title: Noh-Varr

text: During the "Avengers vs. X-Men" storyline, Noh-Varr locates a secret A.I.M. base. The Avengers assemble where they take out the base and arrest Monica Rappaccini and the rest of the A.I.M. scientists that escaped following Osborn's defeat. After the battle, Noh-Varr checks in with the Supreme Intelligence of the Kree Empire, who informs him of the coming Phoenix force and orders him to intercept and contain it at all cost... even if that means eliminating his Avenger teammates. In space, after the Avengers fail to stop the Phoenix, Noh-Varr analyzes the reason for their failure and discovers that Thor's Mjolnir hammer can injure and absorb the Phoenix' essence. Before the team can celebrate, Noh-Varr declares that he will take the collected energy back to the Kree. While the Avengers wake up in their spaceship heading to a sun and try to escape death, Noh-Varr takes the Phoenix energy to the Supreme Intelligence. However, the Supreme Intelligence declares that the energy will not be used to save Earth. Noh-Varr turns against the Supreme Intelligence and escapes with the energy. The Avengers meet him, take the energy, and declare him an enemy of the team telling him never to return to Earth. Noh-Varr is left in Hala running for his life from the Kree.


title: Noh-Varr

text: Noh-Varr later appears in the "Young Avengers" series as part of "Marvel NOW!" where he reconciles with the team with whom he clashed during . Rather than fleeing Earth, he established a base in a satellite orbiting Earth where he regains his identity as Marvel Boy and begins a relationship with Hawkeye. Throughout the series, he struggles to fully assimilate into Earth culture, though his knowledge of alien technology such as a pair of energy guns he wields during battle and the laser bow he gives to Hawkeye give a significant advantage. His spaceship serves as the team's primary source of transport. Noh-Varr is depicted as being fascinated by Earth music including pop, rock and country (which inspires him to briefly grow a beard similar to that of Kenny Rogers), however, he frequently describes his favourite track as Be My Baby by R&B trio The Ronettes. Marvel Boy officially joins the Young Avengers when he is asked by Hawkeye to help her and her teammates face the interdimensional parasite known as Mother. His relationship with Hawkeye is questioned when it is revealed that Loki's former associate Leah, who is working for Mother, has recruited three of his former lovers, Merree, Oubliette and Annie, to serve on her superpowered team. Noh-Varr decides to break up with Hawkeye to be with Oubilette but, when Leah's team are revealed to be nothing but guilt-based constructs, Marvel Boy tries to unsuccessfully win Kate back. After defeating Mother once and for all, Noh-Varr DJ's at the party held by Loki in the Young Avengers' honor. At the party, he attempts to reconcile with Hawkeye but she denies him the chance to end things on good terms, leaving him to conclude that he must stop dwelling on the past so that he can move forward.


title: Noh-Varr

text: Rededicating himself to heroism, Noh-Varr sets his sights on rebuilding the Kree empire, offering his services to the Inhuman Royal Family. He takes them to the ruins of Hala, predicting that investigating the origins of the Inhuman species may provide a way for them to survive following the destruction of the Terrigen Mist. During their quest, the team are attacked by Ronan the Accuser who uses his advanced technology to create a psychic projection of Hawkeye, who berates Noh-Varr for throwing their love away for Oubilette, a girl who didn't even exist. He apologises to her and admits that he didn't trust his own heart enough to believe that she really wanted to be with him. When she further insults him, Noh realises that he has been trapped by Ronan and uses his own technology to escape. Noh-Varr stays with the Inhumans and is nearly killed by a Progenitor but is able to heal thanks to his cockroach-infused DNA and remains with the Royal Family in Artican, their new base located on the Moon.


title: Noh-Varr

text: Noh-Varr later joined the Guardians of the Galaxy. He's in a relationship with fellow Guardian Hercules.


title: Noh-Varr

text: In the aftermath of the "Empyre" storyline, Noh-Varr represents the Kree when Super-Skrull meets with Nova and the representatives of the Badoon, the Kymellians, the Zn'rx, the Shi'ar, the Spartaxians, the Chitauri, and an alien from the planet Silnius. When No-Varr heads to the restroom, he finds Emperor Stote of Zn'rx dying on the ground mentioning about a shapeshifter. The Skrull Subaltern Val-Korr accuses him of murder causing Noh-Varr to act in self-defense. Super-Skrull brings up Noh-Varr's actions to the rest of the Galactic Council as Nova calls in the Guardians of the Galaxy to investigate Emperor Stote's murder.


title: Noh-Varr

text: Noh-Varr is a Kree (albeit from another universe) who has been enhanced with insect DNA. He has demonstrated enhanced reflexes, speed, strength, and endurance well beyond that capable of a normal human. He is able to re-route his neurological impulses so that he can avoid experiencing physical pain, and even suppress any stimulus he does not want to experience, making him a deadly opponent in battle. In "" he performs a "White run", pushing everything unrelated to the fight from his mind, allowing him to defeat Xavin, Karolina Dean, Wiccan, and Hulkling within 5 seconds.


title: Noh-Varr

text: In addition, Noh-Varr is "triple jointed", allowing extreme feats of contortion and the ability to survive what would otherwise be crushing forces. Noh-Varr can also scale even the smoothest surfaces, including vertical walls, glass windows, and ceilings. Noh is also capable of escape velocity aerial travel unaided by boost propulsion under his own power, he can also emit energy blasts from his hands at will.


title: Noh-Varr

text: When needed, he can digest any organic substance without adverse effects. As a result, he can eat rotting or poisonous food as well as non-food stuffs (e.g., cardboard, paper, etc.). He uses this ability to recover from wounds or extreme stress.


title: Noh-Varr

text: Noh-Varr's saliva contains nano-active properties that infects the bodies & minds of those it touches. This causes hallucinations and allows Noh-Varr a degree of psyche-control. His fingernails can grow into a deadly crystalline spike. Noh-Varr can insert this nail into an opponent and leave it to explode, killing the target as well as causing extensive damage to the surrounding area or break off & fling them at an adversary as a ranged attack. They also have toxic effects depending upon Noh-Varr's inclination. Marvel Boy also seems capable of flight under his own power, as well as possessing self-sustenance. being able to survive in space without need of physical nourishment or comforts.


title: Noh-Varr

text: Marvel Boy later showcased hand emitted concussion blasts of an unknown energy type while battling Vox Supremes' gene patterned drones.


title: Noh-Varr

text: In "Dark Avengers" Annual #1, Noh-Varr makes contact with his people and is given a pair of Nega-Bands of his own along with a new costume and entirely new abilities. Such as technopathy, apparatus conjuration, teleportation, computerized holographic interact and the like. Plus a number of in-universe Band functions pertaining to flight, physical enhancement and energy manipulation. They are later taken away after his last mission with the New Avengers for betraying the prime universes Supreme Intelligence by Ronan the Accuser.


title: Noh-Varr

text: Noh-Varr also has access to a wide variety of advanced Kree technology, including high-tech weaponry such as self-replicating grenades, plasma guns, shapeshifting armbands called Nega-Gauntlets which turn into razor blades, hand cannons channelling varied energy types and can initiate trans-matter displacement with other gauntlet wearers. Along with imagination powered space ships and a "pocket battlefield" that can simulate unique combat environments for the user by adjusting local physics.


title: Noh-Varr

text: Noh-Varr is adept at the sciences of interdimensional & extra-dimensional travel. He can construct and operate devices to view and traverse the timestream and alternate dimensions.


title: Noh-Varr

text: Andrew Wheeler of "ComicsAlliance" referred to Noh-Varr as "Marvel's first male pin-up," writing, "Noh-Varr hit all the usual beats of the comics sex symbol. He found more than one reason to take his clothes off. He played with his look. He showed us his butt. Yet Noh-Varr wasn't "quite" like all those thousand female heroes. Noh-Varr wasn't only there to be sexy. He got to both kick some ass and experience some angst. He had his crowning moment of awesome... And his crowning moment of douche. He had plot. Personality. Agency. Gillen and McKelvie weren't setting out to replicate the mistakes that are made with female sex symbols. They upped the game for sex symbols everywhere. Sexy can be important... But a sexy character should not be interchangeable with a sexy lamp. To quote Kelly-Sue DeConnick: "[I]f you can replace your female character with a sexy lamp and the story still basically works, maybe you need another draft." (That's the clean version. The dirty version utilizes the phrase "f---ing hack".) Gillen and McKelvie didn't invent Marvel Boy, and they didn't invent his sexy; they just gave him his sexy back. Marvel Boy was "made" to be sexy, in the 2000's "Marvel Boy" by Grant Morrison and J.G. Jones. Noh-Varr was young, dumb and full of... "sexuality", from his first appearance. Created because Morrison thought comics weren't being "sexy enough," Noh-Varr was a pouty bad boy in tight, tight shorts whose nemesis was an assassin in a dominatrix outfit. "Sexy" is his motif in the same way that "spider" is Peter Parker's." Lauren Davis of "Gizmodo" called Noh-Varr one of the "male superheroes who truly are sexualized the way women are in comics," saying, "Now this is a great example of a character being portrayed as sexy in a fun and sweet way that doesn't overwhelm the scene. In Kieron Gillen and Jamie McKelvie's Young Avengers #1, we see Kate Bishop watching Noh-Varr dance in her room. It's her gaze that's on him, and some readers can appreciate Noh-Varr in the same way that Kate does, but at the same time, it's a nice character moment. And it's much sexier than running one's hands down an unwilling Batman's chest." Afreen Khan of "Sportskeeda" dubbed Noh-Varr as an "outright sex symbol," stating, "Noh-Varr, in simpler terms, is a hunk. He is a part of the Marvels and goes by many aliases. The most popular ones are Marvel Boy and Protector. The superhero was introduced in the self-titled 2000 comic. As one of the many younger superheroes, he was also a part of the Young Avengers. [...] That’s not all. One of the main reasons the post about Park Seo-joon reprising Noh-Varr has gained so much attention is because of the hero’s sexual orientation. The Young Avenger is canonically bisexual, or pansexual. [...] Social media was bombarded with excited fans' reactions after the Twitter account of Marvel Updates posted that the actor would be playing Noh-Varr. A major reason for it is that the queer superhero is one of the few comic characters who was explicitly portrayed as a s*x symbol, in a good way. " Benjamin Riley of "Special Broadcasting Service" described Noh-Varr was one of the "queer superheroes who changed the face of comics," asserting, "This one’s cheating a bit—Marvel Boy’s status as a queer character is debatable, but aside from being one of the hottest male superheroes in recent memory, the alien Noh-Varr (his real name) certainly has a queer sensibility. He’s also another Young Avengers alum—Marvel Boy’s teammate and sometime girlfriend Kate Bishop jokes at one point that she’s the only "straightie" on the team. What makes Marvel Boy queer isn’t just his sexuality (he implies his race doesn’t have sexual identities, only sexual acts) it’s how the comic treats him, visually: in a medium dominated by the male gaze, he’s not only sexy, he’s sexualised."


title: Noh-Varr

text: Noh-Varr also has received significant discussion in scholarly literature such as Lyubansky, Sweeney, and Beam & Clay-Buck.


title: Noh-Varr

text: According to Diamond Comic Distributors, "Marvel Boy" #1 was the 21st best selling comic book in June 2000.


title: Noh-Varr

text: Tom Spurgeon of "The Comics Reporter" called "Marvel Boy" #1 a "refreshingly goofy take on superhero source material," saying, "Morrison displays uncharacteristic restraint in "Marvel Boy". The overriding emphasis seems to be on making certain everything works first as a comic book adventure story rather than as an idea virus, magic spell, pop culture cluster bomb, or whatever grandiloquent description writers like Morrison use for comics that goose superhero formulae with a formal twist and one or two declarations about the state of reality. By making less obvious the stabs at relevance and deeper meaning, particularly those he sometimes attempts through sentiment and affectation, Morrison with "Marvel Boy" hewed closer to the Lee/Kirby model of superhero storytelling than anything he had done to date. It is a good fit. What the series resembles most closely is the later, Kirby-dominated and slightly tossed-off seeming issues of "Fantastic Four". Like Kirby, Morrison focuses on the weirdness of the superhero concept itself, leaving many of the out-there science fiction ideas, the bizarre combat technologies and hints of radical, identity-focused politics, to sizzle at the perimeter of the page." David Harth of "CBR.com" ranked the "Marvel Boy" comic book series 6th in their "10 Marvel Comics That Read Like Sci-Fi Epics" list, asserting, "Grant Morrison's time at Marvel was short and tumultuous, but they produced brilliant tales. Their opening salvo was "Marvel Boy," with artist J. G. Jones. Following the genetically engineered alternate reality soldier Noh-Varr on a quest for revenge, Morrison and Jones created a sci-fi superhero epic like nothing else at Marvel. With all it has to offer, "Marvel Boy" should be Marvel's next big sci-fi superhero movie. It's a sci-fi revenge tale full of big concepts, breathtaking action, and brilliant characters, turning the Marvel sci-fi story formula on its ear." Rosie Knight of "Nerdist" included the "Marvel Boy" comic book series in their "8 Must-Read Marvel Knights Stories" list.


title: New Mexico Territory

text: The Territory of New Mexico was an organized incorporated territory of the United States from September 9, 1850, until January 6, 1912. It was created from the U.S. provisional government of New Mexico, as a result of "Nuevo México" becoming part of the American frontier after the Treaty of Guadalupe Hidalgo. It existed with varying boundaries until the territory was admitted to the Union as the U.S. state of New Mexico. This jurisdiction was an organized, incorporated territory of the US for nearly 62 years, the longest period of any territory in the contiguous United States.


title: New Mexico Territory

text: In 1846, during the Mexican–American War, the United States established a provisional government of New Mexico. Territorial boundaries were somewhat ambiguous. After the Mexican Republic formally ceded the region to the United States in 1848, this temporary wartime/military government operated until September 9, 1850.


title: New Mexico Territory

text: Earlier in 1850, organizers proposing New Mexico for statehood had drafted a state constitution that prohibited slavery. The request was approved at the same time that the Utah Territory was created to the north. The proposed state boundaries were to extend as far east as the 100th meridian West and as far north as the Arkansas River, thus encompassing the present-day Texas and Oklahoma panhandles and parts of present-day Kansas, Colorado, Utah, and Arizona, as well as most of present-day New Mexico. The state of Texas (admitted to the US in 1845) strongly criticized this plan, as it claimed much of the same territory, although it did not control these lands. In addition, slaveholders worried about not being able to expand slavery to the west of their current slave states.


title: New Mexico Territory

text: The Compromise of 1850 put an end to the push for immediate New Mexico statehood. Approved by the United States Congress in September 1850, the legislation provided for the establishment of New Mexico Territory and Utah Territory. It also defined the disputed western boundary of Texas.


title: New Mexico Territory

text: During the territorial period, the status of slavery provoked considerable debate. Congress was sharply divided on the slavery issue, with Southern representatives determined to protect their options for expansion of slavery in the West. Stephen A. Douglas (IL) and others maintained that the territory could not restrict slavery, as under the earlier Missouri Compromise. Others, including Abraham Lincoln insisted that older Mexican Republic legal traditions of the territory, which abolished black slavery in 1834, took precedence and should be continued. (Indian slavery had been abolished in Spanish colonies in 1769.) Regardless of the official status, slavery was rare in antebellum New Mexico. Black slaves never numbered more than about a dozen.


title: New Mexico Territory

text: As one of the final attempts at compromise to avoid the Civil War, in December 1860, a U.S. House of Representatives committee proposed to admit New Mexico as a slave state immediately. Although the measure was approved by the committee on December 29, 1860, Southern representatives did not take up this offer. Many had already left Congress due to the imminent declarations of secession by their states.


title: New Mexico Territory

text: On February 24, 1863, during the Civil War, Congress passed the "Arizona Organic Act", which split off the western portion of the 12-year-old New Mexico Territory, establishing the new Arizona Territory, where it abolished slavery. As in New Mexico, slavery was already extremely limited, due to earlier Mexican traditions, laws, and patterns of settlement. The northwestern corner of New Mexico Territory was included in Arizona Territory until it was added to the southernmost part of the newly admitted State of Nevada in 1864. Eventually, Arizona Territory was admitted in 1912 as the State of Arizona.


title: New Mexico Territory

text: The Purchase treaty defined the new border as "up the middle of that river (the Rio Grande) to the point where the parallel of 31° 47' north latitude crosses the same ; thence due west one hundred miles; thence south to the parallel of 31° 20' north latitude; thence along the said parallel of 31° 20' to the 111th meridian of longitude west of Greenwich ; thence in a straight line to a point on the Colorado River twenty English miles below the junction of the Gila and Colorado rivers; thence up the middle of the said river Colorado until it intersects the present line between the United States and Mexico." The new border included a few miles of the Colorado River at the western end; the remaining land portion consisted of line segments between points, including at the Colorado River, west of Nogales at , near AZ-NM-Mexico tripoint at , the eastern corners of NM southern bootheel (Hidalgo County) at , and the west bank of Rio Grande at .


title: New Mexico Territory

text: The boundaries of the New Mexico Territory at the time of establishment (September 9, 1850) contained most of the present-day State of New Mexico, more than half of the present-day State of Arizona, and portions of the present-day states of Colorado and Nevada. Although this area was smaller than what had been included in the failed statehood proposal of early 1850, the boundary disputes with Texas had been dispelled by the Compromise of 1850.


title: New Mexico Territory

text: The Gadsden Purchase was acquired by the United States from Mexico in 1853/1854 (known as the "Venta de La Mesilla" or the "Sale of La Mesilla"), arranged by the then-American ambassador to Mexico, James Gadsden. This added today's southern strip of Arizona and a smaller area in today's southwestern New Mexico to the New Mexico Territory, bringing its land area to the maximum size achieved in its history as an organized territory. The land of provided a more easily constructed route for a future southern transcontinental railroad line (second of the routes) for the future Southern Pacific Railroad, constructed later in 1881/1883.


title: New Mexico Territory

text: The Colorado Territory was established by the "Colorado Organic Act" on February 28, 1861, with the same boundaries that would ultimately constitute the State of Colorado. This Act removed the Colorado lands from the New Mexico Territory.


title: New Mexico Territory

text: The creation of the Union Arizona Territory (two years after the ill-fated Confederate Arizona Territory) by the "Arizona Organic Act" on February 24, 1863, removed all the land west of the 109th meridian from the New Mexico Territory, i.e. the entire present-day State of Arizona plus the land that would become the southern part of the State of Nevada in 1864. This Act left the New Mexico Territory with boundaries identical to the eventual State of New Mexico for a half-century until admitted to the Union in 1912 as the 47th state (followed just under six weeks later by the Arizona Territory/State of Arizona, which became the 48th state, finally filling out the coast-to-coast continental expanse of the United States).


title: New Mexico Territory

text: In 1850, all 73 churches with regular services in the New Mexico Territory were Catholic. In the 1910 United States census, 26 counties in the New Mexico Territory reported the following population counts (after 7 reported the following counts in the 1850 United States census):


title: New Mexico Territory

text: As the route to California, New Mexico Territory was disputed territory during the American Civil War. Settlers in the southern part of the Territory willingly joined the Confederate States in 1861 as the newly organized Confederate Territory of Arizona, with a representative delegate to the Confederate Congress in the capital of Richmond. This territory consisted of the southern half of the earlier Federal New Mexico Territory of 1851 and was in contrast to the later Federal Arizona Territory established by the Union in 1863, which was the western half split off from the original U.S. New Mexico Territory. The short-lived Confederate Arizona Territory was the first American territorial entity to be called "Arizona".


title: New Mexico Territory

text: The Battle of Glorieta Pass in May 1862, following the retreat of Texan Confederate forces back south to El Paso, placed the area of the Rio Grande valley and eastern New Mexico Territory with the capital of Santa Fe under the control of the Federals with their Union Army. However, the government and leadership of Confederate Arizona persisted until the end of the Civil War in June 1865 with the surrender of the Trans-Mississippi Department, living in exile in El Paso, Texas with its delegate still in Richmond.


title: New Mexico Territory

text: A coat of arms of New Mexico was adopted by the territorial legislature in 1887, formalizing an earlier design, introduced in the early 1860s, already used in the territory's great seal. The legislation, titled "An Act adopting and establishing the coat of arms and great seal of the territory", was approved by Governor Edmund G. Ross on February 1:


title: New Mexico Territory

text: The coat of arms of the territory of New Mexico shall be the Mexican Eagle grasping a serpent in its beak, the cactus in its talons, shielded by the American eagle with outspread wings, and grasping arrows in its talons. The date MDCCCL [1850], under the eagles, and above that, on a scroll, the motto: . That the great seal of the territory have the coat of arms thereon, being the same seal now used by the secretary of the territory, and that the same be adopted and established as the official seal and coat of arms of the territory of New Mexico.


title: New Mexico Territory

text: The "American" bald eagle's outstretched wings over the smaller "Mexican" harpy eagle represents the territory's change of sovereignty. The territorial motto, (), was later added to the seal. The same design was later adapted for use in the seal of the new state of New Mexico in 1913.


title: Code smell

text: In computer programming, a code smell is any characteristic in the source code of a program that possibly indicates a deeper problem. Determining what is and is not a code smell is subjective, and varies by language, developer, and development methodology.


title: Code smell

text: The term was popularised by Kent Beck on WardsWiki in the late 1990s. Usage of the term increased after it was featured in the 1999 book "Refactoring: Improving the Design of Existing Code" by Martin Fowler. It is also a term used by agile programmers.


title: Code smell

text: One way to look at smells is with respect to principles and quality: "Smells are certain structures in the code that indicate violation of fundamental design principles and negatively impact design quality". Code smells are usually not bugs; they are not technically incorrect and do not prevent the program from functioning. Instead, they indicate weaknesses in design that may slow down development or increase the risk of bugs or failures in the future. Bad code smells can be an indicator of factors that contribute to technical debt. Robert C. Martin calls a list of code smells a "value system" for software craftsmanship.


title: Code smell

text: Often the deeper problem hinted at by a code smell can be uncovered when the code is subjected to a short feedback cycle, where it is refactored in small, controlled steps, and the resulting design is examined to see if there are any further code smells that in turn indicate the need for more refactoring. From the point of view of a programmer charged with performing refactoring, code smells are heuristics to indicate when to refactor, and what specific refactoring techniques to use. Thus, a code smell is a driver for refactoring.


title: Code smell

text: A 2015 study utilizing automated analysis for half a million source code commits and the manual examination of 9,164 commits determined to exhibit "code smells" found that:


title: Joshua Waitzkin

text: Joshua Waitzkin (born December 4, 1976) is an American former chess player, martial arts competitor, and author. As a child, he was recognized as a prodigy, and won the U.S. Junior Chess championship in 1993 and 1994. The film "Searching for Bobby Fischer" is based on his early life.


title: Joshua Waitzkin

text: Waitzkin first noticed the game of chess being played while walking with his mother in New York City's Washington Square Park at the age of six. At age seven, Waitzkin began studying the game with his first formal teacher Bruce Pandolfini. During his years as a student at Dalton he led the school to win seven national team championships between the third and ninth grades, in addition to his eight individual titles. In 1999, Waitzkin enrolled at Columbia University, where he studied philosophy.


title: Joshua Waitzkin

text: At ten years old, Waitzkin played a notable game featuring a sacrifice of his queen and rook in exchange for a checkmate six moves later. At 11, Waitzkin and fellow prodigy K. K. Karanja were the only two children to draw with World Champion Garry Kasparov in an exhibition event where Kasparov played simultaneously against 59 youngsters. At age 13, he earned the title of National Master, and at age 16 became an International Master.


title: Joshua Waitzkin

text: Waitzkin has not played in a US Chess Federation tournament since 1999, and his last FIDE tournament was before 2000. Waitzkin has also stated in an interview his reasoning for leaving chessWhen people ask me why I stopped playing chess … I tend to say that I lost the love. And I guess if I were to be a little bit more true, I would say that I became separated from my love; I became alienated from chess somewhat … The need that I felt to win, to win, to win all the time, as opposed to the freedom to explore the art more and more deeply, and I think that started to move me away from the game and also chess for me was so intimate. It was something that I loved so deeply that when I started to become alienated from it, I couldn't do it in an impure way.


title: Joshua Waitzkin

text: The script for Paramount Pictures' 1993 film "Searching for Bobby Fischer" (released in the United Kingdom as "Innocent Moves") was based on a 1988 book by Waitzkin's father, Fred Waitzkin: "Searching for Bobby Fischer: The Father of a Prodigy Observes the World of Chess". Waitzkin makes a cameo in the film, in a scene in the last quarter of the movie (at 1:21:52) where his father is watching a young Josh play Vinnie (Laurence Fishburne) from a bench. The real Waitzkin (16 years old at that time) can be seen wearing a black jacket/white hoodie playing chess right next to the film's version of Waitzkin and is sitting across from Josh's father (Joe Mantegna).


title: Joshua Waitzkin

text: Waitzkin is the author of two books: "Attacking Chess: Aggressive Strategies, Inside Moves from the U.S. Junior Chess Champion" (1995) and "The Art of Learning: An Inner Journey to Optimal Performance" (2008), an autobiographical discussion of the learning process and performance psychology drawn from Waitzkin's experiences in both chess and the martial arts. He is also the spokesperson for the "Chessmaster" video game series, and is featured in the game giving advice and game analysis.


title: Joshua Waitzkin

text: As a young adult, Waitzkin's focus shifted to the martial art Taiji. He holds several US national medals and a 2004 world champion title in the competitive sport of Taiji Push Hands (Taiji Tui Shou). Waitzkin also became a championship coach, leading Grandmaster William C. C. Chen's US Push Hands Team to several titles at the Tai Chi World Cup in Taiwan, guiding teammates Jan Lucanus and Jan C. Childress to their world titles. Waitzkin is also a black belt in Brazilian Jiu-Jitsu under world champion and Brazilian Jiu-Jitsu phenomenon Marcelo Garcia. Waitzkin is the co-founder of MGInAction.com and The Marcelo Garcia Academy, a Brazilian jiu-jitsu school located in New York City.


title: Joshua Waitzkin

text: On April 23, 2010, Waitzkin married Desiree Cifre, a screenwriter and former contestant on "The Amazing Race".


title: Gwalior Fort

text: The Gwalior Fort commonly known as the "Gwāliiyar Qila", is a hill fort near Gwalior, Madhya Pradesh, India. The fort has existed at least since the 10th century, and the inscriptions and monuments found within what is now the fort campus indicate that it may have existed as early as the beginning of the 6th century. The modern-day fort, embodying a defensive structure and two palaces was built by the Tomar Rajput ruler Man Singh Tomar. The fort has been administered by a number of different rulers in its history.


title: Gwalior Fort

text: The present-day fort consists of a defensive structure and two main palaces, "Man Mandir" and Gujari Mahal, built by Tomar Rajput ruler Man Singh Tomar (reigned 1486–1516 CE), the latter one for his wife, Queen Mrignayani. The second oldest record of ""zero"" in the world was found in a small temple (the stone inscription has the second oldest record of the numeric zero symbol having a place value as in the modern decimal notation), which is located on the way to the top. The inscription is around 1500 years old.


title: Gwalior Fort

text: The word "Gwalior" is derived from one of the names for "Gwalipa". According to legend, Gwalipa cured the local chieftain Suraj Sen of leprosy, and in gratitude, Suraj Sen founded the city of Gwalior in his name.


title: Gwalior Fort

text: The fort is built on an outcrop of Vindhyan sandstone on a solitary rocky hill called Gopachal. This feature is long, thin, and steep. The geology of the Gwalior range rock formations is ochre coloured sandstone covered with basalt. There is a horizontal stratum, at its highest point (length and average width ). The stratum forms a near-perpendicular precipice. A small river, the Swarnrekha, flows close to the palace.


title: Gwalior Fort

text: The exact period of Gwalior Fort's construction is uncertain. According to a local legend, the fort was built by a local king named Suraj Sen in 3 CE. He was cured of leprosy, when a sage named Gwalipa offered him the water from a sacred pond, which now lies within the fort. The grateful king constructed a fort, and named it after the sage. The sage bestowed the title Pal ("protector") upon the king, and told him that the fort would remain in his family's possession, as long as they bear this title. 83 descendants of Suraj Sen Pal controlled the fort, but the 84th, named Tej Karan, lost it.


title: Gwalior Fort

text: The inscriptions and monuments found within what is now the fort campus indicate that it may have existed as early as the beginning of the 6th century. A Gwalior inscription describes a sun temple built during the reign of the Huna emperor Mihirakula in 6th century. The Teli ka Mandir, now located within the fort, was built by the Gurjara-Pratiharas in the 9th century.


title: Gwalior Fort

text: The fort definitely existed by the 10th century, when it is first mentioned in the historical records. The Kachchhapaghatas controlled the fort at that time, most probably as feudatories of the Chandelas. From 11th century onwards, the Muslim dynasties attacked the fort several times. In 1022 CE, Mahmud of Ghazni besieged the fort for four days. According to "Tabaqat-i-Akbari", he lifted the siege in return for a tribute of 35 elephants. Bahauddin Tourghil a senior slave of the Ghurid ruler Muhammad of Ghor captured the fort in 1196 after a long siege. The Delhi Sultanate lost the fort for a short period before it was recaptured by Iltutmish in 1232 CE.


title: Gwalior Fort

text: In 1398, the fort came under the control of the Tomars. The most distinguished of the Tomar rulers was Maan Singh, who commissioned several monuments within the fort. The Delhi Sultan Sikander Lodi tried to capture the fort in 1505 but was unsuccessful. Another attack, by his son Ibrahim Lodi in 1516, resulted in Maan Singh's death. The Tomars ultimately surrendered the fort to the Delhi Sultanate after a year-long siege.


title: Gwalior Fort

text: Within a decade, the Mughal Emperor Babur captured the fort from the Delhi Sultanate. The Mughals lost the fort to Sher Shah Suri in 1542. Afterwards, the fort was captured and used by Hemu, the Hindu general and, later, the last Hindu ruler of Delhi, as his base for his many campaigns, but Babur's grandson Akbar recaptured it in 1558. Akbar made the fort a prison for political prisoners. For example, Abul-Kasim, son of Kamran and Akbar's first cousin was held and executed at the fort. The last Tomar king of Gwalior, Maharaja Ramshah Tanwar, who had then taken refuge in Mewar and had fought at the Battle of Haldighati. He was martyred in the battle along with his three sons (which included Shalivahan Singh Tomar, the heir-apparent)


title: Gwalior Fort

text: Guru Hargobind, on 24 June 1606, at age 11, was crowned as the sixth Sikh Guru. At his succession ceremony, he put on two swords: one indicated his spiritual authority ("piri") and the other, his temporal authority ("miri"). Because of the execution of Guru Arjan by Mughal Emperor Jahangir, Guru Hargobind from the very start was a dedicated enemy of the Mughal rule. He advised the Sikhs to arm themselves and fight. The death of his father at the hands of Jahangir prompted him to emphasise the military dimension of the Sikh community. Jahangir responded by jailing the 14 year old Guru Hargobind at Gwalior Fort in 1609, on the pretext that the fine imposed on Guru Arjan had not been paid by the Sikhs and Guru Hargobind. It is not clear as to how much time he spent as a prisoner. The year of his release appears to have been either 1611 or 1612, when Guru Hargobind was about 16 years old. Persian records, such as "Dabistan i Mazahib" suggest he was kept in jail for twelve years, including over 1617–1619 in Gwalior, after which he and his camp were kept under Muslim army's surveillance by Jahangir. According to Sikh tradition, Guru Hargobind was released from the bondage of prison on Diwali. This important event in Sikh history is now termed the "Bandi Chhor Divas" festival.


title: Gwalior Fort

text: Aurangzeb's brother, Murad Bakhsh and nephew Sulaiman Shikoh were also executed at the fort. The killings took place in the Man Mandir palace. Sipihr Shikoh was imprisoned at Gwalior Fort from 1659 to 1675. Aurangzeb's son, Muhammad Sultan was imprisoned at the fort from January 1661 to December 1672. After the death of Aurangzeb, the Jat ruler of Gohad Bhim Singh Rana seized the Gwalior Fort in the Battle of Gwalior. The Marathas had captured many territories held by the declining Mughal Empire in Northern and Central India after the death of Aurangzeb. The Maratha incursions into North India were raids by the Peshwa Bajirao. in 1755-1756, The Marathas took over Gwalior fort by defeating the Jat ruler of Gohad. The Maratha general Mahadaji Shinde (Scindia) captured the fort from the Gohad Rana Chhatar Singh, but later lost it to the British East India Company. On August 3, 1780, a Company force under Captains Popham and Bruce captured the fort in a nighttime raid, scaling the walls with 12 grenadiers and 30 sepoys. Both sides suffered fewer than 20 wounded total. In 1780, the British governor Warren Hastings restored the fort to the Ranas of Gohad. The Marathas recaptured the fort four years later, and this time the British did not intervene because the Ranas of Gohad had become hostile to them. Daulat Rao Sindhia lost the fort to the British during the Second Anglo-Maratha War.


title: Gwalior Fort

text: There were frequent changes in the control of the fort between the Scindias and the British between 1808 and 1844. In January 1844, after the battle of Maharajpur, the fort was occupied by the Gwalior State of the Maratha Scindia family, as a protectorate of the British government. During the 1857 uprising, around 6500 sepoys stationed at Gwalior rebelled against the Company rule, although the company's vassal ruler Jayajirao Scindia remained loyal to the British. The British took control of the fort in June 1858. They rewarded Jayajirao with some territory but retained control of the Gwalior Fort. By 1886, the British were in complete control of India, and the fort no longer had any strategic importance to them. Therefore, they handed over the fort to the Scindia family. The Maratha Scindias continued to rule Gwalior until the independence of India in 1947, and built several monuments including the Jai Vilas Mahal.


title: Gwalior Fort

text: The fort and its premises are well maintained and house many historic monuments including palaces, temples and water tanks. There are also a number of palaces ("mahal") including the Man mandir, the Gujari, the Jahangir, the Karan, and the Shah Jahan.


title: Gwalior Fort

text: The fort covers an area of and rises . Its rampart is built around the edge of the hill, connected by six bastions or towers. The profile of the fort has an irregular appearance due to the undulating ground beneath.


title: Gwalior Fort

text: There are two gates; one on the northeast side with a long access ramp and the other on the southwest. The main entrance is the ornate Elephant gate ("Hathi Pul"). The other is the Badalgarh Gate. The Man Mandir palace or citadel is located at the northeast end of the fort. It was built in the 15th century and refurbished in 1648. The water tanks or reservoirs of the fort could provide water to a 15,000 strong garrison, the number required to secure the fort.


title: Gwalior Fort

text: The second oldest record of ""zero"" in the world was found in a small temple (the stone inscription has the second oldest record of the numeric zero symbol having a place value as in the modern decimal notation), which is located on the way to the top. The inscription is around 1500 years old.


title: Gwalior Fort

text: Siddhachal Jain Temple Caves were built in 7th to 15th century. There are eleven Jain temples inside Gwalior fort dedicated to the Jain Tirthankaras. On the southern side are 21 temples cut into the rock with intricately carved of the tirthankaras. Tallest Idol is image of Rishabhanatha or Adinatha, the 1st Tirthankara, is high.


title: Gwalior Fort

text: The entire area of Gwalior fort is divided into five groups namely Urvahi, North West, North East, South West and the South East areas. In the Urvahi area 24 idols of Tirthankar in the padmasana posture, 40 in the kayotsarga posture and around 840 idols carved on the walls and pillars are present. The largest idol is a 58 feet 4 inches high idol of Adinatha outside the Urvahi gate and a 35 feet high idol of Suparshvanatha in the Padmasana in "Paththar-ki bavadi" (stone tank) area.


title: Gwalior Fort

text: There are around 1500 idols on the Gopachal Hill, which includes the size from 6 inch to 57 feet in height. All the idols are carved by cutting the hilly rocks (rock carving) and are very artistic. Most of the idols were built in 1341–1479, during the period of King Dungar Singh and Keerti Singh of Tomar dynasty.


title: Gwalior Fort

text: Here is a very beautiful and miraculous colossus of Bhagwan Parsvanath in padmasan posture 42 feet in height & 30 feet in breadth. It is said that in 1527, Mughal emperor Babar after occupying the fort ordered his soldiers to break the idols, when soldiers stroked on the thumb, a miracle was seen and invaders were compelled to run away. In the period of Mughals the idols were destroyed, broken fragments of those idols are spread here and there in the fort.


title: Gwalior Fort

text: Main colossus of this Kshetra is Parsvanatha's, 42 feet high and 30 feet wide. Together with the place of precept by Bhagwan Parsvanath. This is also the place where "Shri 1008 Supratishtha Kevali" attained nirvana. There are 26 Jain temples more on this hill.


title: Gwalior Fort

text: Mughal Invasion : In 1527, Babur army attacked Gwalior Fort and de-faced these statues. In spite of invasion the early Jaina sculptures of Gwalior have survived in fairly good condition so that their former splendour is not lost.


title: Gwalior Fort

text: It is the oldest part of the fort and has a blend of south and north Indian architectural styles. Within the rectangular structure is a shrine with no pillared pavilions (mandapa) and a South Indian barrel-vaulted roof on top. It has a masonry tower in the North Indian Nagara architectural style with a barrel vaulted roof in height. The niches in the outer walls once housed statues but now have chandrashalas (horseshoe arches) ventilator openings in the north Indian style. The chandrashala has been compared to the trefoil, a honeycomb design with a series of receding pointed arches within an arch. The entrance door has a torana or archway with sculpted images of river goddesses, romantic couples, foliation decoration and a Garuda. The vertical bands on either side of the door are decorated in a simple fashion with figures that are now badly damaged. Above the door are a small grouping of discs representing the (finial) of a . The temple was originally dedicated to Vishnu. It was extensively damaged during Muslim raids, then restored into a Shiva temple by installing a liṅga, while keeping the Vaishnava motifs such as the Garuda. It was refurbished between 1881 and 1883.


title: Gwalior Fort

text: Close to the Teli ka Mandir temple is the Garuda monument, dedicated to Vishnu, is the highest in the fort. It has a mixture of Muslim and Indian architecture. The word Teli comes from the Hindi word meaning oil.


title: Gwalior Fort

text: The Sas-Bahu Temple was built in 1092-93 by the Kachchhapaghata dynasty. Dedicated to Vishnu, it is pyramidal in shape, built of red sandstone with several stories of beams and pillars but no arches.


title: Gwalior Fort

text: Gurdwara Data Bandi Chhor was built during 1970s and 1980s at the place where 6th Sikh Guru Hargobind Sahib was arrested and held captive by Mughal Emperor Jahangir in 1609 at the age of 14 years on the pretext that the fine imposed on his father, 5th Sikh Guru Arjan Dev Ji had not been paid by the Sikhs and Guru Hargobind. According to Surjit Singh Gandhi, 52 Hindu Rajas who were imprisoned in the fort as hostages for "millions of rupees" and for opposing the Mughal empire were dismayed as they were losing a spiritual mentor. On getting released Guru Hargobind requested the Rajas to be freed along with him as well. Jahangir allowed Guru Hargobind to free as many rajas he could as long as they are holding on to the guru while leaving the prison. Guru sahib got a special gown stitched which had 52 hems. As Guru Hargobind left the fort, all the captive kings caught the hems of the cloak and came out along with him.


title: Gwalior Fort

text: The Man mandir palace was built by the King of Tomar Dynasty – Maharaja Man Singh in 15th century. Man Mandir is often referred as a Painted Palace because the painted effect of the Man Mandir Palace is due to the use of styled tiles of turquoise, green and yellow used extensively in a geometric pattern.


title: Gwalior Fort

text: The Hathi Pol gate (or Hathiya Paur), located on the southeast, leads to the Man mandir palace. It is the last of a series of seven gates. It is named for a life-sized statue of an elephant (hathi) that once adorned the gate. The gate was built in stone with cylindrical towers crowned with cupola domes. Carved parapets link the domes.


title: Gwalior Fort

text: The Karan mahal is another significant monument at Gwalior Fort. The Karn mahal was built by the second king of the Tomar dynasty, Kirti Singh. He was also known as Karn Singh, hence the name of the palace.


title: Gwalior Fort

text: The Vikram mahal (also known as the Vikram mandir, as it once hosted a temple of Shiva) was built by Vikramaditya Singh, the elder son of Maharaja Mansingh. He was a devotee of shiva. The temple was destroyed during Mughal period but now has been re-established in the front open space of the Vikram mahal.


title: Gwalior Fort

text: This chhatri (cupola or domed shaped pavilion) was built as a memorial to Bhim Singh Rana (1707–1756), a ruler of Gohad state. It was built by his successor, Chhatra Singh. Bhim Singh occupied Gwalior fort in 1740 when the Mughal Satrap, Ali Khan, surrendered. In 1754, Bhim Singh built a bhimtal (a lake) as a monument at the fort. Chhatra Singh built the memorial chhatri near the bhimtal.


title: Gwalior Fort

text: The Gujari Mahal now a museum, was built by Raja Man Singh Tomar for his wife Mrignayani, a Gujar princess. She demanded a separate palace for herself with a regular water supply through an aqueduct from the nearby Rai River. The palace has been converted into an archaeological museum. Rare artefacts at the museum include Hindu and Jain sculptures dated to the 1st and 2nd centuries BC; miniature statue of Salabhanjika; terracotta items and replicas of frescoes seen in the Bagh Caves.


title: Gwalior Fort

text: There are several other monuments built inside the fort area. These include the Scindia School (Originally an exclusive school for the sons of Indian princes and nobles) that was founded by Madho Rao Scindia in 1897.


title: Arrow (season 1)

text: The first season of the American action television series "Arrow" premiered on The CW on October 10, 2012, at 8:00 pm (ET) and concluded on May 15, 2013, with a total of 23 episodes, after the network ordered a full season on October 22, 2012. The series is based on the DC Comics character Green Arrow, a costumed crime-fighter created by Mort Weisinger and George Papp, and is set in the Arrowverse, sharing continuity with other Arrowverse television series. The showrunners for this season were Greg Berlanti, Marc Guggenheim and Andrew Kreisberg. Stephen Amell stars as Oliver Queen, with principal cast members Katie Cassidy as Laurel Lance, Colin Donnell as Tommy Merlyn, David Ramsey as John Diggle, Willa Holland as Thea Queen, Susanna Thompson as Moira Queen, and Paul Blackthorne as Quentin Lance.


title: Arrow (season 1)

text: The series follows billionaire playboy Oliver Queen (Stephen Amell), who claimed to have spent five years shipwrecked on Lian Yu, a mysterious island in the North China Sea, before returning home to Starling City (later renamed "Star City") to fight crime and corruption as a secret vigilante whose weapon of choice is a bow and arrow. In the first season, Oliver returns to Starling City and is reunited with his mother, Moira (Susanna Thompson), his sister, Thea (Willa Holland), and his friend, Tommy Merlyn (Colin Donnell). Oliver rekindles his relationships, while spending his nights hunting down and sometimes killing criminals as a hooded vigilante, known as The Hood. He uncovers Malcolm Merlyn's (John Barrowman) conspiracy to destroy "The Glades", a poorer section of the city that has become overridden with crime. John Diggle (David Ramsey) and Felicity Smoak (Emily Bett Rickards) assist Oliver in his crusade. Oliver also reconnects with ex-girlfriend, Laurel Lance (Katie Cassidy), who is still angry over his role in her sister, Sara's, presumed death, while her father, Detective Quentin Lance (Paul Blackthorne), suspects Oliver being the vigilante. The season features flashbacks to Oliver's first year on the island, and how it changed him, while trying to stop a mercenary force targeting the Chinese economy. After being saved by The Hood, Roy Harper (Colton Haynes) attempts to find him so he will train him so he can help others.


title: Arrow (season 1)

text: Production on the pilot began in March 2012 in Vancouver, British Columbia, Canada. Filming for the rest of the season began on July 18, 2012 and ended on April 18, 2013. The season was generally well received by critics, and averaged 3.68million viewers each week. Amell's portrayal of Oliver Queen / Arrow drew comparison to Katniss Everdeen from "The Hunger Games", while the season itself was found to be still looking for its own identity. The season would go on to win multiple awards, including twenty-one nominations in various categories. The season was released on DVD and Blu-ray on September 17, 2013. The series was renewed for a second season on February 11, 2013.


title: Arrow (season 1)

text: On January 12, 2012, The CW was preparing a new series centered around the character Green Arrow, developed by Andrew Kreisberg, Greg Berlanti and Marc Guggenheim. A week later, the series, now known as "Arrow", was ordered to pilot, which was directed by David Nutter, who also directed the pilot for "Smallville", a series following Clark Kent on his journey to become Superman. At the end of the month, Stephen Amell was cast in the titular role of Oliver Queen. When developing the series, producer Marc Guggenheim expressed that the creative team wanted to "chart [their] own course, [their] own destiny", and avoid any direct connections to "Smallville", which featured its own Green Arrow/Oliver Queen (Justin Hartley), opting to cast a new actor in the role of Oliver Queen. Unlike with "Smallville", the series does not initially feature super-powered heroes and villains. Instead, the creative still took inspiration from "Smallville", as one of the main themes of "Arrow" was to "look at the humanity" of Oliver Queen, as "Smallville" had done with Clark Kent. The decision not to include superpowers was, in part, based on the executives' desire to take a realistic look at the characters in this universe. The series was given a full season pick up on October 22, 2012.


title: Arrow (season 1)

text: The series develops relationship triangles: some love triangles, others designed to catch characters in "philosophical debates". Kreisberg provides one such example: "Every week, Oliver will be facing a bad guy, but the truth is, his real nemesis is Detective Lance, who's trying to bring him into justice.[...] His daughter is going to be caught in the middle, because she loves and respects her father, and she's always believed in what he believed, but at the same time, she's going to see this dark urban legend out there that's actually doing a lot of good; the kind of good that she wants to be doing in her role as a legal aid attorney." Learning from previous experiences working in television, the producers worked early on identifying the major story arcs for the series, specifically the first season, including "mapping out" how to accomplish them. Taking inspiration from Christopher Nolan's "Batman" film series, the creative team decided to "put it all out there" and "not hold back" from episode to episode.


title: Arrow (season 1)

text: The team strives to include various DC Comics characters and aspects of the DC universe. Guggenheim cited Big Belly Burger, a restaurant franchise introduced in the Superman comics, which appears in "Arrow"'s third episode and onward. Kreisberg said, "There are so many characters in the DC Universe who haven't gotten their due in TV and film. We're so excited to reach into [the DC comics] roster and take some of these lesser-known characters that are beloved by fans, and do our spin on the characters."


title: Arrow (season 1)

text: On January 31, 2012 Stephen Amell became the first actor to be cast, having previously appeared on other CW dramas such as "The Vampire Diaries" and "90210". Fan reaction to Amell's casting was mixed, with many fans wanting Justin Hartley to reprise his role from Smallville. Amell was one of the first actors to audition for the role of Oliver Queen, and Kreisberg felt that he "hit the target from the outset" and "everyone else just paled in comparison". "Arrow"s pilot script was the first Amell auditioned for during pilot season, having received multiple scripts at the start of the year.


title: Arrow (season 1)

text: Producer Marc Guggenheim expressed that the creative team wanted to "chart [their] own course, [their] own destiny", and avoid any direct connections to "Smallville", which featured its own Green Arrow/Oliver Queen who was portrayed by Hartley. Instead, they opted to cast a new actor in the titular role. Amell, who was already in shape from "Rent-a-Goalie", did physical fitness training at Tempest Freerunning Academy out of Reseda, California. He received archery training as well, which included watching a video on how archery has been displayed inaccurately or poorly in television and film before learning the basics of shooting a bow. For Amell, the appeal of portraying Queen was that he saw multiple roles tied to the same character: "There's Queen the casual playboy; Queen the wounded hero; Queen the brooding Hamlet; Queen the lover; Queen the man of action, and so on."


title: Arrow (season 1)

text: The realistic approach to the series included the costume design for Oliver's vigilante persona, created by Colleen Atwood. According to Amell, it was important for the suit to be functional, and the best way that he knew for that was if he could put the costume on by himself: "If I can put it on by myself, I think that people will buy it. And that was our idea. That's our world. My boots are actually Nike Frees, which is kind of cool. It's leather and it's tight and it's aggressive, but I can move in it. People will like it." David Nutter, the director of the pilot episode, said that "We're creating a real, believable world in which Oliver Queen can do incredible things. Colleen Atwood's great work on the Arrow costume reflects that effort."


title: Arrow (season 1)

text: Production on the pilot began in March 2012 in Vancouver, British Columbia, Canada. The series features two distinct timelines, which requires more specific planning in the filming schedule. Filming for the island flashbacks takes place in Vancouver's Whytecliff Park area, near beachfront homes. The production team is tasked with keeping the buildings out of camera frame. Additionally, producer Marc Guggenheim finds the process arduous: "Stephen [Amell] has to wear a wig, and his look has to be changed... there's a lot. It's actually incredibly ambitious to do these flashbacks every week, every single episode. Because like Andrew [Kreisberg] said, it's almost like it's its own show." Hatley Castle, located in Royal Roads University was used for exterior shots for the Queen family mansion. Hatley Castle had previously been used as the Luthor ancestral home in "Smallville". Vancouver's Terminal City Ironworks Complex doubles as the exterior for Queen Industrial, Inc, in which Oliver sets up his hideout and later his club Verdant. It has also been used on several other occasions, such as the warehouse in which Oliver and Tommy are kidnapped in the pilot episode, or the base of operations for the Chinese Triad in episode 108 "Vendetta".


title: Arrow (season 1)

text: To compose the score for "Arrow", executive producer Greg Berlanti invited Blake Neely, with whom he had first worked with on "Everwood", Neely created a score that combined electronic and orchestral cues, varying between action themes and romantic ones. Berlanti told Neely the series would be dark, and the music should be as well. After reading the pilot script, Neely went away to start composing on his own. According to Neely, "Of course, Oliver has his main theme but also sub-themes for the many layers of his character. He and Laurel have a love theme. Mom had a theme for the Undertaking. The bad guys all have themes, which makes it sad for me when one of them dies. So I try not to become attached to bad guy themes. Diggle has a theme. Even the Island itself has a theme." The soundtrack was released on September 17, 2013. It was composed by Blake Neely.


title: Arrow (season 1)

text: The season began airing in the United States on The CW on October 10, 2012, and completed its 23-episode run on May 5, 2013.


title: Arrow (season 1)

text: "Arrow: Season 1" was released as a 5-disc DVD set and as a 9-disc Blu-ray and DVD combo pack set on September 17, 2013 in the United States and September 23, 2013 in the United Kingdom. The DVD and Blu-ray box sets contain additional features, including making-of featurettes, deleted scenes, gag reel, and highlights from the Paley Fest 2012.


title: Arrow (season 1)

text: The first season received favorable reviews, with a Metacritic score of 73 out of 100, based on reviews from 25 critics, making it the highest rated CW show in five years. Review aggregator website Rotten Tomatoes calculated an approval rating of 85%, based on 36 reviews. The site's consensus reads: "The CW nails the target with "Arrow", a comic book-inspired series that benefits from cinematic action sequences, strong plotting, and intriguing characters."


title: Arrow (season 1)

text: Mary McNamara of the "Los Angeles Times" called the series an interesting setup with a quality look, describing Amell as "a poster boy (no doubt literally) for the Katniss Everdeen set." Brian Lowry at "Variety" described the series as a "handsome but stiff surrogate for Batman that could benefit from sharper execution." In reviewing the final episode of the first season, Alasdair Wilkins of "The A.V. Club" gave the season as a whole a rating of B+, noting that the show "hasn't quite figured everything out yet, but it's had some standout episodes."


title: Arrow (season 1)

text: "Arrow"s premiere episode drew 4.14million viewers, making it The CW's most-watched telecast of any show on any night in three years, and The CW's most-watched series premiere since "The Vampire Diaries" in 2009. In its second episode, "Arrow" became the only new network drama in the 2012–13 season to hold its ratings in both adults 18–34 and adults 18–49 from its premiere to its second week. The first season finished as the 130th ranked show, with an average viewership of 3.68million. In Australia, the premiere received 1.32million viewers, making it the third most-watched broadcast on the network that night. The UK broadcast was the highest-rated telecast of the week on Sky 1, with 1.85million viewers. In Canada, the first episode got 1.32million viewers, making it the fourth most-watched airing of the night and the twenty-third of the week.


title: Coat of arms of Mexico

text: The coat of arms of Mexico (, literally "national shield of Mexico") depicts a Mexican (golden) eagle perched on a prickly pear cactus devouring a rattlesnake. The design is rooted in the legend that the Aztec people would know where to build their city once they saw an eagle eating a snake on top of a lake. The image has been an important symbol of Mexican politics and culture for centuries. To the people of Tenochtitlan, this symbol had strong religious connotations, and to the Europeans, it came to symbolize the triumph of good over evil (with the snake sometimes representative of the serpent in the Garden of Eden).


title: Coat of arms of Mexico

text: The Law on the National Arms, Flag, and Anthem regulates the design and use of the arms. They feature in the centre of the flag of Mexico, are engraved on the obverse of Mexican peso coins, and are the basis of the Seal of the United Mexican States, the seal used on any official documents issued by the federal, state or municipal governmental authorities. The seal differs from the arms by the addition of the words ("United Mexican States", the full official name of the country) in a semicircle around the upper half.


title: Coat of arms of Mexico

text: The coat of arms recalls the founding of Mexico City, then Tenochtitlan. The legend of Tenochtitlan, as shown in the original Aztec codices, paintings, and post-Cortesian codices, does not include a snake. While the Codex Fejérváry-Mayer depicts an eagle attacking a snake, other Mexica illustrations, such as the Codex Mendoza, show only an eagle; in the text of the Ramírez Codex, however, Huitzilopochtli asked the Tenochtitlan people to look for an eagle devouring a snake, perched on a prickly pear cactus. In the text by Chimalpahin Cuauhtlehuanitzin, the eagle is devouring something, but it is not mentioned what it is. Other versions (such as the backside of the Teocalli of the Sacred War) show the eagle clutching the Aztec symbol of war, the glyph, or "burning water".


title: Coat of arms of Mexico

text: Moreover, the original meanings of the symbols were different in numerous ways. The eagle was a representation of the sun god Huitzilopochtli, who was very important, as the Mexicas referred to themselves as the "People of the Sun". The cactus ("Opuntia ficus-indica"), full of its fruits, called in Nahuatl, represents the island of Tenochtitlan. To the Mexicas, the snake represented wisdom, and it had strong connotations with the god Quetzalcoatl. The story of the snake was derived from an incorrect translation of the "Crónica Mexicáyotl" by Fernando Alvarado Tezozómoc. In the story, the Nahuatl text "the snake hisses" was mistranslated as "the snake is torn". Based on this, Father Diego Durán reinterpreted the legend so that the eagle represents all that is good and right, while the snake represents evil and sin. Despite its inaccuracy, the new legend was adopted because it conformed with European heraldic tradition. To the Europeans, it would represent the struggle between good and evil. Although this interpretation does not conform to pre-Columbian traditions, it was an element that could be used by the first missionaries for the purposes of evangelism and the conversion of the native peoples.


title: Coat of arms of Mexico

text: In 1960, the Mexican ornithologist Rafael Martín del Campo identified the eagle in the pre-Hispanic codex as the crested caracara or "quebrantahuesos" (bonebreaker), a species common in Mexico (although the name "eagle" is taxonomically incorrect, as the caracara is in the falcon family). The golden eagle is considered the official bird of Mexico. When Father Durán introduced the snake, it was originally an aquatic serpent. But in 1917, the serpent was changed to be a rattlesnake, because it was more common than the aquatic varieties in pre-Hispanic illustrations. As a result of this, the design and color of the snake on the modern coat of arms do not correspond with those of any species of snake, and were inspired by the representations of Quetzalcoatl, a rattlesnake with quetzal feathers.


title: Coat of arms of Mexico

text: The seal of New Mexico includes the eagle, snake, and cactus of the Mexican seal, sheltered or dominated by a larger bald eagle, representing New Mexico's history as part of Mexico and its later status as part of the United States. After the territory of New Mexico was admitted to the Union in 1912, a commission examining the new state's symbols recommended that both the "American" and "Mexican" eagles be North American golden eagles, but instead it uses an American bald eagle for the United States and a harpy eagle for Mexico.


title: Hasanlu Lovers

text: The Hasanlu Lovers are a pair of human remains found at the Teppe Hasanlu archaeological site, located in the Naqadeh in the West Azerbaijan Province of Iran. Around 800BCE, the city of Hasanlu, located in north-western Iran, was destroyed by an unknown invader. Inhabitants were slain and left where they fell. In 1973, the lovers were discovered by a team of archaeologists from the University of Pennsylvania led by Robert H. Dyson.


title: Hasanlu Lovers

text: The two human skeletons were found together in a bin during excavations, seemingly embracing at the time of death, with no other objects except a stone slab under the head of one skeleton. They died together around 800 BCE, during the last destruction of the Hasanlu. Approximately 246 skeletons were found at the site altogether. How the lovers died and ended up in the bin is still under speculation but both skeletons lack evidence of injury near the time of death and possibly died of asphyxiation. They were exhibited at the Penn Museum from 1974 until the mid-1980s.


title: Hasanlu Lovers

text: The right skeleton, referred to as HAS 73-5-799 (SK 335), is lying on its back and the left skeleton, referred to as HAS 73-5-800 (SK 336), is lying on its left side facing SK 335. When excavated, the skeletons were tested to determine various characteristics. Dental evidence suggest SK 335 was a young adult, possibly 19–22 years of age. Researchers identified the skeleton as male largely based on the pelvis. The skeleton had no apparent evidence of disease or healed lifetime injuries. Skeleton SK 336 appeared to have been healthy in life; the skeleton had no apparent evidence of healed lifetimes injuries, and was estimated to have been aged to about 30–35 years. Sex determination of the left skeleton was less definitive. Evidence suggests SK 336 was also male after being originally identified as female. The skeletons have been a subject of debate since they were first excavated.


title: Hasanlu Lovers

text: Hasanlu is an ancient Near Eastern site located in the Qadar River valley, on the southern shore of Lake Urmia in northwest Iran. The city of Hasanlu was occupied consistently from the sixth millennium BCE to around 800 BCE, when the site was invaded and destroyed by fire. In 1934 – 1936 Hasanlu was commercially dug by Sir Aurel Stein, a British archaeologist. Then, in 1956, the Hasanlu Project was launched by the sponsorship of the University Museum of Pennsylvania, the Metropolitan Museum of Art, and the Archaeological Service of Iran. Following the launch of the Hasanlu Project, a team of archaeologists from Penn Museum led by Director Robert H. Dyson excavated the site from 1957 to 1974. This team completed nine excavation campaigns, and the excavation of the site ended more than 40 years ago (as of in 2022).


title: Hasanlu Lovers

text: Excavation of the site revealed burnt remains of huge mudbrick walls, thick layers of ash, skeletons, vessels, and more. Excavation exposed extensive destruction – evidence of the city’s invasion and arson. Archaeologists explain that the nature of the destruction resulted in the city being frozen in time, preserving buildings, artefacts, and skeletal remains. Approximately 246 skeletons, of a variety of ages and genders were found. The bodies were left where they were killed in the streets and in buildings. Some victims were found in groups, with head lacerations, and dismembered limbs which suggested mass executions had taken place. Among the 246 skeletons found, two of them were the remains of the Hasanlu Lovers.


title: Hasanlu Lovers

text: Who attacked Hasanlu is still unknown, but the general academic consensus is that the Iranian Empire were the invaders, but the Assyrian Empire was also very prominent in the region. There is no indication from the skeletons themselves or from the artefacts exactly who the invaders were. The city of Hasanlu itself is considered protohistoric: they didn’t have any writing around the site, unlike other regions around them. Because of this, archaeologists do not know how they would have identified themselves, or who they were, or the language they would have spoken.


title: Hasanlu Lovers

text: The skeletal remains of the Hasanlu Lovers were found together in a plaster-lined brick bin with no other objects except a stone slab under the head of one skeleton. The excavation took place in 1973, directed by Robert H. Dyson, Jr.  Dr. Selinsky stated that the lovers perished together during the invasion of the site, around 800 BCE, during the last destruction of the Hasanlu, but did not have any lethal wounds. Archaeologist Oscar Muscarella suggests that the hole in the right skeleton's skull is not due to an injury, but the result of a blow created by a workman’s pickaxe. When discovered, the two skeletons were facing and embracing each other. The skeleton on the left is lying on their left side, reaching with their right hand towards the skeleton on the right.


title: Hasanlu Lovers

text: There is no definitive explanation as to how the two skeletons ended up in the bin—only assumptions. One assumption is that, “they must have crawled into this bin, which was probably covered at the time, and escaped detection.” Since cause of death wasn’t due to injury, archaeologists have concluded that the probable cause of death was asphyxiation, when debris fell from the burning building, and sealed them in.


title: Hasanlu Lovers

text: Anthropologists Page Selinsky and Janet Monge go into extensive detail about the DNA testing of the Hasanlu lovers and how the DNA testing compares to the skeletal assessment of their biological sex.


title: Hasanlu Lovers

text: The lovers were first sampled for specific isotopes to see if there were any differences in the skeletal series and the diets that they consumed. What the isotopic testing revealed was that the diets of the individuals were quite varied, but they were not patterned in any particular way. Isotopic signatures indicate that the diets of the residents of Hasanlu were varied, including wheat, barley, sheep and goats. Isotopic signatures coming from oxygen revealed the lovers' settlement patterns; these oxygen isotopic signatures revealed that the lovers, and the other Hasanlu people, were all born and raised in the Hasanlu area.


title: Hasanlu Lovers

text: It was concluded by Selinsky and Monge that both individuals were male. They came to this conclusion when comparing both the DNA analysis and skeletal assessment. Dr Selinsky stated that the pelvis was the single best criterion for estimating the sex of the skeletons as there are distinctive features between a female and a male pelvis.


title: Hasanlu Lovers

text: The skeleton on the right (referred to as SK 335) is lying on its back. The front portion of his pelvis was lost but when examining his sciatic notch, it was evident he was a male due to the very narrow gap which is a distinctive feature of the male pelvis. As such, researchers identified the skeleton as male largely based on the pelvis. The skeleton had no apparent evidence of disease or healed lifetime injuries.


title: Hasanlu Lovers

text: For the left skeleton (SK 336), lying on its left side facing SK 335, the sex estimation was less clear, but overall research suggests a male: the cranium is distinctively male, while the pelvis is more mixed in its morphology. At the time of excavation, this skeleton was originally identified as female. This was because his sciatic notch was quite wide, a characteristic of a female pelvis, but the front portion of his pelvis which was retrieved from the site, had an acute angle in the front and was less pulled out than a female’s, which suggested the skeleton was a male. The individual appeared to have been healthy in life, and the skeleton had no apparent evidence of healed lifetime injuries. The sex of the lovers was confirmed from a bone sample for an ancient DNA analysis. The genetic determination of the Hasanlu lovers was male.


title: Hasanlu Lovers

text: The age of the two skeletons was also determined. Dental evidence suggests that the right skeleton was a young adult or subadult, estimated to be aged 19–22 years old, as he has third molars, and his wisdom teeth recently grew. His skull was less developed, which was attributable to the young age of the individual. The left skeleton was estimated to be an older adult 30–35 years old; his skull had fully developed, and the cranium was distinctively male.


title: Hasanlu Lovers

text: Some researchers argue sensationalism about the Hasanlu Lovers, and other potential examples of non-heteronormative behaviours in the past are problematic. The two skeletons received their sobriquet 'Hasanlu Lovers' due to the intimate position they were found in. Before the skeletons were subjected to DNA analysis one skeleton was thought to be male and the other female. Muscarella, an archaeologist who was heavily invested in the discoveries made at Hasanlu, states, "I knew at first sight who was the female," in reference to the two skeletons. However, the team from the University of Pennsylvania, assessed that the right skeleton was likely male due to its morphology. The left skeleton had less clear osteological indicators, but was later identified to be male through DNA analysis. Limitations of osteological sex assessments as noted by one author is that there are many times when the biological sex can not be certain, and that these tests do not reveal anything about the culturally-constructed gender.


title: Hasanlu Lovers

text: Reasons for expecting the skeletons to be heteronormative couple, as Killgrove and Geller explain, is because we are encultured to see this representation. Projecting contemporary assumptions about sex, gender, and sexuality onto the past can be problematic, states Geller. Finally, the true relationship between the two skeletons is unknown and remains up to speculation.


title: Fever (Kylie Minogue album)

text: Fever is the eighth studio album by Australian singer Kylie Minogue. It was released on 1 October 2001 internationally by Parlophone and later launched in the United States on 26 February 2002 by Capitol Records. Minogue worked with writers and producers such as Cathy Dennis, Rob Davis, Richard Stannard, Julian Gallagher, TommyD, Tom Nichols, Pascal Gabriel and others to create a disco and Europop-influenced dance-pop and nu-disco album. Other musical influences of the album range from synth-pop to club music.


title: Fever (Kylie Minogue album)

text: Upon its release, "Fever" received positive reviews from music critics, many of whom praised its production and commercial appeal. The album was a commercial success, peaking at number one in Australia, Austria, Germany, Ireland, and the UK. In the US, the album peaked at number three on the "Billboard" 200 chart, becoming Minogue's highest selling album in the country; it was certified platinum by the Recording Industry Association of America (RIAA). "Fever" was also certified seven-times platinum by the Australian Recording Industry Association (ARIA), and five-times platinum by the British Phonographic Industry (BPI). It won the International Album accolade at the 2002 Brit Awards ceremony.


title: Fever (Kylie Minogue album)

text: Four singles were released from the album. The lead single, "Can't Get You Out of My Head" was released in September 2001 and peaked atop the charts of 40 countries, eventually selling more than six million copies worldwide. The song, which is often recognised as Minogue's signature song, is her highest-selling single and one of the best-selling singles of all time. Follow-up singles "In Your Eyes" and "Love at First Sight" also performed well on charts internationally. The last single "Come into My World" won the Grammy Award for Best Dance Recording in 2004. To promote the album, Minogue embarked on her seventh concert tour, the KylieFever2002 tour.


title: Fever (Kylie Minogue album)

text: In 1998, Minogue was dropped from her label Deconstruction following the poor commercial performance of her sixth studio album "Impossible Princess". She instead signed on to Parlophone and released her seventh studio album "Light Years". The disco and Europop-inspired album was a critical and commercial success, and was later certified four times-platinum in Minogue's native country Australia for shipment of 280,000 units, and platinum in the UK for shipment of 300,000 units. "Spinning Around" was released as the lead single off the album and was a commercial success, attaining a platinum certification in Australia for shipment of 70,000 units, and a silver certification in the United Kingdom for shipment of 200,000 units. She promoted the album by embarking on the On a Night Like This tour.


title: Fever (Kylie Minogue album)

text: Soon after, Minogue began work on her eighth studio album "Fever". On the album, she collaborated with producers and writers such as British singer-songwriter Cathy Dennis, who co-wrote two songs out of the three she co-produced, Rob Davis, who co-produced and co-wrote three songs, and Richard Stannard and Julian Gallagher, who co-produced and co-wrote six songs ("Love at First Sight", "In Your Eyes", "Love Affair", "Boy", "Rendezvous at Sunset", and "Music Will Always Love You"). In the vein of "Light Years", "Fever" is a disco and dance-pop album that contains elements of adult contemporary and club music. The album was recorded at studios such as the Windmill Lane Studios in Dublin, Hutch Studios in Chicago, Olympic Studios in London and Stella Studios.


title: Fever (Kylie Minogue album)

text: "Fever" is primarily a dance-pop album, with prominent elements of 1970s-influenced disco and Europop. Jacqueline Hodges from BBC Music wrote that the album is not "pure pop", and is rather characterized by a more adventurous dance-oriented sound. "NME" critic Alex Needham identified a "filter disco effect", described as "the one that sounds like you've gone under water and then ecstatically come up for air," working on various songs on the album. Needham saw "Fever" as an "update" from the "frothy disco" of "Light Years". Songs like the opening track "More More More" and closing track "Burning Up" are examples of the disco-influenced production of the album. The former is an uptempo song with a "funky" bassline, while the latter was described as a "slow burn" disco song. Teen pop elements appear on songs like "Love at First Sight", which begins with an electric piano intro, and the "aggressive" "Give It to Me".


title: Fever (Kylie Minogue album)

text: The lead single "Can't Get You Out of My Head" is a "robotic" midtempo dance and disco song. Many critics felt that various songs on the album, particularly "Come into My World", are similar to "Can't Get You Out of My Head". The title track and "Dancefloor" draw influences from synthpop and club music, respectively. "In Your Eyes" contains hints of disco and techno music. Minor influences of ambient music surface on the "atmospheric" "Fragile". Minogue's vocal delivery ranges from "sensuous" (in "More More More") to "sweet" (in "Your Love"). The latter track contains instrumentation from an acoustic guitar. Jason Thompson from PopMatters commented that Minogue "knows how to express herself through irresistible melodies and seductive emoting", such as on the title track, which makes use of "suggestive panting". Unlike Minogue's previous studio efforts, "Fever" does not contain any ballads.


title: Fever (Kylie Minogue album)

text: The lyrical content of "Fever" chiefly focuses on themes of love and enjoyment. Thompson described the album to be "all about dancing, fucking, and having a good time". In the song "Love at First Sight", Minogue describes how she fell in love with her partner at "first sight" and how it led to good things happening for her. "Can't Get You Out of My Head" was termed a "mystery" as the singer never mentions who her object of desire in the song is. Lynskey Dorian from "The Guardian" suggested that Minogue refers to either "a partner, an evasive one-night stand or someone who doesn't know she exists" as her obsession. The production of "Give It to Me" contrasts with its lyrics: Minogue urges her partner to "slow down," but the beat "goes in the opposite direction and tells your body to push it a little more on the dance floor." The lyrics of "Fragile" are simple and aim directly at the "[listener's] heart". "Come into My World" is a "plea for love" as Minogue invites her partner into her life. On the other hand, "Dancefloor" focuses on issues like dealing with an end of a relationship, with Minogue celebrating a break-up by "lose[ing] it in the music".


title: Fever (Kylie Minogue album)

text: Minogue's close friend and stylist William Baker, collaborated with graphic designer Tony Hung to create the artwork's concept of electro-minimalism. On the cover, which was photographed by Vincent Peters and inspired by the cover of Grace Jones' "Island Life" (1985), Minogue is seen "bound by a microphone cord, literally tied to her craft" and dressed in white leotard designed by Fee Doran, under the label of Mrs Jones, and shoes made by Manolo Blahnik. In her 2012 fashion retrospective book "Kylie / Fashion", Minogue commented on the album's theme, saying: "The whole campaign was so strong, sure, ice cool. Willie's [William's] styling was incredible and [Peters'] photography made for a second amazing album cover with him." A new cover was issued for the US version of the album and features a close-up of Minogue biting on a bracelet. The US version cover also served as one of two CD single covers for second single of the album, "In Your Eyes".


title: Fever (Kylie Minogue album)

text: "Fever" was released by Parlophone on 1 October 2001, in Australia, the United Kingdom, and other European countries. In the United States, the album was released by Capitol Records on 26 February 2002, and was Minogue's first album to be released in the country since her second studio album "Enjoy Yourself" (1989). Thus, Minogue was reintroduced to the US after nearly 13 years of inactivity in the region. A special edition of the album, containing a previously unreleased track entitled "Whenever You Feel Like It", was released on 19 November 2002.


title: Fever (Kylie Minogue album)

text: Minogue launched the KylieFever2002 concert tour to promote the album. The tour was split in seven acts and "Can't Get You Out of My Head", "Come into My World", "Fever", "In Your Eyes", "Love at First Sight" and "Burning Up" were the songs from the album to be included on the setlist. For the performances, Minogue wore "skimpy" and skin-tight outfits, and was often seen wearing a glittering silver bikini and skirt coupled with silver boots. The outfits were designed by Italian luxury industry fashion house Dolce and Gabbana, and Minogue went through a total of eight costume changes during the tour. The performances that took place at the Manchester Evening News Arena, England, were filmed for inclusion in the live DVD for the concert tour entitled "", which was released on 18 November 2002. The DVD was certified platinum in Canada for sales of 10,000 units, gold in Germany for sales of 25,000 units, and double-platinum in the United Kingdom for shipments of 100,000 units.


title: Fever (Kylie Minogue album)

text: "Can't Get You Out of My Head" was released as the lead single from the album on 8 September 2001. The song was well received by music critics, many of whom complimented its vibe and danceability. Commercially, the single was a massive success and peaked at number one on the charts of every European country (except Finland) and Australia. The song was released in the United States on 18 February 2002 and managed to peak at number seven on the "Billboard" Hot 100 chart, becoming Minogue's best selling single in the region since "The Locomotion". It was certified triple-platinum in Australia for shipment of 210,000 units, platinum in the United Kingdom for shipment of 600,000 units, and gold in the United States for shipment of 500,000 units. An accompanying music video for the single was directed by Dawn Shadforth and features Minogue and a number of backup dancers dancing in various futuristic backdrops.


title: Fever (Kylie Minogue album)

text: "In Your Eyes" was released as the second single of the album on 21 January 2002, but in Europe, the release was delayed to 18 February due to the success of "Can't Get You Out of My Head". It received generally positive reviews from music critics and was praised for its house influences. It became the second consecutive single from the album to peak atop the Australian Singles Chart. The song was also commercially successful internationally and peaked in the top ten of charts in countries like Italy, Finland, Switzerland, and the United Kingdom. It was certified gold in Australia for sales of 35,000 units, and silver in the United Kingdom for sales of 200,000 units. An accompanying music video for the song was again directed by Shadforth, and features Minogue performing a dance routine and striking various poses in a colourful neon-lighted room.


title: Fever (Kylie Minogue album)

text: "Love at First Sight" was released as the third single from the album on 3 June 2002. It received positive reviews from music critics, with many favouring its production. The song was a commercial success and peaked in the top ten of charts in countries like Australia, Denmark, Italy, New Zealand and United Kingdom. The song was remixed by Ruff and Jam and this version was released in the United States, where it managed to chart at number 23 on the "Billboard" Hot 100 chart. It was certified gold in Australia for sales of 35,000 units and in New Zealand for sales of 7,500 units. An accompanying music video for the single was directed by Johan Renck and features Minogue dancing in a futuristic environment sporting cargo pants and teal eyeshadow. The song was later nominated for the Grammy Award for Best Dance Recording in 2003.


title: Fever (Kylie Minogue album)

text: A re-recorded remixed version of "Come into My World" was released as the fourth and final single off the album on 4 November 2002. It generated a favourable response from music critics, who enjoyed its lyrical content. Commercially, the single performed fairly well and peaked in the top 10 in Australia, Belgium (French-speaking Wallonia region), and the United Kingdom. In the United States, the song peaked at number 91 on the "Billboard" Hot 100 chart. It received a gold certification in Australia for sales of 35,000 units. An accompanying music video for the song was directed by Michel Gondry and features Minogue strolling around a busy street in Paris, France; every time she completes a full circle, a duplicate of her appears through one of the stores, and by the end of the video there are four Minogues present together.


title: Fever (Kylie Minogue album)

text: "Fever" received generally favourable reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, "Fever" received an average score of 68 based on 15 reviews, indicating "generally favourable reviews". Jason Thompson from "PopMatters" gave the album an extremely positive review and praised the conception and production of the album, calling it a "perfect album of gorgeous dance music" and claiming that "there probably won't be a better album like it all year long". Chris True from AllMusic also gave it an acclaimed review and enjoyed the simple disco and dancepop music of the album, saying that there is "not one weak track, not one misplaced syrupy ballad to ruin the groove". Alex Needham from "NME" positively reviewed the album and noted that while the album lacks depth, it is "as effervescent as a foot spa" and that through the album, Minogue "shows the upstarts how it's done". Dominique Leone from "Pitchfork" gave it a favourable review and praised its simple and "comfortable" composition, terming it a "mature sound from a mature artist, and one that may very well re-establish Minogue for the VH1 generation".


title: Fever (Kylie Minogue album)

text: Alexis Petridis from "The Guardian" praised the commercial nature of the album and called it "a mature pop album only in that it's aimed at the boozy girl's night out rather than the school disco". Jacqueline Hodges favoured the album's consistency and complimented its commercial prospect, predicting that the album is "going to sell bucket loads". Jim Farber from "Entertainment Weekly" labelled the album "the best guilty-pleasure retro-dance smash since Eiffel 65's "Blue"", but felt that Minogue "milks the formula (of "Can't Get You Out of My Head") dry on the album". Michael Hubbard from MusicOMH enjoyed the fun nature of the album and said that "if you want something to drive to, dance to, play at a house party or cheer your workmates up with, "Fever" is for you". Sal Cinquemani from "Slant Magazine" gave the album a negative review, criticizing Minogue's "painfully precise" vocals and the album's monotony.


title: Fever (Kylie Minogue album)

text: "Fever" also brought Minogue a number of accolades and award nominations. At the 2002 ARIA Music Awards ceremony, the album won the awards for Best Pop Release and Highest Selling Album, and garnered a nomination in the category of Album of the Year. At the same ceremony, "Can't Get You Out of My Head" won the awards for Single of the Year and Highest Selling Single, and Minogue won the Outstanding Achievement Award. At the 2002 Brit Awards ceremony, "Fever" won the award for Best International Album, while Minogue was nominated for Best International Female Solo Artist and Best Pop Act, winning the former. At the 2002 MTV Europe Music Awards ceremony, the album was nominated for Best Album; Minogue was nominated for Best Female Act, Best Dance Act, and Best Pop Act, winning the latter two.


title: Fever (Kylie Minogue album)

text: Minogue earned her first Grammy Award nomination when "Love at First Sight" was nominated in the category of Best Dance Recording at the 2003 award ceremony, although it lost to British electronic band Dirty Vegas's song "Days Go By". She eventually won a Grammy Award when "Come into My World" was nominated in the same category at the 2004 award ceremony. It marked the first time an Australian music artist had won an award in a major category at the American award show since Australian rock band Men at Work won the award for Best New Artist in 1982. The song is Minogue's only Grammy award-winning song to this date. In 2015, "Fever" was ranked 34th on "The 99 Greatest Dance Albums of All Time" by "Vice" magazine. In December of 2021, the album was listed at no. 10 in Rolling Stone Australia’s ‘200 Greatest Albums of All Time’ countdown.


title: Fever (Kylie Minogue album)

text: In Minogue's native country Australia, "Fever" entered at number one on the Australian Albums Chart on the week of 21 October 2001, and spent a total of five weeks in the position. In this region, "Fever" was certified seven-times platinum for shipments of 490,000 units by the Australian Recording Industry Association. The success of the album in Australia was such that it was listed in the top-ten highest selling albums of the country in both 2001 and 2002, appearing at numbers five and four, respectively. It also became the best selling dance album in the country in both 2001 and 2002. In the United Kingdom, "Fever" entered at number one on the UK Albums Chart on the week of 13 October 2001 with sales of 139,000 units, and spent a total of two weeks in the position. The album spent 20 weeks inside the top ten and over 50 weeks inside the top forty of the chart. In this region, the album was certified five-times platinum by the British Phonographic Industry for shipments of 1,500,000 units. Following the album’s 20th anniversary, in October 2021 the album re-entered the UK Albums Chart at number 23, its highest chart position since August 2002.


title: Fever (Kylie Minogue album)

text: The album achieved similar success in other regions. In Austria, the album entered at number one on the Austrian Albums Chart and spent a total of 29 weeks on the chart. In this territory, it was certified platinum for sales of 15,000 units by the International Federation of the Phonographic Industry. In Denmark, the album entered and peaked at number four on the Danish Albums Chart and spent one week at this position. In this region, it was certified gold by the International Federation of the Phonographic Industry. In France, the album entered the French Albums Chart at number 51 and peaked at number 21, spending a total of three weeks at this position. In this region, the album was certified platinum for sales of 100,000 units by the Syndicat National de l'Édition Phonographique. In Germany, the album peaked at number one on the German Albums Chart for two weeks. In this region, it was certified platinum by the Federal Association of Music Industry for shipments of 200,000 units. In Ireland, the album entered the Irish Albums Chart at number two and peaked at number one, spending a total of one week on this position. In New Zealand, the album entered and peaked at number three on the New Zealand Albums Chart, spending a total of one week at this position. In this region, the album was certified double-platinum by the Recording Industry Association of New Zealand for shipments of 30,000 units. In Switzerland, the album entered the Swiss Albums Chart at number 12 and peaked at number three, spending a total of one week in the position. In this territory, the album was certified double-platinum by the International Federation of the Phonographic Industry for sales of 40,000 units.


title: Fever (Kylie Minogue album)

text: In the United States, the album sold 115,000 copies in its first-week and debuted at number three on the "Billboard" 200 chart, becoming Minogue's highest-charting album in the region to date. In this region, the album was certified platinum by the Recording Industry Association of America for shipments of 1,000,000 units. In Canada, the album peaked at number 10 on the Canadian Albums Chart and spent a total of two weeks on the chart. In this region, the album was certified double-platinum for shipments of 200,000 units by Music Canada. According to the IFPI, "Fever" was the thirtieth best-selling album globally in the year 2002. "Fever" has sold over 6 million copies worldwide, becoming Minogue's highest selling album.


title: Fever (Kylie Minogue album)

text: "Fever" is considered to be a prominent example of Minogue's constant "reinventions". The image she adopted during this period was described by Baker as "slick, minimalist and postmodern", and it was seen as a step forward from the "camp-infused" tone of "Light Years". Larissa Dubecki from "The Age" used the term "nu-disco diva" to describe Minogue during this period. Andy Battaglia from "The A.V. Club" opined that Minogue's public image and her persona in her music videos "presented herself as a mechanical muse whose every gesture snapped and locked into place with the sound of a vacuum seal". He further remarked that the singer's "hygienic coo summoned a cool sort of cyborg soul, and her videos showed her gliding through sleek futurescapes, tonguing the sweet-and-sour tang of a techno kiss".


title: Fever (Kylie Minogue album)

text: Adrien Begrand from "PopMatters" felt that the simplicity of the album made it a "classy piece of work" and commented that Minogue's experience and choice of collaborators resulted in "the thirtysomething Minogue upstaging soulless, brainless music by younger American pop tarts like Britney [Spears] and Christina [Aguilera]". Robbie Daw from "Idolator" pointed out that Britney Spears's recording of her 2004 hit "Toxic", Madonna's comeback album "Confessions on a Dance Floor" (2005), Paris Hilton's musical debut "Paris" (2006), and radio stations' shift towards playing "more groove-oriented sounds" all followed the release of "Fever", although he admitted that "we have no way of knowing whether Kylie Minogue's eighth studio album was directly responsible for these pop happenings".


title: Fever (Kylie Minogue album)

text: Chris True from AllMusic, in his biography of Minogue, commented that the release of the album and lead single "Can't Get You Out of My Head" cemented her position as an international music icon, saying "Her place in pop music history would be consolidated in 2001, and she would be reintroduced to America after more than a decade as well". The lead single peaked atop charts in 40 countries and sold more than six million copies worldwide, becoming Minogue's highest selling single to date and one of the best-selling singles of all time. The song is notable for being Minogue's biggest and strongest commercial breakthrough in the United States, a region in which Minogue previously had managed to achieve little success. It is also considered to be Minogue's signature song. Due to the single's commercial impact, the album enjoyed similar success in the United States and earned Minogue her only platinum album certification in the region.


title: Brad Mondo

text: Brad Gesimondo, commonly known as Brad Mondo (born October 28, 1994), is an American hairstylist, entrepreneur and social media personality.


title: Brad Mondo

text: Mondo was born in Franklin, Massachusetts on October 28, 1994. He has a brother named Eric. In his childhood, he followed in his father's footsteps as a hairstylist. He started his YouTube career at the age of 12 and was a sales associate with Calvin Klein for a while.


title: Brad Mondo

text: Mondo became popular through his "Hairdresser Reacts" videos on social media and educational videos on hair styling. He has also styled celebrities such as Charli D'Amelio, Vanessa Hudgens, Heather Marks, and Shay Mitchell.