushels.


title: English units

text: The pint was the smallest unit in the corn measure. The corn gallon, one eighth of a bushel, was approximately 268.8 cubic inches. Most of the units associated with the corn measure were binary (sub)multiples of the bushel:


title: English units

text: Other units included the "wey" (6 or sometimes 5 seams or quarters), and the "last" (10 seams or quarters).


title: English units

text: The Avoirdupois, Troy and Apothecary systems of weights all shared the same finest unit, the grain; however, they differ as to the number of grains there are in a dram, ounce and pound. This grain was legally defined as the weight of a grain seed from the middle of an ear of barley. There also was a smaller "wheat grain", said to be (barley) grains or about 48.6 milligrams.


title: English units

text: The avoirdupois pound contained 7,000 grains and was used for all products not subject to Apothecaries's or Tower weight.


title: English units

text: The Troy and Tower pounds and their subdivisions were used for coins and precious metals. The Tower pound, which was based upon an earlier Anglo-Saxon pound, was replaced by the Troy pound when a proclamation dated 1526 required the Troy pound to be used for mint purposes instead of the Tower pound. No standards of the Tower pound are known to have survived.


title: English units

text: In terms of nominal currency units, a pound was 20 shillings of 12 pennies each (i.e. 240) from the late 8th century (Charlemagne/Offa of Mercia) to 1971 in the United Kingdom.


title: Subscription business model

text: The subscription business model is a business model in which a customer must pay a recurring price at regular intervals for access to a product or service. The model was pioneered by publishers of books and periodicals in the 17th century, and is now used by many businesses, websites and even pharmaceutical companies in partnership with the government.


title: Subscription business model

text: Rather than selling products individually, a subscription offers periodic (daily, weekly, bi-weekly, monthly, semi-annual, yearly/annual, or seasonal) use or access to a product or service, or, in the case of performance-oriented organizations such as opera companies, tickets to the entire run of some set number of (e.g., five to fifteen) scheduled performances for an entire season. Thus, a one-time sale of a product can become a recurring sale and can build brand loyalty.


title: Subscription business model

text: Industries that use this model include mail order book sales clubs and music sales clubs, private web mail providers, cable television, satellite television providers with pay television channels, providers with digital catalogs with downloadable music or eBooks, satellite radio, telephone companies, mobile network operators, internet providers, software publishers, websites (e.g., blogging websites), business solutions providers, financial services firms, health clubs, lawn mowing and snowplowing services, pharmaceuticals, renting an apartment, property taxes, as well as the traditional newspapers, magazines, and academic journals.


title: Subscription business model

text: Renewal of a subscription may be periodic and activated automatically so that the cost of a new period is automatically paid for by a pre-authorized charge to a credit card or a checking account. A common variation of the model in online games and on websites is the "freemium" model, in which the first tier of content is free, but access to premium features (for example, game power-ups or article archives) is limited to paying subscribers.


title: Subscription business model

text: In publishing, the subscription model typically involves a Paywall, Paysite or other "toll-access" system (named in opposition to open access). As revenues from digital advertising diminish, a paid subscription model is being favoured by more publishers who see it as a comparatively stable income stream.


title: Subscription business model

text: In the field of academic publishing, the subscription business model means that articles of a specific journal or conference proceedings are only available to subscribers. Subscriptions are typically sold to universities and other higher education institutions and research institutes, though some academic publishers also sell individual subscriptions or access to individual articles.


title: Subscription business model

text: In contrast with other media such as newspapers, subscription fees to academic publishers generally do not go towards supporting the creation of the content: the scientific articles are written by scientists and reviewed by other scientists as part of their work duties. The paper authors and reviewers are not paid by the publisher. In this light, the subscription model has been called undesirable by proponents of the open access movement.


title: Subscription business model

text: Academic publications which use the subscription model are called "closed-access", by opposition to their open-access counterparts.


title: Subscription business model

text: Businesses benefit because they are assured a predictable and constant revenue stream from subscribed individuals for the duration of the subscriber's agreement. Not only does this greatly reduce uncertainty and the riskiness of the enterprise, but it often provides payment in advance (as with magazines, concert tickets), while allowing customers to become greatly attached to using the service and, therefore, more likely to extend by signing an agreement for the next period close to when the current agreement expires.


title: Subscription business model

text: An integrated software solutions, for example, the subscription pricing structure is designed so that the revenue stream from the recurring subscriptions is considerably greater than the revenue from simple one-time purchases. In some subscription schemes (like magazines), it also increases sales, by not giving subscribers the option to accept or reject any specific issue. This reduces customer acquisition costs, and allows personalized marketing or database marketing. However, a requirement of the system is that the business must have in place an accurate, reliable, and timely way to manage and track subscriptions.


title: Subscription business model

text: From a marketing-analyst perspective, it has the added benefit that the vendor knows the number of currently active members since a subscription typically involves a contractual agreement. This so-called 'contractual' setting facilitates customer relationship management to a large extent because the analyst knows who is an active customer and who recently churned.


title: Subscription business model

text: Additional benefits include a higher average customer lifetime value (ACLV) than that of nonrecurring business models, greater customer inertia and a more committed customer base as it transitions from purchase to opt-out decisions, and more potential for upselling and cross-selling other products or services.


title: Subscription business model

text: Some software companies such as Adobe and Autodesk have moved from a perpetual licensing model to a subscription model, known as "software as a service". This move has significant implications for sales and customer support organizations. Over time, the need to close large deals decreases resulting in lower sales costs. However, the size of the customer support organization increases so that the paying customers stay happy.


title: Subscription business model

text: Consumers may find subscriptions convenient if they believe that they will buy a product on a regular basis and that they might save money. For repeated delivery of the product or service, the customer also saves time.


title: Subscription business model

text: Subscriptions which exist to support clubs and organizations call their subscribers "members" and they are given access to a group with similar interests. An example might be the Computer Science Book Club.


title: Subscription business model

text: Subscription pricing can make it easier to pay for expensive items since it can often be paid for over a period of time and thus can make the product seem more affordable. On the other hand, most newspaper and magazine-type subscriptions are paid upfront, and this might actually prevent some customers from subscribing. Fixed price may be an advantage for consumers using those services frequently. However, it could be a disadvantage to a customer who plans to use the service frequently but later does not. The commitment to paying for a package may have been more expensive than a single purchase would have been. In addition, subscription models increase the possibility of vendor lock-in, which can have fatally business-critical implications for a customer if its business depends on the availability of a software: For example, without an online connection to a licensing server to verify the licensing status every once in a while, a software under a subscription-model would typically stop functioning or fall back to the functionality of a freemium version, thereby making it impossible (to continue) to use the software in remote places or in particularly secure environments without internet access, after the vendor has stopped supporting the version or software, or even has gone out of business thereby leaving the customer without a chance to renew the subscription and access his own data or designs maintained with the software (in some businesses it is important to have full access even to old files for decades). Also, consumers may find repeated payments to be onerous.


title: Subscription business model

text: Subscription models often require or allow the business to gather substantial amounts of information from the customer (such as magazine mailing lists) and this raises issues of privacy.


title: Subscription business model

text: A subscription model may be beneficial for the software buyer if it forces the supplier to improve its product. Accordingly, a psychological phenomenon may occur when a customer renews a subscription, that may not occur during a one-time transaction: if the buyer is not satisfied with the service, he/she can simply leave the subscription to expire and find another seller.


title: Subscription business model

text: This is in contrast to many one-time transactions when customers are forced to make significant commitments through high software prices. Some feel that historically, the "one-time-purchase" model does not give sellers incentive to maintain relationships with their customers (after all, why should they care once they've received their money?). Some who favor a subscription model for software do so because it may change this situation.


title: Subscription business model

text: The subscription model should align customer and vendor toward common goals, as both stands to benefit if the customer receives value from the subscription. The customer that receives value is more likely to renew the subscription and possibly at an increased rate. The customer that does not receive value will, in theory, return to the marketplace.


title: Subscription business model

text: Because customers may not need or want all the items received, this can lead to waste and an adverse effect on the environment, depending on the products. Greater volumes of production, greater energy and natural resource consumption, and subsequently greater disposal costs are incurred.


title: Subscription business model

text: Subscription models might also create the opposite effect. This can be illustrated by subscribing to a service for mowing lawns. The effective use of a single mower increases when mowing for a collection of homes, instead of every family owning their own lawnmower which is not used as much as the service providing mower, the use of resources for producing lawnmowers, therefore, decreases while lawns stay cut.


title: Rostam

text: Rostam or Rustam ( ) is a legendary hero in Persian mythology, the son of Zāl and Rudaba, whose life and work was immortalized by the 10th-century Persian poet Ferdowsi in the "Shahnameh", or "Epic of Kings", which contains pre-Islamic Iranian folklore and history. However, the roots of the narrative date much earlier.


title: Rostam

text: In the "Shahnameh", Rostam and his predecessors are Marzbans of Sistan (present-day Iran and Afghanistan). Rostam is best known for his tragic fight with Esfandiyār, the other legendary Iranian hero; for his expedition to Mazandaran (not to be confused with the modern Mazandaran Province); and for tragically fighting and killing his son, Sohrab, without knowing who his opponent was. He is also known for the story of Seven Labours. Rostam was eventually killed by Shaghad, his half-brother.


title: Rostam

text: Rostam was always represented as the mightiest of Iranian paladins (holy warriors), and the atmosphere of the episodes in which he features is strongly reminiscent of the Parthian Empire. He rode the legendary stallion Rakhsh and wore a special suit named Babr-e Bayan in battles.


title: Rostam

text: While the narrative of the "Shahname" is the definitive work on Rostam, Ferdowsi did not invent the character; Rostam stories were popular as far back as the seventh century in Pars and originated much earlier, likely in Eastern Iranian-speaking territories. He famously wears the "zīn-i palang" or "panther-skin garment":


title: Rostam

text: In the "Shahnameh", Rostam is a native of Zabulistan, a historical region roughly corresponding to today's Zabul Province, southern Afghanistan. His mother Rudaba was a princess of Kabul. Rostam is the champion of champions and is involved in numerous stories, constituting some of the most popular (and arguably some of most masterfully created) parts of the "Shahnameh". In "Shahnameh", Rostam—like his grandfather Sam—works as both a faithful military general as well as king-maker for the Kayanian dynasty of Persia.


title: Rostam

text: As a young child, he slays the maddened white elephant of the king Manuchehr with just one blow of the mace owned by his grandfather Sam, son of Nariman. He then tames his legendary stallion, Rakhsh.


title: Rostam

text: The etymology of Rostam's name is from Common Iranian "*rautas-taxma-, "'river-strong', i.e. 'as strong as a river', Rostam's mother is "Rūdāba" "(she) of the River Water", and his father is Zāl, who has white hair.


title: Rostam

text: Rostam's mother Rudaba, the princess of Kabul, was known for her peerless beauty, and Rostam's father was Zāl. Zāl was one of Persia's most powerful warriors and a great general who conquered many rebellious tribes and ruled over Zabulistan. Zāl was known for his wisdom and was unparalleled in riding and fighting on horseback. He once demonstrated his skills to Emperor Manuchehr to seek his approval to marry his lover Rudaba.


title: Rostam

text: In Persian mythology, Rudaba's labour in giving birth to Rostam was prolonged due to the extraordinary size of her baby - so much so that Zāl, her lover and husband, felt sure that his wife would die in labour. Rudaba was indeed near death when Zāl decided to summon the Simurgh, which duly appeared and instructed him upon how to perform a "Rostamzad", a Caesarean section, thus saving both Rudaba and the child.


title: Rostam

text: After Zāl's father, Sam learned of his grandchild's birth, he rushed to see Rostam and was overjoyed. Rostam was brought up and trained by Zāl in warfare. When Rostam single-handedly slew a mad elephant, his father sent him on his first military assignment.


title: Rostam

text: Rostam's task was to conquer the fortress on the summit of Mt Sipand where his great grandfather, Nariman, once besieged it and was slain in the battle. Rostam breached the fortress, defeated the enemy, ransacked its treasury and reported his success to his father, Zāl and grandfather, Sam.


title: Rostam

text: He undertakes a heroic journey to save his sovereign, the over-confident Kay Kāvus who is captured by the Divs of Mazandaran. This journey is called "Rostam's Seven Quests".


title: Rostam

text: There are some similarities between the legends of Rostam and those pertaining to the great Irish hero Cú Chulainn. They both defeat a ferocious beast as a young man, slay their sons in combat ("Rostam and Sohrab", a motif also found in the "Hildebrandslied"), are virtually invincible in combat, and are murdered by treachery while killing their murderer on their last breath.


title: Rostam

text: It is written by the Royal Central Asian Society in the "Journal of the Royal Central Asian Society" that the struggle between Rostam and the Div-e Sepid "White Demon" represents a struggle between Persians and invaders from the northern Caspian provinces.


title: Rostam

text: In Shahnameh, the life spans of the heroes who are from the generation of Sam Yale (Rostam's grandfather) are described as being very long, and that of Rostam fits this pattern: he has reached the age of six hundred at the time of his death by violence (dying at the hand of his envious half-brother Shaghad, who kills him by throwing him into a well full of poisoned spears). In this incident, Rostam's faithful steed Rakhsh and the hero's brother, Zavareh are also killed.


title: Rostam

text: With Tahmineh, princess of Samangan, Rostam had a son called Sohrab, who was killed accidentally by his father in the time of Kay Kavus. In Banu Goshasp Nama Rostam later had a daughter called Banu Goshasp, who had a full brother called Faramarz, and both became renowned heroes in Turan and India. Goshasp, through her marriage with Giv had a son, Bijan.


title: Rostam

text: Just as famous as Rostam was his horse Rakhsh, which had an incredibly long life like Rostam, due to divine protection, and died at the same time as Rostam.


title: Rostam

text: Ernst Herzfeld maintained that the dynasty of Gondophares represented the House of Suren, highest of the five premier families of Parthian Empire, invested with the hereditary right of commanding the royal armies, and placing the crown on the king's head at the coronation. Probably when around 129 BCE, nomad peoples, especially the Indo-Scythians ("Sacaraucae", Old Persian "Sakaravaka" "nomadic Saka” or Saraucae) and the Tocharians attacked the eastern frontier of Parthia, defense was entrusted by the Parthian emperors to the Surens; and the latter eventually not only repelled the Indo-Scythians, but pursued them into Arachosia and the Punjab, this event probably representing "interitus Saraucarum" ( the perishing of the Sacaraucae) of Gnaeus Pompeius Trogus (Prologue 42).


title: Rostam

text: Echoes of these events are preserved in the legends of the Sistān cycle, partly incorporated in the "Shahnameh", but once also surviving as independent epics, such as the "Garšāspnāma" mentioned in the "Tārikh-e Sistān", and the "Ketāb al-Sakisarān" cited by al-Masudi. These related the deeds of the hero Garshasp and his descendants, Narimān, Sām, Zāl or Dastān, and above all of the latter's son Rostam. It is difficult to relate the Indo-Parthian names known from coins and history to those of the epic, which are possibly honorific titles, since a recently reported silver coin describes Gondophares (spelt in Greek script Hyndopharres) as "surnamed" Sām. A single ruler may of course have received more than one such title, and the historical names may be repeated in succeeding generations.


title: Carol Arthur

text: Carol Arata (August 4, 1935 – November 1, 2020), known professionally as Carol Arthur, was an American actress, mainly recognizable in supporting roles in films directed by Mel Brooks.


title: Carol Arthur

text: Arthur was born in Hackensack, New Jersey and raised in nearby East Rutherford, the daughter of Mildred ("née" Foehl) and Peter Arata, a police officer. She graduated from East Rutherford High School, where she edited the school paper and performed on stage.


title: Carol Arthur

text: Arthur appeared in minor roles in four films directed by Mel Brooks and in other works with her husband, Dom DeLuise, including Brooks' "Blazing Saddles" (1974) as the outspoken town school teacher Harriett Johnson ("You are the leading asshole in the state!").


title: Carol Arthur

text: One of her more notable credits was as the daughter of George Burns' character in "The Sunshine Boys" (1975). She also guest-starred on many television shows from the mid-1970s to the mid-2000s, including "The Dom DeLuise Show", "Emergency!", "Sanford and Son", "Rhoda", "Alice", "Steven Spielberg's Amazing Stories", "St. Elsewhere", and "7th Heaven".


title: Carol Arthur

text: During the late-1970s and early-1980s, Arthur appeared as "Safety Sadie", the spokeswoman for the United States Consumer Product Safety Commission (CPSC) in several television and radio public service announcements.


title: Carol Arthur

text: Arthur also appeared in various stage productions, including the role of Mrs. Paroo in the short-lived 1980 Broadway revival of "The Music Man" starring Dick Van Dyke.


title: Carol Arthur

text: Arthur met her future husband, DeLuise, in 1964 while working in various stage theaters in Provincetown, Massachusetts. The couple married in 1965, together they had three sons, all of whom have become actors: Peter, Michael, and David DeLuise.


title: Carol Arthur

text: Arthur died on November 1, 2020, at age 85, at the Motion Picture & Television Country House and Hospital in Los Angeles. She had been diagnosed with Alzheimer's disease eleven years earlier. She was survived by her three sons and several grandchildren.


title: Great News

text: Great News is an American sitcom television series created and written by Tracey Wigfield, and executive produced by Wigfield alongside Tina Fey, Robert Carlock, and David Miner for 3 Arts Entertainment, Little Stranger and Universal Television. The series premiered April 25, 2017 on NBC.


title: Great News

text: On May 11, 2017, NBC renewed "Great News" for a second season of 13 episodes, which premiered on September 28, 2017. On May 11, 2018, NBC canceled the series after two seasons.


title: Great News

text: The series, set in the world of television news, follows an up-and-coming news producer who finds herself dealing with a new intern: her mother.


title: Great News

text: "Great News" has received generally positive reviews from critics. On Rotten Tomatoes the series has an approval rating of 76% based on 33 reviews, with an average rating of 6.15/10. The site's critical consensus reads, ""Great News" overcomes its familiar trappings with gently subversive humor and a smart cast of talented, likable actors." On Metacritic, the series has a score of 67 out of 100, based on 21 critics, indicating "generally favorable reviews".


title: Great News

text: Room for Two, a sitcom that ran for two seasons, starting in 1992, about a young female TV producer (Patricia Heaton) whose mother (Linda Lavin) ends up working on the same show, and getting involved in her daughter's professional and personal life.


title: Def Jam Vendetta

text: Def Jam Vendetta is a 2003 professional wrestling video game that combines hip hop with pro wrestling. It was released for the PlayStation 2 & GameCube by Electronic Arts under the EA Sports BIG label in North America & Europe, and the EA Games label in Japan. It was EA's first attempt at a wrestling game since the widely panned "WCW Backstage Assault". Several hip hop artists were featured in the game, including DMX, Method Man, Redman, Ludacris, N.O.R.E., Capone, Scarface, Ghostface Killah, Keith Murray, WC, Joe Budden and DJ Funkmaster Flex; all of which at the time were artists of Def Jam. Singer Christina Milian was also featured in the game as "Angel". A sequel, "", was released on September 20, 2004, to largely positive reviews.


title: Def Jam Vendetta

text: The game features a largely unmodified AKI engine, used in the company's "Virtual Pro Wrestling" games and its spinoffs with some minor "button mashing" elements added and more of an arcade than a simulation. The game plays very similarly to "WWF No Mercy", and features a lengthy story mode that allows you to level up and enhance one of four player characters in your quest to become the most well known star in the urban fighting league and fight the undefeated underground boss, D-Mob (voiced by actor Christopher Judge).


title: Def Jam Vendetta

text: Players can win in one of three ways; pin, submission or KO. Pins are done by pinning the opponent for 3 seconds before he can kick out. The player can trap opponents in holds that gradually weaken one of their body parts (head, body, legs and arms). This hold can be broken by touching the ropes. If one of those gauges reaches empty, the bones get broken and that player submits & automatically loses. Players can attack their opponent to build up a power gauge, letting them activate 'Blazin' mode. If the player successfully grabs an opponent in this state, he can perform a special move. If the opponent's health is low enough, they will be KO'd.


title: Def Jam Vendetta

text: The game features 46 playable characters, including real-life hip hop artists signed to Def Jam at the time, as well as original characters. Christina Milian appears as Angel Rodriguez, a non-playable character. Japanese rappers Dabo and S-Word appear exclusively in the game's Japanese release.


title: Def Jam Vendetta

text: The player has a choice between four street fighters: Briggs, a dishonorably discharged soldier; Proof, an ex-superbike racer; Tank, a massive Japanese fighter, and the DJ Spider, although the story is the same for each of them.


title: Def Jam Vendetta

text: When the player chooses their street fighter, they are then called up to help out their friend Manny by taking his place in a street fight. Once the player wins a certain number of fights, they'll go against the rapper Scarface. Once the player beats his character, they'll get their first girlfriend, Deja. Other girls will come up to the player every couple of street fights, and then eventually, the player will have to choose which one should be the street fighter's new girlfriend, from which they'll all fight each other.


title: Def Jam Vendetta

text: Eventually, N.O.R.E. will challenge The Protagonist to a fight at "Grimeyville" in LeFrak City, Queens, New York City. Before the fight, The Protagonist arrives and almost gets into a fight with D-Mob (Chris Judge). Not long after the fight, Manny signs The Protagonist and him up for a tag team tournament. After a while, The Protagonist will be challenged by Ludacris to a fight in Club Luda. After the fight, D-Mob claims that The Protagonist and Manny are nothing. He says that if anyone in the club wants the power and respect, they have to beat him at the Def Jam tournament. Manny tells The Protagonist to stop fighting, but he ignores him.


title: Def Jam Vendetta

text: DMX challenges The Protagonist but first the character has to overcome The Dragon House's offer. Once they have done that, they take on Method Man and Redman in the finale of the tag team tournament. After that, The Protagonist fights DMX. Once The Protagonist wins, they receive an email from Angel (The Protagonist's girlfriend taken by D-Mob) saying that they need to talk. When they arrive at The Face Club, it is revealed that D-Mob has sent House, Pockets and Snowman to stop them from coming to the Def Jam tournament. The Protagonist defeats them, but Manny knocks him out and joins D-Mob against his will. Soon The Protagonist wakes up and enters the tournament and defeat their best fighters. D-Mob then attempts to shoot The Protagonist but Manny takes the bullet and survives. Your character triumphs over D-Mob and gets back Angel. While The Protagonist is walking out, D-Mob is arrested, leading up to the events of "".


title: Def Jam Vendetta

text: By July 2006, the PlayStation 2 version of "Def Jam Vendetta" had sold 750,000 copies and earned $30 million in the United States. "Next Generation" ranked it as the 82nd highest-selling game launched for the PlayStation 2, Xbox or GameCube between January 2000 and July 2006 in that country. Combined sales of the "Def Jam" series reached 1.8 million units in the United States by July 2006.


title: Def Jam Vendetta

text: "The Cincinnati Enquirer" gave it a score of all four stars and stated: "Electronic Arts deserves kudos for breathing new life into the aging fighting genre with this title's fresh approach". However, "The Village Voice" gave it a score of six out of ten and said: "If only DMX could sic his pit bulls on you, Funkmaster Flex burst your eardrums ID'ing himself, or Redman burn you with a blunt". "Entertainment Weekly" gave it a C+ and called it "an uninspired wrestling title that lacks Def Jam's trademark sheen".


title: Willie Colón

text: William Anthony Colón Román (born April 28, 1950) is an American salsa musician and social activist. He began his career as a trombonist and also sings, writes, produces and acts. He is also involved in the politics of New York City. Colón is considered a pioneer of Salsa music and a best-selling artist in the genre, having been a key figure in the nascent New York City scene associated with the legendary Fania Records. He is also noteworthy for having assumed the gangster image in his album covers before it was culturally popular.


title: Willie Colón

text: Colón was born in the South Bronx in New York City to Puerto Rican parents. He picked up the trumpet from a young age, and later switched to trombone, inspired by the all-trombone sound of Mon Rivera and Barry Rogers. He spent some summers at his maternal grandmother's sister's farm in the outskirts of Manatí, Puerto Rico on the road to neighboring Ciales, Puerto Rico.


title: Willie Colón

text: At the age of 15, he was signed to Fania Records, and at 17, he recorded his first album, which ultimately sold more than 300,000 copies. The main record producer at Fania at the time, Johnny Pacheco, recommended Héctor Lavoe to him.


title: Willie Colón

text: He has also acted in films, including roles in "Vigilante" (1983), "The Last Fight" (1983), "Miami Vice" (in the season 3 episode "Cuba Libre") (1987) and "It Could Happen to You" (1994).


title: Willie Colón

text: Colón has been a civil rights, community, and political activist since the age of 16. He has served as a member of the Latino Commission on AIDS and President of the Arthur Schomburg Coalition for a Better New York, member of the Board of Directors of the Congressional Hispanic Caucus Institute. In 1995, Mr. Colón became the first person of color to serve on the American Society of Composers, Authors and Publishers (ASCAP) national board, replacing Stephen Sondheim, and was also a member of the ASCAP Foundation.


title: Willie Colón

text: Beyond the trombone, he has also worked as a composer, arranger, and singer, and eventually as a producer and director. Combining elements of jazz, rock, and salsa, his work incorporates the rhythms of traditional music from African descendants in Cuba, the Dominican Republic, Puerto Rico, and Brazil, representing mostly a one-way flow from Puerto Rico to the New York-based diaspora. "His life and music commute back and forth between his home turf in the Bronx and his ancestral Puerto Rico, with more than casual stop-offs in other musical zones of the Caribbean." Colón "makes the relation between diaspora and Caribbean homeland the central theme of his work," particularly in his 1971 Christmas album, "Asalto Navideño". The lyrics and music of the songs on this album "enact the diaspora addressing the island culture in a complex, loving but at the same time mildly challenging way."


title: Willie Colón

text: He went on to have many successful collaborations with other salsa musicians and singers, such as Ismael Miranda, Celia Cruz, Soledad Bravo, and singer-songwriter Rubén Blades. On his website, Colón claims to hold the "all time record for sales in the Salsa genre, [having] created 40 productions that have sold more than thirty million records worldwide."


title: Willie Colón

text: One significant overarching theme in Colón's music, which draws from many cultures and several different styles, is an exploration of the competing associations that Puerto Ricans have with their home and with the United States. He uses his songs to depict and investigate the problems of living in the United States mainland as a Puerto Rican, and also to imply the cultural contributions that Puerto Ricans have to offer.


title: Willie Colón

text: In May 2007, Colón sued Ruben Blades for breach of contract. This led to a series of suits and countersuits that lasted over five years. A book titled "Decisiones" detailing the inside story of the legal battle was written by Blades' former agent, Robert J. Morgalo, and published in 2016 in both English and Spanish website. The court documents can be read here and full transcripts of depositions and court rulings can be seen here


title: Willie Colón

text: Colón released two singles, "Amor de Internet" and "Corazón Partido", to promote for his album "El Malo Vol II: Prisioneros del Mambo". In 2016, Colón began his 50th Anniversary Tour. In 2017, Colón announced his upcoming book titled "Barrio de Guapos" ("The Secret Life of Willie Colón") and the launching of his record label Willie Colon Presents. For 2018 Colón kicked off his "Rumba Del Siglo" (Jam of the Century) World Tour performing in U.S., Latin America and Europe to mostly sold-out venues. Because of the great success of his last tour, Colón will continue "Rumba Del Siglo 2019" (Jam of the Century 2019).


title: Willie Colón

text: Colón campaigned, and later became a special assistant and spokesperson for, New York City Mayor David Dinkins from 1989 to 1993.


title: Willie Colón

text: In 1994, in his first political run, Colón challenged Representative Eliot Engel for the Democratic party primary for New York's 17th congressional district. He was defeated, 62% to 38%.


title: Willie Colón

text: Colón served for 12 years as Mayor Michael Bloomberg's representative advisor and liaison to the Latin Media Entertainment Commission.


title: Willie Colón

text: On April 16, 2008, Colón announced his endorsement of U.S. Senator Hillary Clinton in her 2008 presidential campaign.


title: Willie Colón

text: On April 25, 2010, Colón appeared at The National Mall for The Earth Day Climate Rally, along with Sting, John Legend, The Roots, Jimmy Cliff, Passion Pit, Bob Weir, Joss Stone, Robert Randolph, Patrick Stump, Mavis Staples, Booker T, Honor Society and Tao Rodríguez-Seeger.


title: Willie Colón

text: In 2012 and 2013, Colón campaigned against Venezuelan president Hugo Chávez and the left-wing Bolivarian Revolution. Chávez responded scathingly to Colón via Twitter. After Chávez' death, Willie Colón endorsed opposition candidate Henrique Capriles Radonski, vigorously using social media and composing a campaign theme, "Mentira Fresca" (or "fresh lies", which became the nickname of regime's candidate, Nicolás Maduro); the song went viral throughout Latin America, garnering millions of plays and downloads. Colón continued to be active in Venezuelan politics, having pressed for the release of journalist Leocenis García, and the release of political prisoner General Antonio Rivero.On May 26, 2014, after graduating from Westchester County Police Academy, Colón was sworn in as a Deputy Sheriff for the Department of Public Safety. On December 13, 2017, Colón became a Deputy Lieutenant.


title: Willie Colón

text: In addition to serving as a visiting professor and receiving honorary degrees for music and humane letters at various universities, in 1991, Colón received Yale University's Chubb Fellowship.


title: Willie Colón

text: In 1999, Colón was a member of the Jubilee 2000 delegation to the Vatican, along with Randolph Robinson of Trans Africa, Harvard economist Jeffrey Sachs, Bono from U2 and Quincy Jones. This initiative received Pope John Paul II's endorsement and later prompted President Clinton to forgive the US portion of the debt owed by some developing countries. Jubilee 2000 resulted in the forgiveness of a total of $100 billion to debt-ridden countries.


title: Willie Colón

text: In September 2004, Colón received the Lifetime Achievement Award from The Latin Recording Academy. Over the course of his career, he has collaborated with notable musicians such as the Fania All-Stars, Héctor Lavoe, Rubén Blades, David Byrne, and Celia Cruz. Siembra, his record with Rubén Blades, was the best selling album for its genre. Colón was inducted into the International Latin Music Hall of Fame in 2000 and the Latin Songwriters Hall of Fame in 2019.


title: Willie Colón

text: In 2006, Colón was portrayed by actor John Ortiz, along with Marc Anthony's Héctor Lavoe in the biopic "El Cantante", also starring Jennifer Lopez. The movie is about the life of Héctor Lavoe and it covers his achievements with Colón as the top salsa duo from the 1960s through the mid-1970s.


title: Willie Colón

text: In 2010, The "International Trombone Association" bestowed their Lifetime Achievement Award upon Colón. In their journal they went on to say, "Willie Colón has probably done more than anyone since Tommy Dorsey to keep the trombone before the public. Stylistically they are poles apart, Dorsey representing an ultra-smooth approach, Colón a Hard-edged roughness reportedly inspired by Barry Rogers. Unfortunately, Colón's public is largely Latino, so his music and contribution have gone unnoticed or ignored by the general press"- Gerald Sloan, professor of music University of Arkansas.


title: Willie Colón

text: On October 7, 2011, Westchester Hispanic Law Enforcement Association recognized Colón for his social and community activism and support.


title: Willie Colón

text: In 2015 "Billboard" magazine named Willie Colón one of the 30 most influential Latin Artists of All Time.


title: Willie Colón

text: On May 12, 2018, "The Ellis Island Honor Society" awarded Willie Colón the Ellis Island Medal of Honor which are presented annually to a select group of individuals whose accomplishments in their field and inspired service to the nation are cause for celebration. The Medal has been officially recognized by both Houses of Congress as one of our nation's most prestigious awards and is annually memorialized in the Congressional Record.


title: Willie Colón

text: On October 31, 2018, Willie Colón was awarded the "Lunas Del Auditorio Award" by El Auditorio Nacional.A recognition granted by the National Auditorium to the best live shows in Mexico, the award is a replica of the sculpture of La Luna by sculptor Juan Soriano that is outside that enclosure. This award is transmitted by Televisa, TV Azteca, Channel 22 of the Ministry of Culture and Channel Eleven of the National Polytechnic Institute.


title: Willie Colón

text: Willie Colon is married. On April 20, 2021, Colón and his wife, Julia Colón were involved in a serious vehicle accident while driving a recreational vehicle through the Outer Banks of North Carolina. Colón suffered lacerations and a head injury and was evacuated to a hospital in Virginia.


title: Ten Pound Poms

text: Ten Pound Poms (or Ten Pound tourists) is a colloquial term used in Australia and New Zealand to describe British citizens who migrated to Australia and New Zealand after the Second World War. The Government of Australia initiated the Assisted Passage Migration Scheme in 1945, and the Government of New Zealand initiated a similar scheme in July 1947. The Commonwealth arranged for assisted passage to Australia on chartered ships and aircraft.


title: Ten Pound Poms

text: The migrants were called Ten Pound Poms due to the charge of £10 in processing fees to migrate to Australia.


title: Ten Pound Poms

text: The Assisted Passage Migration Scheme was created in 1945 by the Chifley Government and its first Minister for Immigration, Arthur Calwell, as part of the "Populate or Perish" policy. It was intended to substantially increase the population of Australia and to supply workers for the country's booming industries. In return for subsidising the cost of travelling to Australia, the Government promised employment prospects, affordable housing, and a generally more optimistic lifestyle. But upon arrival, migrants were placed in basic migration hostels and the expected job opportunities were not always readily available.


title: Ten Pound Poms

text: Adult migrants were charged only ten pounds sterling for the fare (hence the name; in 1945 pounds, ), and migrant scheme children travelled free of charge. It was a follow-on to the unofficial Big Brother Movement and attracted more than a million migrants from the British Isles between 1945 and 1972. It was the last substantial scheme for preferential migration from the British Isles to Australia. In 1957 more migrants were encouraged to travel following a campaign called "Bring out a Briton". The scheme reached its peak in 1969, when more than 80,000 migrants took advantage of the scheme. In 1973 the cost to migrants of the assisted passage was increased to £75 (). The scheme was ended in 1982.


title: Ten Pound Poms

text: While the term "Ten Pound Pom" is in common use, the scheme was not limited to migrants from the United Kingdom. People born in the Irish Free State or in the southern counties of Ireland before the establishment of the Republic of Ireland in 1949 were also classified as British subjects. In fact most British subjects were eligible and, at the time, that included not only those from the British Isles but also residents of British colonies such as Malta and Cyprus. Australia also operated schemes to assist selected migrants from other countries, notably the Netherlands (1951), Italy (1951), Greece (1952), West Germany (1952) and Turkey (1967).


title: Ten Pound Poms

text: Assisted migrants were generally required to remain in Australia for two years after arrival, or alternatively refund the cost of their assisted passage. If they chose to travel back to Britain, the cost of the journey was at least £120 (in 1945 pounds, ), a large sum in those days and one that most could not afford. It was also possible for many British people to migrate to Australia on a non-assisted basis before the early 1970s, although most travelled as Ten Pounders. This was part of the wider White Australia policy. An estimated quarter of British migrants returned to the UK within the qualifying period; however, half of these—the so-called "Boomerang Poms"—returned to Australia.


title: Ten Pound Poms

text: Before 1 December 1973, migrants to Australia from Commonwealth countries were eligible to apply for Australian citizenship after one year's residence in Australia. In 1973 the residence requirement was extended to three years, the requirements being place of residence, good character, knowledge of the language, and rights and duties of citizenship and the intention to live permanently in Australia. In November 1984 the residence requirement was reduced to two years. However, relatively few British migrants—compared to other post-war arrivals, such as Turks—took up Australian citizenship. Consequently, many may have lost their Australian residency status later on, usually through leaving Australia.


title: Ten Pound Poms

text: The Government of New Zealand initiated a similar immigration scheme in July 1947. The first immigrants arrived on the later that year. The scheme was administered by the Department of Labour under the guidance of Bert Bockett, and was expanded to include the Netherlands in 1950. The Dutch immigration scheme finished in 1963, with just over 6,000 immigrants to New Zealand; with Bockett receiving the Olivier van Noort medallion from the Dutch government in the following year. The British immigration scheme lasted until 1971, with 76,673 immigrants. From 1957 to 1971, the scheme applied to further European countries, with a total of 1,442 immigrants.


title: Ten Pound Poms

text: Prime Minister Julia Gillard migrated with her family from Barry, Glamorgan, Wales, in 1966, aged four. Her parents hoped the warmer climate would help cure her lung infection.


title: Ten Pound Poms

text: Another prime minister, Tony Abbott, migrated in 1960 under the scheme, although his father had already lived in Australia after arriving at the beginning of the Second World War on a Blue Funnel Liner and his mother was an Australian expatriate living in Britain at the time of his birth.


title: Ten Pound Poms

text: England fast bowlers Harold Larwood (in 1950) and Frank Tyson (in 1960) also took advantage of the scheme when they retired from cricket.


title: Ten Pound Poms

text: The Bee Gees (Gibb brothers) spent their first few years in Chorlton-cum-Hardy, Manchester, England, then moved in the late 1950s to Redcliffe in Queensland, where they began their musical careers.


title: Ten Pound Poms

text: The five original members of the Easybeats migrated independently and formed their band after arriving in Sydney. Lead singer Stevie Wright migrated from Leeds, England. Harry Vanda migrated from the Hague, Netherlands, and George Young migrated from Glasgow, Scotland, to become the twin guitars and later the songwriting team that took the Easybeats to the world with "Friday on My Mind". George's younger brothers, Malcolm Young and Angus Young, formed the twin guitars of AC/DC with another immigrated Scotsman, Bon Scott.


title: Ten Pound Poms

text: Other musical artists to have migrated to Australia under the scheme include John Farnham, Jimmy Barnes. John Paul Young, Colin Hay of Men at Work, Jon English and Cheetah, while Kylie Minogue is the daughter of a Ten Pound Pom.


title: Ten Pound Poms

text: Businessman Alan Bond moved to Australia with his parents in 1950. He was named "Australian of the Year" in 1978.


title: Ten Pound Poms

text: Rugby league player and actor Ian Roberts moved to Sydney with his family in 1967. According to Roberts, he "was brought up in an English household and Australia existed outside the front door".


title: Ten Pound Poms

text: Actor Nicholas Hope, best known for his role in the 1994 film "Bad Boy Bubby", was born in Manchester on Christmas Day 1958 and migrated to Whyalla shortly after.


title: Ten Pound Poms

text: A. James Hammerton and Alistair Thomson, "Ten pound Poms: Australia's invisible migrants", Manchester University Press, Manchester and New York, 2005.


title: Hugs and kisses

text: Hugs and kisses, abbreviated in North America as XO or XOXO, is an informal term used for expressing sincerity, faith, love, or good friendship at the end of a written letter, email or text message. In the United Kingdom, the phrase 'hugs and kisses' is widely used but XO or XOXO are not - even though X, XX etc. for 'kisses' is also used.