Name.

According to some sources, the name derives from the acronym of the Latin phrase 'Dat Aliis Laetitiam Aliis Temperiem' ("It Gives Pleasure to Some, Freshness to Others"), which the French colonial government used in their official emblem of Da Lat. In reality, the name derived from the language of the local ethnic group Lạt and its original meaning is "Stream of the Lạt", and the acronym above is in fact a backcronym.

History.

During the 1890s, explorers in the area (including the noted bacteriologist Alexandre Yersin, protégé of the renowned French chemist Louis Pasteur), which was then part of the French colony of Cochinchina, asked the French governor-general, Paul Doumer, to create a resort center in the highlands. The governor agreed. The original intended site for the hill station was Dankia, but Étienne Tardif, a member of the road-building expedition of 1898–99, proposed the current site instead. In 1907, the first hotel was built. Urban planning was carried out by Ernest Hébrard. Many Europeans used to travel up to Da Lat to escape the heat of the lower coastal areas.  The French endowed the city with villas and boulevards, and its Swiss charms remain today. Hébrard included the requisite health complex, golf course, parks, schools, and homes but no industry. The legacy of boarding schools where children from the whole of Indochina were taught by French priests, nuns, and expatriates still existed as late as 1969. In 1929, the Christian and Missionary Alliance established a school which later relocated to Bangkok, Thailand, due to the Vietnam War and has been located in Penang, Malaysia, since the 1970s. There were seminaries of Jesuits (such as Pius X Pontifical College) and other orders. The elite Vietnamese National Military Academy graduated its first class of future leaders in 1950. There was an aviation school at Cam Ly Airport.  During World War II, Da Lat was the capital of the Federation of Indochina, from 1939 to 1945.  In the mid-1950s, the Vietnamese Scout Association established their national training grounds at Da Lat.  The only major involvement Da Lat had during the Vietnam War was within the 1968 Tet Offensive. Fierce battles raged from January 31 to February 9, 1968. Most of the fighting took place between the South Vietnamese MP units stationed in Da Lat and the Việt Cộng (VC) forces. American MPs were also involved in the fighting and suffered several KIAs during a rocket attack on their compound. Defeats and victories alternated between the two during the sporadic-yet-intense battles. However, the South Vietnamese MPs were eventually able to regain control of Da Lat. It is stated that around 200 VC were killed-in-action (KIAs) during this battle. Although South Vietnamese MP forces were known to have significantly fewer KIAs, their injured list grew steadily throughout the engagement because of periods of low supplies and support. What ultimately saved the South Vietnamese MPs was the fact that they held strong defensive positions throughout Da Lat from the beginning to the end of the battles.

Geography.

Da Lat is located above sea level on the Langbian Plateau in the southern parts of the Central Highlands (in Vietnamese: "Tây Nguyên").

Geology.

Da Lat is a source area for pyroxene from the Australasian strewnfield.

Administrative.

Da Lat is divided into 12 wards which are numbered 1 to 12, and 4 communes: Ta Nung, Xuan Truong, Xuan Tho and Tram Hanh.

Climate.

Da Lat features a subtropical highland climate under the Köppen climate classification ("Cwb") and is mostly mild year round.  Da Lat's year-round temperate weather, standing in contrast to central & southern Vietnam's otherwise-tropical climate, has led it to be nicknamed the “City of Eternal Spring”. The average temperature is. The highest temperature ever in Da Lat was, and the lowest was. Mist covers the adjoining valleys almost year-round. Its temperate climate also makes it ideal for agriculture. Indeed, Da Lat is renowned for its orchids, roses, vegetables, and fruits. There are nascent wine-making and flower-growing industries in the region.  There are two separate seasons in Da Lat. The rainy season lasts from April to November, and the dry season is from December to March. The average annual precipitation is 1,768 mm.

Architecture.

The architecture of Da Lat is dominated by the style of the French colonial period. Da Lat Railway Station, built in 1938, was designed in the Art Deco architectural style by French architects Moncet and Reveron, although it incorporates the high, pointed roofs characteristic of the "Cao Nguyen" communal buildings of Vietnam's Central Highlands. The three gables represent an art deco version of Normandy's Trouville-Deauville Station. The station's unique design—with its roofs, arching ceiling, and coloured glass windows—earned it recognition as a national historical monument in 2001. They designed the Lycée Yersin, which opened in 1927. The Dominion of Mary Church and Convent, home to Roman Catholic nuns of the Mission of Charity, were built in 1938 with a similar pointed-roof style. Of particular note is the unconventional architecture of the Hằng Nga guesthouse, popularly known as the “Crazy House”. Described as a “fairy tale house”, its overall design resembles a giant banyan tree, incorporating sculptured design elements representing natural forms such as animals, mushrooms, spider webs and caves. Its architecture, consisting of complex, organic, non-rectilinear shapes, has been described as expressionist. Its creator, Vietnamese architect Dang Viet Nga (also known as Hằng Nga), who holds a PhD in architecture from Moscow State University, has acknowledged the inspiration of Catalan Spanish architect Antoni Gaudí in the building's design. Visitors have variously drawn parallels between the guesthouse and the works of artists such as Salvador Dalí and Walt Disney. Since its opening in 1990, the building has gained recognition for its unique architecture, having been highlighted in numerous guidebooks and listed as one of the world's ten most “bizarre” buildings in the Chinese People's Daily. While superficially amusing, the compound is let down by the construction debris and household refuse behind the facades, and the lack of attention to safety issues. Da Lat is also well known for a series of three Mansions of the Vietnamese Last Emperor. The First Mansion was built in 1940 by the French millionaire Robert Clément Bourgery and was bought by Emperor Bao Dai in 1949. It was used as a summer mansion for President Ngo Dinh Diem and following presidents of the Republic of Vietnam until 1975. The Second Mansion was built in 1933 as the summer mansion for Governor of French Indochina Jean Decoux. Built in 1933–1938, the Third Mansion was the residence of Emperor Bao Dai and his family. The whole mansion itself attributes to the typical European style since both its front and backyard have flower gardens. The Third Mansion is currently open for tourists who wish to have a look back in time when Queen Nam Phuong resided during her lifetime.

Tourism.

Da Lat is a famous tourist city of Vietnam which was included in the list of Asia's overlooked places by the CNN in 2017.  Hoa Binh Area is the center downtown of Da Lat which attracted numerous visitors. Some popular sites located at Hoa Binh Area are Coi Xay Gio bakery, Lien Hoa bakery, Windmills coffeehouse and Tung coffeehouse. Coi Xay Gio is known as a perfect selfie spot thanks to its remarkable yellow wall.

Da Lat (; ), is the capital of Lâm Đồng Province in Vietnam. The city is located above sea level on the Langbian Plateau in the southern parts of the Central Highlands region. Da Lat is a popular tourist destination in Vietnam.

Đà Lạt ist eine Stadt in Vietnam, im südlichen Teil des zentralen Berglandes am "Xuân Hương-Stausee" gelegen. Die Stadt hat 188.467 Einwohner (Stand: 2004). Đà Lạt ist Hauptstadt der Provinz Lâm Đồng und verfügt über eine Universität und mehrere Forschungsinstitute. Gemüseanbau, Blumenzucht und Tourismus sind die Wirtschaftszweige in Đà Lạt.


Materials.

Rayon was used in the 1920s in the manufacture of tight-fitting swimsuits, but its durability, especially when wet, proved problematic, with jersey and silk also sometimes being used.  In the 1930s, new materials were being developed and used in swimwear, particularly latex and nylon, and swimsuits gradually began hugging the body, especially women's swimsuits.  Some companies have started to focus on recycled materials for their swimwear. They are working with companies that transform fishnets, nylon waste, and recovered plastic from shorelines, waterways and coastal communities into textile components.

Swimsuit styles.

In Western culture, men's swimsuit styles include boardshorts, jammers, swim trunks, briefs AKA "speedos", thongs, and g-strings, in order of decreasing lower body coverage, and women's swimsuits include one-piece, bikinis, or thongs. While they go through many trends in pattern, length, and cut, there is not much modification to the original variety of suit. A recent innovation is the burqini, favored by some Muslim women, which covers the whole body and head (but not face) in a manner similar to a diver's wetsuit. These are an updated version of full-body swimwear, which has been available for centuries, but conforms with Islam's traditional emphasis on modest dress. In Egypt, the term "Sharia swimsuit" is used to describe full-body swimwear.

Body coverage.

Swimsuits can be skin-tight or loose-fitting. They are often lined with another layer of fabric if the outer fabric becomes transparent when wet.  Swimsuits range from designs that almost completely cover the body to designs that expose almost all of the body. The choice of swimsuit will depend on personal and community standards of modesty and on considerations such as how much or how little sun protection is desired, and prevailing fashions. Almost all swimsuits cover the genitals and pubic hair, while most except thongs or g-string (also called Brazilians) cover much or all of the buttocks.  Most swimsuits in western culture leave at least the head, shoulders, arms, and lower part of the leg (below the knee) exposed. Women's swimsuits generally cover at least the areola and bottom half of the breasts. Both men and women may sometimes wear swimsuits covering more of the body when swimming in cold water (see also wetsuit and dry suit). In colder temperatures, swimsuits are needed to conserve body heat and protect the body core from hypothermia.

Swimwear and hygiene.

Germs, bacteria, and mold can grow very quickly on wet bathing suits. Medical professionals warn that wearing damp swimwear for long periods of time can cause a number of infections and rashes in children and adults, and warn against sharing bathing suits with others. They suggest that changing out of a wet bathing suit right away can help prevent vaginal infections, itching and/or jock itch.  In public swimming pools in France for reasons of hygiene, it is only permitted to wear closer fitting styles of swimwear. Men, for instance, must wear "Speedo"-style bathing suits and not baggy shorts or trunks.

History.

Pre-20th century.

In classical antiquity swimming and bathing were done naked. There are Roman murals which show women playing sports and exercising wearing two-piece suits covering the areas around their breasts and hips in a fashion remarkably similar to the present-day bikini. However, there is no evidence that they were used for swimming. All classical pictures of swimming show nude swimmers.  In various cultural traditions one swims, if not in the nude, in a version in suitable material of a garment or undergarment commonly worn on land, e.g. a loincloth such as the Japanese man's fundoshi.  In the United Kingdom until the mid-19th century there was no law against nude swimming, and each town was free to make its own laws. For example, the Bath Corporation official bathing dress code of 1737 prescribed, for men:  It is Ordered Established and Decreed by this Corporation that no Male person above the age of ten years shall at any time hereafter go into any Bath or Baths within this City by day or by night without a Pair of Drawers and a Waistcoat on their bodies.  In rivers, lakes, streams and the sea men swam in the nude, where the practice was common. Those who didn't swim in the nude, stripped to their underwear. The English practice of men swimming in the nude was banned in the United Kingdom in 1860. Drawers, or caleçons as they were called, came into use in the 1860s. Even then there were many who protested against them and wanted to remain in the nude. Francis Kilvert described men's bathing suits coming into use in the 1870s as "a pair of very short red and white striped drawers". Female bathing costumes were derived from those worn at Bath and other spas. It would appear that until the 1670s nude female bathing in the spas was the norm and that after that time women bathed clothed. Celia Fiennes gave a detailed description of the standard ladies' bathing costume in 1687:  The Ladyes go into the bath with Garments made of a fine yellow canvas, which is stiff and made large with great sleeves like a parson’s gown; the water fills it up so that it is borne off that your shape is not seen, it does not cling close as other linning, which Lookes sadly in the poorer sort that go in their own linning. The Gentlemen have drawers and wastcoates of the same sort of canvas, this is the best linning, for the bath water will Change any other yellow.  The Bath Corporation official bathing dress code of 1737 prescribed, for women:  No Female person shall at any time hereafter go into a Bath or Baths within this City by day or by night without a decent Shift on their bodies.  "The Expedition of Humphry Clinker" was published in 1771 and its description of ladies’ bathing costume is different from that of Celia Fiennes a hundred years earlier:  The ladies wear jackets and petticoats of brown linen, with chip hats, in which they fix their handkerchiefs to wipe the sweat from their faces; but, truly, whether it is owing to the steam that surrounds them, or the heat of the water, or the nature of the dress, or to all these causes together, they look so flushed, and so frightful, that I always turn my eyes another way.  Penelope Byrde points out that Smollett's description may not be accurate, for he describes a two-piece costume, not the one piece shift or smock that most people describe and is depicted in contemporary prints. His description does, however, tally with Elizabeth Grant's description of the guide's costume at Ramsgate in 1811. The only difference is in the fabric the costumes are made of. Flannel, however, was a common fabric for sea bathing costumes as many believed the warmer fabric was necessary in cold water.  In the 18th century women wore "bathing gowns" in the water; these were long dresses of fabrics that would not become transparent when wet, with weights sewn into the hems so that they would not rise up in the water. The men's swim suit, a rather form-fitting wool garment with long sleeves and legs similar to long underwear, was developed and would change little for a century.  In the 19th century, the woman's double suit was common, comprising a gown from shoulder to knees plus a set of trousers with leggings going down to the ankles.  In the Victorian era, popular beach resorts were commonly equipped with bathing machines designed to avoid the exposure of people in swimsuits, especially to people of the opposite sex.  In the United States, beauty pageants of women in bathing costumes became popular from the 1880s. However, such events were not regarded as respectable. Beauty contests became more respectable with the first modern "Miss America" contest held in 1921, though less respectable beauty contests continued to be held.

20th century.

In Australia there were the 1907 Sydney bathing costume protests about a skirt-like tunic law to be worn by males, and separately and later in 1935, the requiring of males to wear the Spooner bathing costume instead of the 'disgraceful' swim trunks.  In 1907, the swimmer Annette Kellerman from Australia visited the United States as an "underwater ballerina", a version of synchronized swimming involving diving into glass tanks. She was arrested for indecent exposure because her swimsuit showed arms, legs and the neck. Kellerman changed the suit to have long arms and legs and a collar, still keeping the close fit that revealed the shapes underneath. She later starred in several movies, including one about her life. She marketed a line of bathing suits and her style of one-piece suits came to be known as "the Annette Kellerman". The Annette Kellerman was considered the most offensive style of swimsuit in the 1920s and became the focus of censorship efforts.  Despite opposition from some groups, the form-fitting style proved popular. It was not long before swimwear started to shrink further. At first arms were exposed and then legs up to mid-thigh. Necklines receded from around the neck down to around the top of the bosom. The development of new fabrics allowed for new varieties of more comfortable and practical swimwear.  Due to the figure-hugging nature of these garments, glamour photography since the 1940s and 1950s has often featured people wearing swimsuits. This type of glamour photography eventually evolved into swimsuit photography exemplified by the annual "Sports Illustrated Swimsuit Issue". Beauty contests also required contestants to wear form-fitting swimsuits.  The first bikinis appeared just after World War II. Early examples were not very different from the women's two pieces common since the 1920s, except that they had a gap below the breast line allowing for a section of bare midriff. They were named after Bikini Atoll, the site of several nuclear weapons tests, for their supposed explosive effect on the viewer.  Through the 1950s, it was thought proper for the lower part of the bikini to come up high enough to cover the navel. From the 1960s on, the bikini shrank in all directions until it sometimes covered little more than the nipples and genitalia, although less revealing models giving more support to the breasts remained popular. At the same time, fashion designer Rudi Gernreich introduced the monokini, a topless suit for women consisting of a modest bottom supported by two thin straps. Although not a commercial success, the suit opened eyes to new design possibilities. In the 1980s the thong or "tanga" came out of Brazil, said to have been inspired by traditional garments of native tribes in the Amazon. However, the one-piece suit continued to be popular for its more modest approach.  Men's swimsuits developed roughly in parallel to women's during this period, with the shorts covering progressively less. Eventually racing-style "speedo" suits became popular—and not just for their speed advantages. Thong, g-string and bikini style suits are also worn. Typically these are more popular in more tropical regions; however, they may also be worn at public swimming pools and inland lakes. But in the 1990s, longer and baggier shorts became popular, with the hems often reaching to the knees. Often called boardshorts and swim trunks, these were often worn lower on the hips than regular shorts.

Alternatives to swimsuits.

Since the early twentieth century a naturist movement has developed in western countries that seeks a return to non-sexual nakedness when swimming and during other appropriate activities. Some women prefer to engage in water or sun activities with their torso uncovered. The practice is often described as "toplessness" or "topfreedom". In some places around the world, nude beaches have been set aside for people who choose to engage in normal beach activities in the nude.  As an alternative to a swimsuit, some people wear trousers, underpants, or a T-shirt either as a makeshift swimsuit or because they prefer regular clothes over swimsuits. Using a T-shirt can also provide extra protection against sunburn. In some countries, such as Thailand and Philippines, swimming in regular clothes is the norm while swimsuits are rare. At beaches, this may be more accepted than at swimming pools, which tend not to permit the use of underwear as swimwear because underwear is unlined, may become translucent, and may be perceived as unclean.

A swimsuit is an item of clothing designed to be worn by people engaging in a water-based activity or water sports, such as swimming, diving and surfing, or sun-orientated activities, such as sun bathing. Different types may be worn by men, women, and children. A swimsuit can be described by various names, some of which are used only in particular locations, including swimwear, bathing suit, swimming costume, bathing costume, swimming suit, swimmers, swimming togs, bathers, cossie (short for "costume"), or swimming trunks for men, besides others.

Als Badebekleidung wird Kleidung bezeichnet, die zum Schwimmen oder Baden getragen wird. Sie bedeckt in jeweils unterschiedlichem Ausmaß den Körper. Frauen tragen zum Schwimmen in der Regel einen "Badeanzug" (schweiz. "Badkleid", "Badekleid"). Ein zweiteiliger Anzug wird als Bikini bezeichnet. Männer tragen in der Regel "Badehosen" oder einteilige Schwimmanzüge.


Background.

Jackson's sixth solo album, "Thriller", was released in 1982, and by 1984 it was certified 20× platinum for sales of 20 million copies in the United States alone. Jackson was widely considered the most powerful African American in the history of the entertainment industry, whose popularity was comparable only to Elvis Presley in the 1950s and the Beatles in the 1960s.  The four years following "Thriller" were marred by Jackson's rifts with his family and the Jehovah's Witnesses, broken friendships with celebrities, and the pressure of celebrity. Jackson aimed to sell 100 million copies with his next album. According to some associates, Jackson was nervous about completing his next album. Reports spread of eccentric behavior and changing appearance, including a more chiselled face, fairer complexion, a perkier nose, and a cleft chin. In 1987, "Spin" wrote that "in record time, [Jackson] has gone from being one of the most admired of celebrities to one of the most absurd. And the pressure to restore himself in the public eye is paralyzing him."  Jackson wanted to move in a new musical direction, with a harder edge and fiercer sound. According to guitarist Steve Stevens, who featured on "Bad", Jackson asked about rock bands including Mötley Crüe. After Jackson had written a handful of the tracks on "Off the Wall" and "Thriller", producer Quincy Jones encouraged him to write more for his followup. Jones recalled: "All the turmoil [in Jackson's life] was starting to mount up, so I said I thought it was time for him to do a very honest album."

Production.

"Bad" was Jackson's final collaboration with co-producer Quincy Jones, who had produced "Off the Wall" and "Thriller". Jackson began recording demos for the anticipated follow-up to "Thriller" in November 1983 while recording "Victory" with the Jacksons. He spent much of 1985 to 1987 out of the public eye, writing and recording at his home studio in Encino, Los Angeles, with a group of musicians and engineers including Bill Bottrell known as the "B team". The demos were brought to Westlake Studio to be finished by the "A team", with Jones and engineer Bruce Swedien. Jones said the team would stay up for days on end when they "were on a roll": "They were carrying second engineers out on stretchers. I was smoking 180 cigarettes a day."  Jackson was eager to find innovative sounds and was interested in new music technology. The team made extensive use of new digital synthesizers, including FM synthesis and the Fairlight CMI and Synclavier PSMT synthesizers. They sometimes combined synthesizers to create new sounds. Jackson hired Synclavier expert and sound designer Denny Jaeger to create sounds used on "Dirty Diana" and "Smooth Criminal". Drum programming resulted in a sleeker and a more aggressive, sinister sound."" Other instruments include guitars, organs, drums, bass, percussion and saxophones, washboard and digital guitars.  Work was disrupted in July 1984, when Jackson embarked on the Victory Tour with his brothers. Work resumed in January 1985 after the tour ended and after Jackson had recorded "We Are the World". In mid-1985, work was disrupted again so Jackson could prepare for Disney's 4D film experience Captain EO, which featured an early version of the "Bad" song "Another Part of Me." Studio work resumed in August that same year and continued until November 1986, when Jackson filmed the "Bad" music video. Recording resumed in January 1987, and the album was completed in July.  Jackson wrote a reported 60 songs, and recorded 30, wanting to use them all on a three-disc set. Jones suggested that the album be cut down to a ten-track single LP. Jackson is credited for writing all but three songs; other writing credits include Terry Britten and Graham Lyle for "Just Good Friends" and Siedah Garrett and Glen Ballard for "Man in the Mirror".

Composition and lyrics.

"Bad" is musically a heavier and more "aggressive" record than "Thriller", with Jackson moving away from the heavy-groove sound and high-pitched vocals which featured on both "Off the Wall" and "Thriller". "Bad" primarily incorporates pop, rock, funk and R&B, but also explores other genres such as soul and hard rock. Stephen Thomas Erlewine of AllMusic noted that "Bad" moved Jackson "deeper into hard rock, deeper into schmaltzy adult contemporary, deeper into hard dance – essentially taking each portion of "Thriller" to an extreme, while increasing the quotient of immaculate studiocraft."  "Liberian Girl"'s lyrics were viewed as "glistening" with "gratitude" for the "existence of a loved one". "Smooth Criminal"'s recalled "the popcorn-chomping manner" of "Thriller". The track was thought of as an example of "Jackson's free-form language" that keeps people "aware that we are on the edge of several realities: the film, the dream it inspires, the waking world it illuminates". The music in "I Just Can't Stop Loving You", a duet with Siedah Garrett, consisted mainly of finger snaps and timpani. "Just Good Friends" is a duet with Stevie Wonder; Jones said later: "I made a mistake with ['Just Good Friends']. That didn't work."  Jackson's mother, Katherine Jackson, wanted him to write an R&B song with a shuffle rhythm for the album, which came to be "The Way You Make Me Feel". The song consists of blues harmonies and a jazz-like tone, comparable to the classic Motown sound of the 1960s. The lyrics of "Another Part of Me" deal with being united, as "we". Critics Richard Cromelin (from the "Los Angeles Times") and Richard Harrington (from "The Washington Post") associated the song's lyrics with the Harmonic Convergence phenomenon that occurred around the time of the album's release, with Harrington highlighting the verse: "The planets are lining up / We're bringing brighter days / They're all in line / Waiting for you / Can't you see? / You're just another part of me".

Release.

"Bad" was released on August 31, 1987. Described as "the most anticipated album in history" by the "Miami Herald", it debuted at number one on the "Billboard" 200 and remained there for six consecutive weeks. "Bad" sold at least 2 million copies in its first week of sales in the US and was eventually certified diamond for shipping 10 million copies in the US alone, however, it failed to match the sales of "Thriller" in the US, causing some in the media to label the album a disappointment. Michael Goldberg and David Handelman had predicted that "If "Bad" sells 'only' 10 million copies, that will be more than virtually any other record but could be viewed as a failure for Michael Jackson".  In the UK, "Bad" debuted at number one on the UK Albums Chart, selling 500,000 copies in its first five days. It was the country's best-selling album of 1987. The album peaked at number one in 25 countries in total including Austria, Canada, Japan, New Zealand, Norway, Sweden, Switzerland and the UK. It also charted at No. 13 in Mexico and at No. 22 in Portugal. "Bad" sold 7 million copies worldwide in its first week and 18 million copies in its first year. By 1991, it was become the second-best-selling album of all time, behind "Thriller", having sold 25 million copies worldwide.  In the UK, "Bad" certified 13 times platinum with sales of 3.9 million, making it Jackson's second best-selling album there. It was certified seven times platinum for the shipment of over 700,000 copies in Canada by the Canadian Recording Industry Association. In Europe, the 2001 reissue was certified platinum by the International Federation of the Phonographic Industry (IFPI) for the sales of one million units. The album was also certified platinum by the IFPI for the shipment of over 20,000 copies in Hong Kong. Globally, "Bad" is Jackson's second best-selling album behind "Thriller", with sales of 35 million copies.

Promotion.

The marketing strategy for "Bad" was modeled on that for "Thriller". Similarly to the first "Thriller" single, "The Girl Is Mine", the first "Bad" single, "I Just Can't Stop Loving You", was a ballad duet, followed by two "more obvious modern pop knockouts" backed by music videos.  A commemorative special on Jackson's life, "The Magic Returns", aired on CBS during prime time on the day of the release of "Bad". At the end of the documentary, the channel debuted the short film for "Bad", directed by Martin Scorsese and featuring Wesley Snipes. The marketing strategy, mastered by Frank DiLeo among others, also included Jackson producing another mini-movie around the time of the Bad world tour. That film, "Moonwalker" (1988), included performances of songs from "Bad", including "Speed Demon", "Leave Me Alone", "Man in the Mirror" and "Smooth Criminal", the latter two released as sole videos at the end of the film. The film also included the music video for "Come Together", with the song featuring seven years later on "". It became the best-selling home video of all time.  Sponsored by Pepsi, the Bad tour began in Japan, marking Jackson's first performances there since 1972 with the Jackson 5. Attendance figures for the first 14 dates in Japan totalled a record-breaking 450,000. Jackson performed seven sold out shows at Wembley Stadium, beating the previous record held by Madonna, Bruce Springsteen and Genesis. The third concert on July 16, 1988 was attended by Diana, Princess of Wales and Prince Charles. Jackson was entered into the "Guinness World Records" three times from the tour alone. The Bad tour was a major financial success, grossing $125 million. Jackson performed 132 concerts in 15 countries to an audience of 4.4 million.  For the "Bad" era, Jackson wore black outfits decorated with zippers and buckles, similar to his outfit on the "Bad" album cover. Stevens recalled that when he met Jackson, "I was wearing patent leather, he [Jackson] was wearing penny loafers. I turned him [Jackson] onto the guy who did my clothes." Jackson also grew out his jheri curl over shoulder-length and began wearing eye liner.

Singles.

"I Just Can't Stop Loving You", a duet with Siedah Garrett, was the lead single. It peaked at number one on the "Billboard" Hot 100 and also reached number one in Belgium, Canada, Ireland, the Netherlands, Norway, Spain, the UK and Zimbabwe.  "Bad" reached number one on the "Billboard" Hot 100, and remained there for two weeks, becoming the album's second number-one single, and Jackson's eighth number one entry on the chart. It also peaked at number one on the Hot R&B Singles, Hot Dance Club Play and Rhythmic chart. Internationally, the song was also commercially successful, charting at the top of the charts in seven other countries including Ireland, Italy, Norway, Spain, and the Netherlands.  "The Way You Make Me Feel" was the third consecutive "Billboard" Hot 100 number one hit and also hit number one in Ireland and Spain. Jackson performed the song at the 1988 Grammy Awards.  "Man in the Mirror" charted at number one on "Billboard"s Hot 100. It hit number one in Canada and Italy too. Jackson performed the song at the 1988 Grammy Awards. It was nominated for Record of the Year at the next year's 1989 Grammy Awards.  "Dirty Diana" was the record-breaking fifth "Billboard" Hot 100 number-one single from "Bad". Before the start of the Wembley Stadium show during the Bad tour in 1988, Diana, Princess of Wales, who was in attendance, informed Jackson that it was one of her personal favorite songs  "Another Part of Me" achieved less success, reaching number 11 on the "Billboard" Hot 100, but topped the R&B Singles Chart. Like Jackson's earlier songs in his career such as "Can You Feel It" and "We Are the World", the lyrics of the song emphasize global unity, love and outreach.  "Smooth Criminal" became the sixth top 10 single on the "Billboard" Hot 100, peaking at number seven. The song reached number one in Belgium, Iceland, the Netherlands and Spain. Though it was not one of the "Billboard" Hot 100 number-one singles, in retrospective reviews it has been regarded as one of the best songs on "Bad" and one of Jackson's signature songs.  Released outside the United States and Canada, "Leave Me Alone" topped the Irish charts and reached the top ten in five other countries. "Leave Me Alone" was Jackson's response to negative and exaggerated rumors about Jackson that frequently appeared in the tabloids post-1985 after the success of "Thriller." The music video was the recipient of Best Music Video at the 1990 Grammy Awards.  The album's final single, "Liberian Girl", did not chart on the "Billboard" Hot 100, but reached the top 20 in various countries and reached number one in Ireland. The song has been sampled and covered by various artists including Chico Freeman, 2Pac and MC Lyte.  "Bad" became the first album to have five consecutive singles peak at number one on the "Billboard" Hot 100. In 2011, the record was tied by American singer Katy Perry's "Teenage Dream". In the UK, seven of the "Bad" singles reached the UK top ten which was a record for any studio album for over 20 years.

Covers.

In 1988, "Weird Al" Yankovic recorded "Fat", a parody of "Bad", which won a Grammy Award for Best Concept Music Video at the 1989 Grammy Awards.

Critical reception.

Davitt Sigerson from "Rolling Stone" wrote that "even without a milestone recording like 'Billie Jean', "Bad" is still a better record than "Thriller"." He believed the filler, such as "Speed Demon", "Dirty Diana" and "Liberian Girl", made "Bad" "richer, sexier and better than "Thriller's" forgettables." In a contemporary review for "The New York Times", Jon Pareles called "Bad" "a well-made, catchy dance record by an enigmatic pop star". He said while nothing on the record compared to "Wanna Be Startin' Somethin'", the music's "concocted synthesizer-driven arrangements" were "clear" and carried "a solid kick". In "USA Today", Edna Gundersen called it Jackson's "most polished effort to date," that is "calculated but not sterile."  "The Village Voice" critic Robert Christgau was also critical. While he felt album's "studio mastery" and Jackson's "rhythmic and vocal power" made for "the strongest and most consistent black pop album in years", he lamented its lack of "genius" in the vein of "Beat It" or "Billie Jean" and panned the lyrical themes: "He's against burglary, speeding, and sex ('Dirty Diana' is as misogynistic as any piece of metal suck-my-cock), in favor of harmonic convergence and changing the world by changing the man in the mirror. His ideal African comes from Liberia. And he claims moonwalking makes him a righteous brother. Like shit."  "The Daily Telegraph" commented that while "Bad" was another worldwide commercial success, the album "inevitably failed to match the success of "Thriller" despite Jackson's massive and grueling world tour", though "Rolling Stone" commented that "the best way to view" "Bad" was not as "the sequel to "Thriller". Richard Harrington of "The Washington Post" felt that while the album could not live up to post-"Thriller" expectations, it would be "considerably fairer to compare" "Bad" with "Off the Wall". His overall opinion on "Bad" was that it was "a very good record" that is "immaculately produced and with some scintillating vocal performances from Jackson". Richard Cromelin of the "Los Angeles Times" called "Bad" "a fair-to-strong array of soul and rock blends", commenting that the record was "not bad" and was more "reminiscent of "Off the Wall"s uniform strength than "Thriller"s peaks and valleys". Cromelin felt that it would be "disappointing" if this album's "creative level" is where Jackson wants to stay.  In 1988, "Bad" was nominated for Grammy Awards for Album of the Year, Best Pop Vocal Performance – Male, Best R&B Vocal Performance – Male, and won for Best Engineered Recording – Non Classical. The following year, it was nominated for Record of the Year for "Man in the Mirror", and in 1990 won for Best Music Video – Short Form (for "Leave Me Alone"). "Bad" won an American Music Award for Favorite Soul/R&B Song at the 1988 American Music Awards. At the 1988 Soul Train Music Awards, the album won Best R&B/Soul Album – Male and "Bad" won Best R&B/Soul Single – Male. The following year, "Man in the Mirror" also won Best R&B/Soul Single – Male. At the 1989 Brit Awards, "Smooth Criminal" won British Video of the Year. At the 1989 "Billboard" Music Awards, "Bad" won Album of the Year. Following the appraisal of the music videos of the singles from "Bad," along with his previous music videos throughout the 1980s, Jackson was awarded the MTV Video Vanguard Artist of the Decade Award.

Legacy and influence.

Reappraisals.

"Bad" has been credited as defining the sound of "late-80s' pop". The album further set the standard for innovation in music videos following the success of the music videos for "Bad", "Smooth Criminal", "The Way You Make Me Feel" and "Leave Me Alone". A writer for the "Miami Herald" reflected back on the anticipation for "Bad", describing the album's release as being the "most hotly anticipated album in history". In a retrospective review for BBC Music, Mike Diver regarded "Bad" as a landmark factor of 1980s pop culture: "A multi-million-unit-shifter, "Bad" was (and remains) as important to 1980s pop culture as the rise of the Walkman, the Back to the Future movies, and the shooting of JR. Like 1982’s "Thriller", it’s an album that appeared to easily find a home within the record collection of rockers and poppers, punks and poets alike." Diver also praised the album for being the "best of the best [of its time]" and an "essential pop masterpiece". Writing for "Billboard", Gail Mitchell wrote that "Bad" is "one of the most important pop albums of the late '80s, and one of the most successful albums in "Billboard" chart history".  In 2009, VH1 said of the album:In 2009, Jim Farber of the "Daily News" wrote that "Bad" "streamlined the quirks" of Jackson's two previous albums to "create his most smooth work of pop to date." Writing for "The Root", Matthew Allen claimed that "Bad" was the start of Jackson's three-year "prime" in his "vocals, songwriting, producing, performing and video output". Allen also regarded the album as "[doubling] down on the edge" of "Thriller" in both subject matter and instrumental arrangement. Writing for Albumism, Chris Lacy considered "Bad" possibly being superior to "Off the Wall" and "Thriller:" "Comparisons with "Off the Wall" and "Thriller" are unimportant, except for this one: "Bad" is a pure pop masterpiece that stands parallel with—and, at times, eclipses—its classic predecessors." Lacy also stated that "Bad" set a "new gold standard for pop music and entertainment".  Joseph Vogel was also enthusiastic about the record. "On "Bad", Jackson's music is largely about creating moods, visceral emotions, and fantastical scenarios...[with] each song work[ing] as a dream capsule, inviting the listener into a vivid new sound, story, space." He called "Bad" "a compelling, phantasmagorical album, which a handful of critics recognized from the beginning." According to Jayson Rodriguez of MTV, "following the twin cannons that were "Off the Wall" and "Thriller" wouldn't be an easy task for most, but Jackson's follow-up, 1987's "Bad", was formidable by all accounts." Rodriguez also felt that "Bad" was "wrongfully dismissed by critics because it wasn't the sales blockbuster that "Thriller" was" and that during the "Bad" era, Jackson's vocal hiccups and stammered "shamone" would become staples in his music that were "heightening and highlighting the emotion of his lyrics." Erika Ramirez of "Billboard" highlighted "Another Part of Me" and "Man in the Mirror" for showcasing Jackson as a "caring humanitarian" and emphasizing world unity.

21st century appeal.

25 years after its release, film director Spike Lee claimed that "Bad" sounds the 'freshest' today compared to other "Billboard" 200 number-one albums which were released in 1987, such as U2's "The Joshua Tree", Bruce Springsteen's "Tunnel of Love" and Whitney Houston's "Whitney": "Go to the charts... and see what were the top albums 25 years ago, play those albums now and then play "Bad", and then see which one still sounds fresh and doesn't sound dated." Following the 30th anniversary of the album's release, Kendall Fisher of "E! Online" regarded it as having an impact on contemporary artists; "Essentially, ["Bad"] epitomized the massive influence [Jackson] had on many of today's biggest artists."  American rapper Kanye West claimed that Jackson's outfit in the "Bad" video is "far more influential" than Jackson's outfit in the "Thriller" video. West also said "I almost dress like that [Jackson's outfit in the "Bad" video] today." American rapper Ludacris, who was featured on Canadian singer Justin Bieber's "Baby", said that the music video for the song is "like a 2010 version" of "The Way You Make Me Feel". After the video was released in 2010, MTV said that the video is "the new version" of "The Way You Make Me Feel", also noting that the choreography "uses a few of Jackson's less-suggestive moves."

Rankings.

In 2003, "Bad" was ranked number 202 on "Rolling Stone" magazine's list of the 500 Greatest Albums of All Time, and 203 in a 2012 revised list. In "NME"s The 500 Greatest Albums of All Time list, "Bad" was ranked number 204. It was also included in the book titled "1001 Albums You Must Hear Before You Die". In 2009, VH1 listed "Bad" at number 43 on their list of 100 Greatest Albums of All Time of the MTV Generation. In 2012, "Slant Magazine" ranked the album at number 48 on its list of The 100 Best Albums of the 1980s. "Billboard" ranked "Bad" at number 138 on its list of the Greatest of All Time "Billboard" 200 Albums. It was ranked number 30 in "Billboard"s list of the Greatest of All Time R&B/Hip-Hop Albums, out of 100 albums. On "Billboard"s list of All 92 Diamond-Certified Albums Ranked From Worst to Best: Critic's Take, it was ranked number 41.

"Bad 25".

It was announced on May 3, 2012, that the Estate of Michael Jackson and Epic Records would be releasing a 25th anniversary album of "Bad". The album was named "Bad 25" and was released on September 18, 2012. Since the release of "Bad 25", there has been a discontinuation of the 2001 special edition.

Track listing.

All tracks written by Michael Jackson, except where noted; all tracks produced by Quincy Jones and co-produced by Jackson.  Re-issues of "Bad" feature a number of changes when compared to the original 1987 release:

Personnel.

Personnel as listed in the album's liner notes are:

Bad is the seventh studio album by American singer Michael Jackson. It was released on August 31, 1987 by Epic Records, nearly five years after Jackson's previous album, "Thriller". "Bad" was written and recorded in nearly a year, and was the final collaboration between Jackson and producer Quincy Jones. Jackson co-produced it and composed all but two tracks. The album features appearances from Siedah Garrett and Stevie Wonder. Incorporating pop, rock, funk, R&B, dance, soul and hard rock, Jackson experimented with modern technology, including digital synthesizers and drum machines, resulting in a sleeker and more aggressive sound on "Bad." The lyrical themes include media bias, paranoia, racial profiling, romance, self-improvement, and world peace.

Bad (engl. für etwa: „"Böse"“) ist das siebte Studioalbum des US-amerikanischen Popsängers Michael Jackson. Es wurde im August 1987 beim Plattenlabel Epic Records veröffentlicht und ist Jacksons drittes und letztes Album, welches von Quincy Jones produziert wurde.


Music career.

Early life and career.

Luckett was born on March 11, 1981, in Houston, Texas. She grew up singing in her local Brentwood Baptist Church. She also took vocal lessons to become an opera singer. Her father, who was also a singer, was very proud of his daughter's vocal talents and tried to get her in the music business. Luckett is the older of two children. Luckett was given the chance to sing her first solo at the age of five. "The lady just gave me the mic one Sunday and I sang," she recalled. Shortly thereafter, she joined the children's choir and began performing in plays at her elementary school. One day, she walked to her desk in class to find a girl sitting in her seat. Luckett asked her teacher to remove the girl (who turned out to be Beyoncé Knowles) from her assigned seat. They later became friends and she was invited to join Beyoncé's singing group Girls Tyme, which later became Destiny's Child.

1993–2000: Destiny's Child and departure.

In 1993, LeToya Luckett joined Knowles, LaTavia Roberson, and Kelly Rowland to complete the Houston-based R&B group, Destiny's Child. The roles of the group consisted with Knowles as lead vocalist, Rowland as second-lead vocalist plus alongside Roberson and Luckett as background vocalists with Roberson as alto (and spokesperson) adding the low notes and Luckett as the soprano adding the high notes to the group's harmony, however occasional leads too. After being signed and later dropped by Elektra Records, the group eventually signed with Columbia Records in 1997, but not before signing with Mathew Knowles the group's manager (and also Beyoncé Knowles' father). According to the E! Television Special, "Boulevard of Broken Dreams", Knowles forced the girls to sign with him before they could sign with the label. Luckett's mother requested the contracts be reviewed by an attorney, but Knowles denied the request. However, Luckett eventually signed with him and joined the group. After graduating from the Houston club scene, the group opened for established acts such as Dru Hill, SWV, and Immature, and released their 1998 self-titled debut album "Destiny's Child". The album spawned two singles: the platinum "No, No, No Part II" (featuring Wyclef Jean) and "With Me". Subsequently, the group made it on the soundtrack album of the romantic comedy "Why Do Fools Fall in Love" with the song "Get on the Bus" (featuring Timbaland), and later toured as an opening act on TLC's "Fanmail Tour" and Christina Aguilera's debut tour.  In 1999, the group released their second album, "The Writing's on the Wall." The album became one of the biggest selling albums released by a female group, and was certified eight times platinum in the USA. As opposed to the first album, Luckett had more contribution to the second album in terms of co-writing. The album spawned four hit singles: "Bills, Bills, Bills", "Bug a Boo", "Say My Name", and "Jumpin' Jumpin'". The two singles "Bills, Bills, Bills" and "Say My Name" were also nominated for Grammy awards, which "Say My Name" won in two different categories. The album had also been released in a "Houston Special Edition" which included a bonus track where Luckett sung lead in alongside all other members entitled "Can't Help Myself".  In late 1999, in the midst of the group's success and rise, Luckett and Roberson asserted that they wanted their own manager because of the increasing lack of communication with manager Mathew Knowles. The pair said they never wanted to fire Knowles, but wanted to secure outside management to represent them. Soon after, Luckett and Roberson found themselves ostracized by the Knowles family and the group's management. When the music video for "Say My Name" debuted in February 2000, they were replaced by two new members, Michelle Williams and Farrah Franklin. Luckett and Roberson filed a lawsuit against Mathew Knowles, Beyoncé Knowles and Kelly Rowland, charging them with breach of partnership and fiduciary duties, and sought unspecified damages. Luckett and Roberson withdrew the case against Beyoncé and Kelly, but continued to sue Mathew Knowles. The case was eventually settled, with Luckett and Roberson receiving royalties for their contributions as founding members of the group. Shortly following the release of Destiny's Child's "Survivor", Luckett and Roberson filed another lawsuit against the group in March 2002. They claimed that the album's lead single, "Survivor", violated their previous settlement due to its lyrics.

2001–2008: Solo debut, "LeToya".

After several months of media speculation, it was announced via the MTV News website that Luckett and Roberson had created a new group called Anjel. After several auditions, Naty Quinones and Tiffany Beaudoin were selected as members. The group recorded a 22-song demo in Atlanta, Georgia, with the help of R&B group Jagged Edge. The group also appeared in Jagged Edge's video for "Where the Party At (Remix)". However, the production company (581 Entertainment) which handled the group collapsed and all the members of Anjel went on to pursue solo projects. Meanwhile, the recorded tracks were leaked onto the Internet.  After the Anjel project fell through, Luckett joined with Noontime, an Atlanta-based management/production company. Along with Noontime, she recorded a five-song demo and eventually signed with Capitol Records in 2003. Soon after, she began working on her debut solo album. The first promotional song, "You Got What I Need", was released in 2004, followed next year by "All Eyes on Me". She was featured on "My Promise" with her label mate Houston on his debut album "It's Already Written," "What Love Can Do" on the "Coach Carter" soundtrack, and on "This Is My Life" with former boyfriend and rapper Slim Thug on his album "Already Platinum." LeToya's self-titled debut album was released in July 2006 and debuted at number one on the U.S. "Billboard" 200 and Top R&B/Hip-Hop Albums charts. "LeToya" was certified gold after one month and by December 2006, the album had been certified platinum. Luckett and Beyoncé Knowles are the only members of Destiny's Child to have an album debut at number one on the "Billboard" 200 and achieve platinum status in the U.S.  The album is a hip-hop inspired R&B production. Producers included Jermaine Dupri, Scott Storch, Teddy Bishop, B. Cox, and musical guests Slim Thug, Mike Jones, Paul Wall, and Bun B. "All Eyes on Me" was originally chosen as Luckett's debut single, but "Torn" was ultimately selected instead. The ballad (produced by Teddy Bishop) was released March 2006 and became an R&B hit. The song climbed the "Billboard" charts, peaking at number two on the Hot R&B/Hip-Hop Songs.  Although "Torn" was still receiving airplay, her second single, "She Don't" was released to radio, and the video premiered on BET's "Access Granted" in July 2006, featuring Luckett's ex-boyfriend, Slim Thug. The single received moderate success, reaching number 17 on the Hot R&B/Hip-Hop chart. In November 2006, "Obvious" was selected as the third single. According to "Billboard", the song had a 94% chance of becoming a hit, but due to the merger of Capitol Records and Virgin Records, all promotional money was frozen, therefore the single was never officially released. Luckett was also named "One of the Best New Artists of 2006" by AOL Music, number two on "Rap-Up" magazines' Top 5 Breakthrough Artists of 2006, and received multiple nominations from the NAACP, the Soul Train Music Awards, and the Teen Choice Awards. BET promoted Luckett on "106 & Park," "The Center," "The Black Carpet," and with a three-part reality series special called "The H-Town Chick" which aired from May to July 2006. The series chronicled Luckett's experiences during her summer promotional tour and insight about her life since Destiny's Child. BET also hosted a contest that gave fans the opportunity to decide the final outcome of the "Torn" video. Cingular hosted a lip-sync contest that awarded those who best performed "Torn" in an online submitted video. In addition to a nationwide radio tour, club performances, a brief European and Asian appearances, Luckett participated in the 2006 "Pantene Total You" Tour, the "Cingular Live in Concert" series, and was invited by Mary J. Blige to join her summer tour, "The Breakthrough Experience Tour," as her opening act.

2009–2013: "Lady Love".

In July 2009, while opening for a Mary J. Blige concert, Luckett announced that her upcoming album was going to be named "Lady Love," she then introduced and performed two new songs "Lady Love" and "Don't Let Me Get Away". On December 10 (?), a buzz track, "Swagger," that features rappers such as Slim Thug, Killa Kyleon and Bun B leaked onto the Internet. In 2008, Luckett was featured on Webbie's single "I Miss You" which was a moderate success.  Luckett's second solo album was released on August 25, 2009 Production for "Lady Love" originally began in 2007, with a release scheduled several times in 2008. However this was postponed due to lack of funding related to the Capitol Records and Virgin Records merger that had earlier affected the release of her third single "Obvious". In early 2009, the release date for "Lady Love" was announced to be May 19, 2009, then pushed to June 16, and finally set to August 24, 2009. Amidst much anticipation for the album release, Luckett released a five-track sampler on May 19, 2009. The sampler features first single "Not Anymore" and 1 minute 30-second snippets of "Regret", "She Ain't Got...", "Lady Love" and "Matter". The album was released to CD and music download on August 25, 2009, in the US and worldwide a day earlier. An explicit version of the album (bearing a Parental Advisory label) was also made available. To celebrate the album's release, LeToya hosted an album-release party at Cain in New York City on August 27, 2009. "Not Anymore", the lead single, was produced by Bei Maejor and co-produced and written by Ne-Yo. Released in February 2009, it became the most added song at urban radio, debuting at number ninety-eight on the US "Billboard" Hot R&B/Hip-Hop Songs chart before peaking at number eighteen and just missing the US "Billboard" Hot 100 singles chart, peaking at number 107. A music video for the single was shot on February 13, 2009. Directed by Bryan Barber, the music video is set in the 1960s and is split into 3 sections/time periods – 1961, 1964 and 1968. The sets, costumes and props change accordingly in each section to show the trends, fashions and styles of those particular years.  The video was released on March 10, 2009, and peaked at number three on the 106 & Park video countdown. "She Ain't Got..." the album's second single, was produced by Cory Bold and written by LeToya, Andre Merritt, Chris Brown and Bold. Chosen by fans, it became the first LeToya single to carry a Parental Advisory label, though a "clean" version was also released. It became the most added song on rhythmic radio, peaking at number thirty-nine on the "Billboard" Rhythmic Top 40 chart, while peaking at number seventy-five on the "Billboard" Pop 100 Airplay chart and number twenty on the "Billboard" Hot Dance Club Play. However, the single was most successful in Japan where it peaked at number forty-nine on the Japan Hot 100. A music video, directed by Bryan Barber was shot on June 3, 2009 and premiered on Yahoo Music on June 30, 2009, featuring guest star Major League Baseball players Orlando Hudson and Matt Kemp of the Los Angeles Dodgers as well as Baseball Hall of Fame member Dave Winfield. "Regret", featuring rapper Ludacris, was produced by Tank and Jerry "Texx" Franklin and written by Tank, LeToya, Franklin, K. Stephens, J. Valentine, R. Newt and C. Bridges. Released as the third single – based only on downloads and airplay – "Regret" peaked at number eight on the US "Billboard" Hot R&B/Hip-Hop Songs chart and debuted at number one-hundred on the "Billboard" Hot 100, making it LeToya's first single since her debut; "Torn", to enter the US Hot 100, peaking at number seventy-eight. It also peaked at number forty-two on the "Billboard" Radio Songs chart and was listed at number six on AOL Music's "Top R&B Songs of 2009" list. The music video for "Regret" was premiered on BET's "106 & Park" on November 11, 2009 before being ranked at number twenty-three on ": Top 100 Videos of 2009 countdown". "Good To Me", produced by Tank and Jerry "Texx" Franklin and written by Tank, Franklin, K. Stephens, R. Newt and J. Valentine, was released as the album's fourth and final single. Though the song failed to chart, a music video directed by makeup artist AJ Crimson and co-starring model-actor Keston Karter was released on February 11, 2010.

2014–present: "Back 2 Life".

In January 2014, Luckett announced the title of her third studio album on The Wendy Williams Show, "Until Then", with a planned 2016 release.  On February 11, 2014, Luckett released the first promo single Don't Make Me Wait from the upcoming album "Until Then". A remix featuring rapper T.I. was released on March 10, 2015. On January 5, 2015, Luckett released a track "I'm Ready" on her YouTube channel. On January 16, 2015, Luckett released "Together" inspired to end illegal gun violence in America in recent partnership with the Caliber Foundation.  On December 7, 2016, she released the single "Back 2 Life", with an accompanying music video released on January 10, 2017.  On April 10, 2017, Luckett posted on her Twitter page that her third studio album will be released on May 12, 2017 with the album title changing from "Until Then" to "Back 2 Life". On April 17, 2017, a second single from the album named "Used To", was released.

Webisodes.

LeToya has had two web series of herself on YouTube. In 2006, she did "H-Town Chic"; and in 2012, she did "Life, Love & Music."

2006: "H-Town Chic".

A three episode series on YouTube featuring the singer explaining her role in Destiny's Child and discussing her first self-titled album "LeToya".

2012: "Life, Love and Music".

A six episode series on YouTube giving an inside look at the singer's life and the recording process of her third album.

Personal life.

Relationships.

In 2015, Luckett reportedly got engaged to motivational speaker Rob Hill Sr. after a year of dating and later wed in January 2016. It was later alleged by TMZ that the pair had called it quits, after only two months of marriage. In August 2017, LeToya announced her engagement to entrepreneur Tommicus Walker via Instagram. Luckett and Walker were married in a lavish ceremony at Villa Antonia in Austin, Texas on December 10, 2017. In June 2018, the couple announced that they were expecting their first child together. On October 16, 2018, Luckett revealed on her Instagram, that she and her husband were expecting a baby girl. They welcomed their daughter, Gianna Iman Walker, on January 4, 2019. In March 2020, the couple announced that they are expecting second child together.

Endorsements.

In 2010, Luckett became the new face of Luster's Hair Care replacing Karyn White. She appeared on the product line's boxes, billboards and commercials.

Lady Elle Boutique.

In 2003, Luckett became the owner of Lady Elle Boutique, an upscale women's boutique. She originally opened this clothing boutique in the Uptown Park shopping center in her hometown of Houston, Texas as Lady L Boutique but later renamed it to Lady Elle Boutique. In 2008, the singer opened the store's second location in The Galleria in Houston, Texas.

Philanthropy.

After the release of her first solo album, Luckett became involved in philanthropic activity. She has participated in various events like the "Women in Entertainment Empowerment Summit". She was also part of the national tour of the "Hip-Hop Summit Action Network ‘Get Your Money Right’ a Financial Empowerment Summit."  She visits schools to motivate and encourage children to study and to further their education after graduation. She also speaks on the subject of violence and domestic abuse.

Filmography.

Luckett's first role on television was on the WB show "Smart Guy" in 1998 with Destiny's Child. She also had an appearance in the movie "Beverly Hood" in 1999. Since 2008, Luckett has been acting in plays and movies. She was part of the cast of JD Lawrence's stage play "Rumors", as the character Michelle. She hit the road from January 31, 2008 to March 2, 2008. Luckett was the star of the movie "Preacher's Kid", which was released in January 2010.  She appeared in the movie "Killers," released June 4, 2010, along with Ashton Kutcher, Katherine Heigl, Tom Selleck and Usher. Luckett finished shooting the movie "From the Rough" along with Taraji P. Henson and Tom Felton. For the second season, Luckett was cast in the HBO drama series "Treme". Luckett has been a student at Tasha Smith's acting workshop. In 2013, Luckett landed a recurring role on VH1 television series "Single Ladies". Currently, Luckett is in a recurring role on the OWN TV series Greenleaf as Rochelle Cross.

LeToya Nicole Luckett-Walker (née Luckett; born March 11, 1981), known professionally as LeToya, is an American singer-songwriter and actress. She is known as a member of the R&B girl group Destiny's Child, with which she won two Grammy Awards and released many successful commercial recordings. Luckett has sold over 25 million records with Destiny's Child on the group's first two albums and singles.

LeToya Nicole Keyshia Luckett (* 11. März 1981 in Houston, Texas) ist eine US-amerikanische R&B-Sängerin. Von 1993 bis Ende 1999 war sie Mitglied der erfolgreichen Girlgroup Destiny’s Child, von 2001 bis 2003 Mitglied der R&B-Girlgroup Anjel und außerdem Besitzerin der Modeboutique Lady Elle in Houston/Texas.


Design.

The first part of creating a quasi-experimental design is to identify the variables. The quasi-independent variable will be the x-variable, the variable that is manipulated in order to affect a dependent variable. “X” is generally a grouping variable with different levels. Grouping means two or more groups, such as two groups receiving alternative treatments, or a treatment group and a no-treatment group (which may be given a placebo - placebos are more frequently used in medical or physiological experiments). The predicted outcome is the dependent variable, which is the y-variable. In a time series analysis, the dependent variable is observed over time for any changes that may take place. Once the variables have been identified and defined, a procedure should then be implemented and group differences should be examined.  In an experiment with random assignment, study units have the same chance of being assigned to a given treatment condition. As such, random assignment ensures that both the experimental and control groups are equivalent. In a quasi-experimental design, assignment to a given treatment condition is based on something other than random assignment. Depending on the type of quasi-experimental design, the researcher might have control over assignment to the treatment condition but use some criteria other than random assignment (e.g., a cutoff score) to determine which participants receive the treatment, or the researcher may have no control over the treatment condition assignment and the criteria used for assignment may be unknown. Factors such as cost, feasibility, political concerns, or convenience may influence how or if participants are assigned to a given treatment conditions, and as such, quasi-experiments are subject to concerns regarding internal validity (i.e., can the results of the experiment be used to make a causal inference?).  Quasi-experiments are also effective because they use the "pre-post testing". This means that there are tests done before any data are collected to see if there are any person confounds or if any participants have certain tendencies. Then the actual experiment is done with post test results recorded. This data can be compared as part of the study or the pre-test data can be included in an explanation for the actual experimental data. Quasi experiments have independent variables that already exist such as age, gender, eye color. These variables can either be continuous (age) or they can be categorical (gender). In short, naturally occurring variables are measured within quasi experiments.  There are several types of quasi-experimental designs, each with different strengths, weaknesses and applications. These designs include (but are not limited to):  Of all of these designs, the regression discontinuity design comes the closest to the experimental design, as the experimenter maintains control of the treatment assignment and it is known to “yield an unbiased estimate of the treatment effects”. It does, however, require large numbers of study participants and precise modeling of the functional form between the assignment and the outcome variable, in order to yield the same power as a traditional experimental design.  Though quasi-experiments are sometimes shunned by those who consider themselves to be experimental purists (leading Donald T. Campbell to coin the term “queasy experiments” for them), they are exceptionally useful in areas where it is not feasible or desirable to conduct an experiment or randomized control trial. Such instances include evaluating the impact of public policy changes, educational interventions or large scale health interventions. The primary drawback of quasi-experimental designs is that they cannot eliminate the possibility of confounding bias, which can hinder one's ability to draw causal inferences. This drawback is often used to discount quasi-experimental results. However, such bias can be controlled for using various statistical techniques such as multiple regression, if one can identify and measure the confounding variable(s). Such techniques can be used to model and partial out the effects of confounding variables techniques, thereby improving the accuracy of the results obtained from quasi-experiments. Moreover, the developing use of propensity score matching to match participants on variables important to the treatment selection process can also improve the accuracy of quasi-experimental results. In fact, data derived from quasi-experimental analyses has been shown to closely match experimental data in certain cases, even when different criteria were used. In sum, quasi-experiments are a valuable tool, especially for the applied researcher. On their own, quasi-experimental designs do not allow one to make definitive causal inferences; however, they provide necessary and valuable information that cannot be obtained by experimental methods alone. Researchers, especially those interested in investigating applied research questions, should move beyond the traditional experimental design and avail themselves of the possibilities inherent in quasi-experimental designs.

Ethics.

A true experiment would, for example, randomly assign children to a scholarship, in order to control for all other variables. Quasi-experiments are commonly used in social sciences, public health, education, and policy analysis, especially when it is not practical or reasonable to randomize study participants to the treatment condition.  As an example, suppose we divide households into two categories: Households in which the parents spank their children, and households in which the parents do not spank their children. We can run a linear regression to determine if there is a positive correlation between parents' spanking and their children's aggressive behavior. However, to simply randomize parents to spank or to not spank their children may not be practical or ethical, because some parents may believe it is morally wrong to spank their children and refuse to participate.  Some authors distinguish between a natural experiment and a "quasi-experiment". The difference is that in a quasi-experiment the criterion for assignment is selected by the researcher, while in a natural experiment the assignment occurs 'naturally,' without the researcher's intervention.  Quasi-experiments have outcome measures, treatments, and experimental units, but do not use random assignment. Quasi-experiments are often the design that most people choose over true experiments. The main reason is that they can usually be conducted while true experiments can not always be. Quasi-experiments are interesting because they bring in features from both experimental and non experimental designs. Measured variables can be brought in, as well as manipulated variables. Usually Quasi-experiments are chosen by experimenters because they maximize internal and external validity.

Advantages.

Since quasi-experimental designs are used when randomization is impractical and/or unethical, they are typically easier to set up than true experimental designs, which require random assignment of subjects. Additionally, utilizing quasi-experimental designs minimizes threats to ecological validity as natural environments do not suffer the same problems of artificiality as compared to a well-controlled laboratory setting. Since quasi-experiments are natural experiments, findings in one may be applied to other subjects and settings, allowing for some generalizations to be made about population. Also, this experimentation method is efficient in longitudinal research that involves longer time periods which can be followed up in different environments.  Other advantages of quasi experiments include the idea of having any manipulations the experimenter so chooses. In natural experiments, the researchers have to let manipulations occur on their own and have no control over them whatsoever. Also, using self selected groups in quasi experiments also takes away to chance of ethical, conditional, etc. concerns while conducting the study.

Disadvantages.

Quasi-experimental estimates of impact are subject to contamination by confounding variables. In the example above, a variation in the children's response to spanking is plausibly influenced by factors that cannot be easily measured and controlled, for example the child's intrinsic wildness or the parent's irritability. The lack of random assignment in the quasi-experimental design method may allow studies to be more feasible, but this also poses many challenges for the investigator in terms of internal validity. This deficiency in randomization makes it harder to rule out confounding variables and introduces new threats to internal validity. Because randomization is absent, some knowledge about the data can be approximated, but conclusions of causal relationships are difficult to determine due to a variety of extraneous and confounding variables that exist in a social environment. Moreover, even if these threats to internal validity are assessed, causation still cannot be fully established because the experimenter does not have total control over extraneous variables.  Disadvantages also include the study groups may provide weaker evidence because of the lack of randomness. Randomness brings a lot of useful information to a study because it broadens results and therefore gives a better representation of the population as a whole. Using unequal groups can also be a threat to internal validity. If groups are not equal, which is sometimes the case in quasi experiments, then the experimenter might not be positive what the causes are for the results.

Internal validity.

Internal validity is the approximate truth about inferences regarding cause-effect or causal relationships. This is why validity is important for quasi experiments because they are all about causal relationships. It occurs when the experimenter tries to control all variables that could affect the results of the experiment. Statistical regression, history and the participants are all possible threats to internal validity. The question you would want to ask while trying to keep internal validity high is "Are there any other possible reasons for the outcome besides the reason I want it to be?" If so, then internal validity might not be as strong.

External validity.

External validity is the extent to which results obtained from a study sample can be generalized "to" some well-specified population of interest, and "across" subpopulations of people, times, contexts, and methods of study.. Lynch has argued that generalizing "to" a population is almost never possible because the populations to which we would like to project are measures of future behavior, which by definition cannot be sampled. Therefore, the more relevant question is whether treatment effects generalize "across" subpopulations that vary on background factors that might not be salient to the researcher. External validity depends on whether the treatments studies have homogeneous effects across different subsets of people, times, contexts, and methods of study or whether the sign and magnitude of any treatment effects changes across subsets in ways that may not be acknowledged or understood by the researchers. Athey and Imbens and Athey and Wager have pioneered machine learning techniques for inductive understanding of heterogeneous treatment effects.

Design types.

"Person-by-treatment" designs are the most common type of quasi experiment design. In this design, the experimenter measures at least one independent variable. Along with measuring one variable, the experimenter will also manipulate a different independent variable. Because there is manipulating and measuring of different independent variables, the research is mostly done in laboratories. An important factor in dealing with person-by-treatment designs are that random assignment will need to be used in order to make sure that the experimenter has complete control over the manipulations that are being done to the study.  An example of this type of design was performed at the University of Notre Dame. The study was conducted to see if being mentored for your job led to increased job satisfaction. The results showed that many people who did have a mentor showed very high job satisfaction. However, the study also showed that those who did not receive the mentor also had a high number of satisfied employees. Seibert concluded that although the workers who had mentors were happy, he could not assume that the reason for it was the mentors themselves because of the numbers of the high number of non-mentored employees that said they were satisfied. This is why prescreening is very important so that you can minimize any flaws in the study before they are seen.  "Natural experiments" are a different type of quasi experiment design used by researchers. It differs from person-by-treatment in a way that there is not a variable that is being manipulated by the experimenter. Instead of controlling at least one variable like the person-by-treatment design, experimenters do not use random assignment and leave the experimental control up to chance. This is where the name ""natural"" experiment comes from. The manipulations occur naturally, and although this may seem like an inaccurate technique, it has actually proven to be useful in many cases. These are the studies done to people who had something sudden happen to them. This could mean good or bad, traumatic or euphoric. An example of this could be studies done on those who have been in a car accident and those who have not. Car accidents occur naturally, so it would not be ethical to stage experiments to traumatize subjects in the study. These naturally occurring events have proven to be useful for studying posttraumatic stress disorder cases.

A quasi-experiment is an empirical interventional study used to estimate the causal impact of an intervention on target population without random assignment. Quasi-experimental research shares similarities with the traditional experimental design or randomized controlled trial, but it specifically lacks the element of random assignment to treatment or control. Instead, quasi-experimental designs typically allow the researcher to control the assignment to the treatment condition, but using some criterion other than random assignment (e.g., an eligibility cutoff mark). In some cases, the researcher may have control over assignment to treatment. Quasi-experiments are subject to concerns regarding internal validity, because the treatment and control groups may not be comparable at baseline. With random assignment, study participants have the same chance of being assigned to the intervention group or the comparison group. As a result, differences between groups on both observed and unobserved characteristics would be due to chance, rather than to a systematic factor related to treatment (e.g., illness severity). Randomization itself does not guarantee that groups will be equivalent at baseline. Any change in characteristics post-intervention is likely attributable to the intervention. With quasi-experimental studies, it may not be possible to convincingly demonstrate a causal link between the treatment condition and observed outcomes. This is particularly true if there are confounding variables that cannot be controlled or accounted for.

Ein Quasi-Experiment ist ein Forschungsdesign und gehört in der Systematik der Versuchspläne zu den vier Haupttypen von Experimenten. Der Begriff Experiment bezeichnet Untersuchungen, die eine Aussage über einen Kausalzusammenhang zweier Variablen ermöglichen. Ein Quasi-Experiment vergleicht natürliche Gruppen ohne randomisierte Zuordnung von Versuchspersonen. Das Untersuchungsdesign determiniert den Wert der kausalen Schlussfolgerungen, die anhand der empirischen Befunde festgestellt werden.


History.

Before the conquest of Hungary (9th century).

The first supposed reference to the Hungarians in war is in the 9th century: in 811, the Hungarians (Magyars) were in alliance with Krum of Bulgaria against Emperor Nikephoros I possibly at the Battle of Pliska in the Haemus Mountains (Balkan Mountains). Georgius Monachus' work mentions that around 837 the Bulgarian Empire sought an alliance with the Hungarians. Constantine Porphyrogenitus wrote in his work "On Administering the Empire" that the Khagan and the Bek of the Khazars asked the Emperor Teophilos to have the fortress of Sarkel built for them. This record is thought to refer to the Hungarians on the basis that the new fortress must have become necessary because of the appearance of a new enemy of the Khazars, and no other people could have been the Khazars’ enemy at that time. In the 10th century, Ahmad ibn Rustah wrote that "earlier, the Khazars entrenched themselves against the attacks of the Magyars and other peoples".  In 860–861, Hungarian soldiers attacked Saint Cyril's convoy but the meeting is said to have ended peacefully. Saint Cyril was traveling to the Khagan at (or near) Chersonesos Taurica, which had been captured by the Khazars. Muslim geographers recorded that the Magyars regularly attacked the neighboring East Slavic tribes, and took captives to sell to the Byzantine Empire at Kerch. There is some information about Hungarian raids into the eastern Carolingian Empire in 862.  In 881, the Hungarians and the Kabars invaded East Francia and fought two battles, the former ("Ungari") at "Wenia" (probably Vienna) and the latter ("Cowari") at "Culmite" (possibly Kulmberg or Kollmitz in Austria). In 892, according to the "Annales Fuldenses", King Arnulf of East Francia invaded Great Moravia and the Magyars joined his troops. After 893, Magyar troops were conveyed across the Danube by the Byzantine fleet and defeated the Bulgarians in three battles (at the Danube, Silistra and Preslav). In 894, the Magyars invaded Pannonia in alliance with King Svatopluk I of Moravia.

After the conquest of Hungary (10th century).

Around 896, probably under the leadership of Árpád, the Hungarians (Magyars) crossed the Carpathians and entered the Carpathian Basin (the plains of Hungary, approximately).  In 899, these Magyars defeated Berengar's army in the Battle of Brenta River and invaded the northern regions of Italy. They pillaged the countryside around Treviso, Vicenza, Verona, Brescia, Bergamo and Milan. They also defeated Braslav, Duke of Lower Pannonia. In 901, they attacked Italy again. In 902, they led a campaign against northern Moravia and defeated the Moravians whose country was annihilated. Almost every year after 900 they conducted raids against the Catholic west and Byzantine east. In 905, the Magyars and King Berengar formed an "amicitia", and fifteen years passed without Hungarian troops entering Italy.  The Magyars defeated no fewer than three large Frankish imperial armies between 907 and 910, as follows. In 907 they defeated the invading Bavarians near Brezalauspurc, destroying their army, successfully defending Hungary and laying Great Moravia, Germany, France and Italy open to Magyar raids. On 3 August 908 the Hungarians won the Battle of Eisenach, Thuringia. Egino, Duke of Thuringia was killed, along with Burchard, Duke of Thuringia and Rudolf I, Bishop of Würzburg. The Magyars defeated Louis the Child's united Frankish Imperial Army at the first Battle of Lechfeld in 910.  Smaller units penetrated as far as Bremen in 915. In 919, after the death of Conrad I of Germany, the Magyars raided Saxony, Lotharingia and West Francia. In 921, they defeated King Berengar's enemies at Verona and reached Apulia in 922. Between 917 and 925, the Magyars raided through Basel, Alsace, Burgundy, Provence and the Pyrenees.  Around 925, according to the "Chronicle of the Priest of Dioclea" from the late 12th century, Tomislav of Croatia defeated the Magyars in battle, however others question the reliability of this account, because there is no proof for this interpretation in other records.  In 926, they ravaged Swabia and Alsace, campaigned through present-day Luxembourg and reached as far as the Atlantic Ocean. In 927, Peter, brother of Pope John X, called on the Magyars to rule Italy. They marched into Rome and imposed large tribute payments on Tuscany and Tarento. In 933, a substantial Magyar army appeared in Saxony (the pact with the Saxons having expired) but was defeated by Henry I at Merseburg. Magyar attacks continued against Upper Burgundy (in 935) and against Saxony (in 936). In 937, they raided France as far west as Reims, Lotharingia, Swabia, Franconia, the Duchy of Burgundy and Italy as far as Otranto in the south. They attacked Bulgaria and the Byzantine Empire, reaching the walls of Constantinople. The Byzantines paid them a “tax” for 15 years. In 938, the Magyars repeatedly attacked Saxony. In 940, they ravaged the region of Rome. In 942, Hungarian raids on Spain, particularly in Catalonia, took place, according to Ibn Hayyan's work. In 947, Bulcsú, a chieftain of Taksony, led a raid into Italy as far as Apulia, and King Berengar II of Italy had to buy peace by paying a large amount of money to him and his followers.  The Battle of Lechfeld in 955, in which the Magyars lost approximately 5,000 warriors, finally checked their expansion, although raids on the Byzantine Empire continued until 970. Lechfeld is south of Augsburg in present-day southern Germany.  According to the contemporary sources, the researchers count 45 (according to Nagy Kálmán) or 47 (According to Szabados György) raids in different parts of Europe. From these campaigns only 8 (17,5 %) were unsuccessful (901, 913, 933, 943, 948, 951, 955, 970) and 37 ended with success (82,5 %).

Tactics.

Their army had mostly light cavalry and were highly mobile. Attacking without warning, they quickly plundered the countryside and departed before any defensive force could be organized. If forced to fight, they would harass their enemies with arrows, then suddenly retreat, tempting their opponents to break ranks and pursue, after which the Hungarians would turn to fight them singly. This tactic is formally known as a feigned retreat.

Aftermath.

The Hungarians were the last invading people to establish a permanent presence in Central Europe. Paul K. Davis writes, the "Magyar defeat (at the Battle of Lechfeld) ended more than 90 years of their pillaging western Europe and convinced survivors to settle down, creating the basis for the state of Hungary." In the following centuries, the Hungarians adopted western European forms of feudal military organization, including the predominant use of heavily armored cavalry.

The Hungarian invasions of Europe (, ) took place in the ninth and tenth centuries, the period of transition in the history of Europe in the Early Middle Ages, when the territory of the former Carolingian Empire was threatened by invasion from multiple hostile forces, the Magyars (Hungarians) from the east, the Viking expansion from the north and the Arabs from the south.

Die Ungarneinfälle (auch "Ungarnstürme"), in der ungarischen Literatur als "Landnahmezeit" bezeichnet, waren eine im Jahre 899 begonnene Serie von kriegerischen Auseinandersetzungen zwischen den noch nicht sesshaften Ungarn, den Magyaren, und ihren Nachbarn. Am häufigsten kam es dabei zu Zusammenstößen mit dem Ostfrankenreich, bis die Magyaren 955 bei der Schlacht auf dem Lechfeld eine vernichtende Niederlage hinnehmen mussten. Diese Epoche, in der auch Plünderzüge bis nach Frankreich, Nordspanien und Oberitalien, aber auch nach Bulgarien erfolgten, endete mit der Regierungszeit des Großfürsten Géza.


Disciplines.

Show jumping.

26 riders from seven nations competed over Viatcheslav Kartavski's course, including six teams, none of whom were dominating powers in international show jumping. The course was kept easy, with ideal distances between fences. Only sixteen riders competed in the individual show jumping competition, including one each from Finland and Guatemala. The Guatemalan, Oswaldo Mendaz, finished in fourth place after losing the jump-off for bronze to Mexico’s Joaquin Perez de la Heras. This remained the highest placing of a Guatemalan athlete at the Olympics until Erick Barrondo won an athletics silver medal in 2012. Silver went to Nikolaj Korolkov, finishing with 9.5 penalties, and gold went to Poland’s Jan Kowalczyk, who had a rail in each round.

Dressage.

Of the 14 riders (seven nations) competing in dressage, there was only one top international competitor: 26-year-old Elisabeth Theurer on her Hanoverian Mon Cheri. She finished the Grand Prix an astonishing 35 points ahead of the second place finisher Yuri Kovshov, and 82 points ahead of the third place winner Viktor Ugriumov. She spread this margin even further in the Grand Prix Special, to 90 points ahead of silver and 136 points ahead of bronze. However, her win was not marred by controversy, and the Austrian National Equestrian Federation's President resigned after her decision to compete.  Following the boycott from west-block nations, the Soviet Union had to stimulate east-block countries of Bulgaria, Poland and Romania to take part in a team competition on a short notice. As a consequence, most of the participants were very inexperienced and have scored some of the lowest marks in the Olympic history. Without any significant competition, the Soviet dressage team won by a record 803 points ahead of the silver medal winning Bulgarian team. This was managed even without one of their top riders, Elena Petushkova, after her horse died from an illness.

Eventing.

Only six nations competed, but with the addition of the 1964 Olympics gold medal winners (Italy) to the team fielded by the USSR (three-time European Champion), there was true competition. Endurance day was held in Bitsa forest park, over very deep footing, and included a 5500 meter Phase A, 3795 meter Steeplechase, 12100 meter Phase C, and a final 7685 meter cross-country course. Although the course was inviting, 11 of the 28 starters were eliminated.

Medals.

Soviet Union dominated team competitions, winning gold medals in all of them. However they did not win any individual gold as Italy, Poland and Austria won the individual jumping, eventing and dressage competitions, respectively.

Events.

Individual jumping grand prix.

Remark:for 3rd and 4th ranked contestants the standings are after jump-off.

Equestrian at the 1980 Summer Olympics was represented by six events. All of them, with the exception of the Individual Jumping Grand Prix, were held in the Trade Unions' Equestrian Complex, which is situated in the Bitsa Forest Park (southern part of Moscow). Individual Jumping Grand Prix was held in the Grand Arena of the Central Lenin Stadium at Luzhniki (south-western part of Moscow).

Bei den XXII. Olympischen Sommerspielen 1980 in Moskau wurden im Reiten wie schon 1976 insgesamt sechs Wettbewerbe ausgetragen. Wie kaum eine andere Sportart litten diese unter dem Boykott der Topnationen, da hier neben den gänzlich fehlenden Sportlern aus der Bundesrepublik Deutschland und den USA auch Sportler aus anderen Ländern wie Großbritannien, Frankreich und auch aus der neutralen Schweiz auf eine Teilnahme verzichteten. Nur aus elf Nationen waren Reiter in Moskau am Start.


Career.

Hackett's first experience of "Star Trek" was when she auditioned for the role of Jadzia Dax in "", but lost out to Terry Farrell. She subsequently was cast as a member of the Terellian alien species in the finale of "", "". She appeared on "Deep Space Nine" as the Romulan Sub Commander T'Rul in the two part episode "" in season three.  She was cast in "" in the recurring role of Seska, a Bajoran member of the Maquis crew who joined Voyager after it was stranded in the Delta Quadrant. She first appeared in the episode "" where she wore the blue uniform of a Starfleet science officer; this was later revealed to be a costuming error and she was subsequently seen in the uniform of the operations department. The original uniform sold for $1,276 ($ today) in the "It's a Wrap!" auction on eBay in 2008.  When she was first cast in the role of Seska, she was not informed that she was a Cardassian spy. She later explained that "when I first started I was Seska the Bajoran Maquis member and they sort of worked everything else up in soap opera fashion." Hackett became pregnant, which was written into Seska's character. Hackett described Seska as being a character with several layers, saying that "Seska’s darker sides came from a certain emotional instability, at least that’s how I played her." Seska was killed off in the second part of "", which came as a surprise to Hackett as she was previously sent a version of the script where Seska survived, but her baby died. She was only told that Seska was to die less than a day before filming. Following her character's death, Hackett as Seska returned to "Voyager" twice more in the episodes "" and "". She appeared in a total of thirteen episodes of "Voyager".  In 2001, she appeared in the independent film Question of Faith, where she played the monk Anselm. Her character underwent a sex change from male to female as part of a divine miracle. The film was directed by her husband.  In 2018, she appeared on the game show "To Tell the Truth".

Personal life.

Hackett was married to Tim Disney, and they have two sons together. Hackett has an A.B. "cum laude" from Harvard University/Radcliffe College.

Martha Hackett (born February 21, 1961) is an American actress. She is known for her portrayal of in thirteen episodes of the television series "". Hackett is an alumnus of Harvard University/Radcliffe College, and was married to independent filmmaker Tim Disney.

Martha Hackett (* 21. Februar 1961 in Boston, Massachusetts) ist eine US-amerikanische Schauspielerin. Bekannt wurde Hackett durch die Rolle "Seska" in "". Sie ist mit dem Drehbuchautor Tim Diseny verheiratet, aus der Ehe gingen zwei Kinder hervor.


Life and career.

McPhee was born in Miami, Florida, on November 3, 1939. He began playing trumpet when he was eight, before learning other instruments. He played in various high school and then military bands before starting his recording career. His first recording came in 1967, when he appeared on the Clifford Thornton album entitled "Freedom and Unity". McPhee taught himself saxophone at the age of 32 after experiencing the music of John Coltrane, Albert Ayler, and Ornette Coleman. During the late 1960s and early 1970s, McPhee lectured on jazz music at Vassar College.  In 1975, Werner Uehlinger started the Swiss label Hathut Records with the specific intent of showcasing McPhee's music. In the 1980s, McPhee met Pauline Oliveros, began studying her musical theories, and worked with her Deep Listening Band. He has not yet signed with any major label in his native United States, and was possibly better known throughout Europe than his native country until the 1990s. His 1996 album "As Serious As Your Life", which takes its title from the jazz book by Val Wilmer, is "arguably the finest of his solo recordings", according to the AllMusic review.  Jazz musicians with whom McPhee has recorded or performed include Ken Vandermark, Peter Brötzmann, Evan Parker, Mats Gustafsson, Jeb Bishop, The Thing, Clifton Hyde, Jérôme Bourdellon, Raymond Boni, and Joe Giardullo. Since 1998, McPhee, Dominic Duval, and Jay Rosen have performed and recorded as Trio X. In the 1990s Dominique Eade and McPhee had a jazz ensemble called Naima.  McPhee has written reviews and commentary for "Cadence".  In 2005, McPhee was awarded the Resounding Vision Award by Nameless Sound.

With Survival Unit III.

As sideman.

With Roy Campbell, William Parker & Warren Smith With the C. T. String Quartet With Dominic Duval With Joe Fonda With Joe Giardullo With Jimmy Giuffre and André Jaume With Raphe Malik With Mat Maneri With the Nihilist Spasm Band With Evan Parker With Jamie Saft With Clifford Thornton With The Thing

Joe McPhee (born November 3, 1939) is an American jazz multi-instrumentalist born in Miami, Florida, a player of tenor, alto, and soprano saxophone, the trumpet, flugelhorn and valve trombone. McPhee grew up in Poughkeepsie, New York, and is most notable for his free jazz work done from the late 1960s to the present day.

Joe McPhee (* 3. November 1939 in Miami, Florida) ist ein afroamerikanischer Jazzmusiker. Er spielt Trompete, Posaune und verschiedene Saxophone.