title: Vargas Era

text: As a candidate in 1930, Vargas utilized populist rhetoric to promote middle class concerns, thus opposing the primacy (but not the legitimacy) of the paulista coffee oligarchy and the landed elites, who had little interest in protecting and promoting industry.


title: Vargas Era

text: However, behind the façade of Vargas' populism lay the intricate nature of his coalition – ever-changing from this point onward. Consequently, these locally dominant regional groups – the gaúchos of Rio Grande do Sul and the sugar barons of the northeast – themselves ushered the new urban groups into the forefront of Brazilian political life in a revolution from above, tilting the balance of the central government in favor of the Liberal Alliance.


title: Vargas Era

text: Vargas' tenuous coalition lacked a coherent program, being committed to a broad vision of "modernization", but little else more definitive. Having to balance such conflicting ideological constituencies, regionalism, and economic interests in such a vast, diverse, and socio-economically varied nation would, thus, not only explain the sole constancy that marked Vargas' long career—abrupt shifts in alliances and ideologies, but also his eventual dictatorship, modeled surprisingly along the lines of European fascism, considering the liberal roots of his regime.


title: Vargas Era

text: Between 1930–1934, Vargas followed a path of social reformism in attempt to reconcile radically diverging interests of his supporters. His policies can best be described collectively as approximating those of fascist Italy under Mussolini, with an increased reliance on populism. Reflecting the influence of the "tenentes", he even advocated a program of social welfare and reform similar to New Deal in the United States, prompting U.S. President Franklin Roosevelt to proudly refer to him as "one of two people who invented the New Deal."


title: Vargas Era

text: Vargas sought to bring Brazil out of the Great Depression through statist-interventionist policies. He satisfied the demands of the rapidly growing urban bourgeois groups, voiced by the new (to Brazil) mass-ideologies of populism and nationalism. Like Roosevelt, his first steps focused on economic stimulus, a program on which all factions could agree.


title: Vargas Era

text: Favoring a state interventionist policy utilizing tax breaks, lowered duties, and import quotas to expand the domestic industrial base, Vargas linked his pro-middle class policies to nationalism, advocating heavy tariffs to "perfect our manufacturers to the point where it will become unpatriotic to feed or clothe ourselves with imported goods!"


title: Vargas Era

text: Vargas sought to mediate disputes between labor and capital. For instance, the provisional president quelled a paulista female workers' strike by co-opting much of its platform and requiring their "factory commissions" to use government mediation in the future.


title: Vargas Era

text: With the northeastern oligarchies now incorporated into the ruling coalition, the government focused on restructuring agriculture. To placate friendly agrarian oligarchs, the modernizing state not only left the impoverished domains of the rural oligarchs untouched, but also helped the sugar barons cement their control over rural Brazil. The peasantry, to the surprise of many accustomed to overlooking Brazil's peripheral regions, was not that servile. Banditry was common. Other forms included messianism, anarchic uprisings, and tax evasion, each of which was already common practice before 1930. The state crushed a wave of banditry in the northeast known as the "cangaço", marking the reversal of the drastic but gradual decline of the northeastern "latifundios" from the 1870s to the 1930 revolution. At the expense of the indigent peasantry—85 percent of the workforce—not only did Vargas renege on his promises of land reforms, he denied agricultural workers in general the working class' gains in labor regulations. Likely to the detriment of that region's long-term economic development, Vargas' static conservatism on matters of the countryside arguably exacerbated the disparities between the impoverished, semi-feudal northeast and the dynamic, urbanized southeast to this day.


title: Vargas Era

text: Opposition arose among the powerful paulista coffee oligarchs to these unprecedented mass interventionist policies, as well as to the increased centralization of the government, its increasing populist and fascist stance, its protectionist/mercantilist policies (protecting politically favored producers at the expense of consumers) and the increasing dictatorial stance of Vargas himself.


title: Vargas Era

text: Appeasement of landed interests, traditionally the country's dominant forces, thus required a realignment of his coalition, forcing him to turn against its left wing. After mid-1932 the influence of the "tenente" group over Vargas rapidly waned, although individual "tenentes" of moderate tendency continued to hold important positions in the regime. With the ouster of the center-left "tenentes" from his coalition, his rightward shift would become increasingly pronounced by 1934.


title: Vargas Era

text: By 1934 Vargas developed what Thomas E. Skidmore and Peter H. Smith called "a legal hybrid" between the regimes of Mussolini's Italy and Salazar's Estado Novo in Portugal. Vargas copied fascist tactics, and shared their rejection of liberal capitalism. He abandoned the arrangements of the "provisional government" (1930–34) which were characterized by social reformism that appeared to favor the generally left wing of his revolutionary coalition, the "tenentes".


title: Vargas Era

text: A conservative insurgency in 1932 was the key turning point to the right. After the July 1932 Constitutionalist Revolution — a thinly-veiled attempt by the paulista coffee oligarchs to retake the central government — Vargas tried to recover support of the landed elites, including the coffee growers, in order to establish a new alliance of power.


title: Vargas Era

text: The revolt was caused by Vargas' appointment of João Alberto, a center-left "tenente" as "interventor" (provisional governor) in place of the elected governor of São Paulo. The paulista elite loathed Alberto, resenting his centralization efforts and alarmed by his economic reforms, such as 5% wage increase and the minor distribution of some land to participants of the revolution. Amid threats of revolt, Vargas replaced João Alberto with a civilian from São Paulo, appointed a conservative paulista banker as his minister of finance, and announced a date for the holding of a constituent assembly. This only emboldened coffee oligarchs who launched a revolt in July 1932, which collapsed after three months of armed combat.


title: Vargas Era

text: Regardless of the attempted revolution, Vargas was determined to maintain his alliance with the original farmer wing of his coalition and to strengthen his ties with the São Paulo establishment. The result was further concessions, alienating the left wings of his coalition. The essential compromise was failing to honor the promises of land reform made during the campaign of 1930. Vargas also pardoned half the bank debts of the coffee planters, who still had a significant grip on the state's electoral machinery, alleviating the crisis stemming from the collapse of the valorization program. To pacify his old paulista adversaries after their failed revolt, he ordered the Bank of Brazil to assume the war bonds issued by the rebel government.


title: Vargas Era

text: Vargas was also increasingly threatened by pro-communist elements in labor critical of the rural "latifundios" by 1934, who sought an alliance with the country's peasant majority by backing land reform. Despite the populist rhetoric of the "father of the poor", the gaucho Vargas was ushered into power by planter oligarchies of peripheral regions amid a revolution from above, and was thus in no position to meet communist demands, had he desired to do so.


title: Vargas Era

text: In 1934, armed with a new constitution drafted with extensive influence from European fascist models, Vargas began reining in even moderate trade unions and turning against the "tenentes". His further concessions to the "latifundios" pushed him toward an alliance with the integralists, Brazil's mobilized fascist movement. Following the end of the provisional presidency, Vargas' regime between 1934 and 1945 was characterized by the co-optation of Brazilian unions through state-run, sham syndicates, and suppression of opposition, particularly leftist opposition.


title: Vargas Era

text: Aside from these recent political disputes, long-term trends suggest an atmosphere in São Paulo conducive to ideological extremism. The rapidly changing and industrializing southeast, had been brewing an atmosphere conducive to the growth of European-style mass-movements; the Brazilian Communist Party was established in 1922 and the postwar period witnessed the rise of the country's first waves of general strikes waged by viable trade unions. The Great Depression intensified their strength.


title: Vargas Era

text: The same Great Depression that had ushered Vargas into power also emboldened calls for social reforms. With the challenges of the Constitutionalist Revolt out of the way, and the looming mass-mobilization of a potential new enemy— the urban proletariat—Vargas grew more concerned with imposing a paternalistic tutelage over the working class, functioning to both control them and co-opt them. Vargas' backers in both urban and rural Brazil would begin to view labor, larger and better organized than directly after the First World War, as an ominous threat.


title: Vargas Era

text: Vargas could unite with all sectors of the landed elites, however, to stem the communists. With the "cangaço" thoroughly repressed in the northeast, all segments of the elite - the new bourgeoisie and the landed oligarchs - shifted their well-founded fears toward the trade unionism and socialist sentiments of the burgeoning urban proletariat. The urban proletariat, often composed of immigrants, was from the more European (in terms of population, culture, ideology, and level of industrial development) and more urbanized southeast. In 1934, following the disintegration of Vargas' delicate alliance with labor, Brazil entered "one of the most agitated periods in its political history". According to Skidmore and Smith, Brazil's major cities began to resemble the Nazi-Communist battles in Berlin of 1932–33. By mid-1935 Brazilian politics had been drastically destabilized.


title: Vargas Era

text: Vargas's attention focused on the rise of two nationally based and highly ideological European-style movements, both committed to European-style mass-mobilization: one pro-communist and the other pro-fascist—one linked to Moscow and the other to Rome and Berlin. The mass-movement intimidating Vargas was the "Aliança Nacional Libertadora" (ANL), a leftwing popular front launched in 1935 of socialists, communists, and other progressives led by the Communist Party and Luís Carlos Prestes, known as the "knight of hope" of the "tenente" rebellion (though not a Marxist at the time). A revolutionary forerunner of Che Guevara, Prestes led the futile Prestes Column through the rural Brazilian interior following his participation in the failed 1922 "tenente" rebellion against the coffee oligarchs. This experience, however, left Prestes, who only died in the 1990s, and some of his comrades skeptical of armed conflict for the rest of his life. Prestes' well-cultivated skepticism later helped precipitate the 1960s schism between hard-line militant Maoists and orthodox Marxist-Leninists which persists with the Brazilian Communist Party into the 21st century. With center-left "tenentes" out of the coalition and the left crushed, Vargas turned to the only mobilized base of support on the right, elated by the atrocious, fascist-style crackdown against the ANL. As his coalition moved to the right after 1934, Vargas' ideological character and association with a global ideological orbit remained ambiguous. Integralism, claiming a rapidly growing membership throughout Brazil by 1935, began filling this ideological void, especially among the approximately one million Brazilians of German descent.


title: Vargas Era

text: Plínio Salgado, a writer and politician, founded Brazilian Integralist Action in October 1933. He adapted Fascist and Nazi symbolism and the Roman salute. It had all the visible elements of European fascism: a green-shirt-uniformed paramilitary organization, street demonstrations, and aggressive rhetoric directly financed in part by the Italian embassy. The integralists borrowed their propaganda campaigns directly from Nazi materials, including the usual traditionalist excoriations of Marxism and liberalism, and espousals of fanatical nationalism and "Christian virtues". In particular, they drew support from military officers, especially in the navy.


title: Vargas Era

text: The strong parallels between the political economy of Vargas and the European police states thus began to appear by 1934, when a new constitution was enacted with direct fascist influence. After 1934, fascist-style programs would serve two important aims: stimulating industrial growth (under the guise of nationalism and autarchy) and suppressing the working class. Passed on July 16, the Vargas government claimed that the corporatist provisions of the constitution of 1934 would unite all classes in mutual interests—the stated purpose of a similar governing document in Fascist Italy. Actually, this propaganda point had somewhat of a basis in reality. In practice, this meant decimating independent organized labor and attracting the "working class" to the corporative state. Of course, the advance of industry and urbanization enlarged and strengthened the ranks of urban laborers, presenting the need to draw them into some sort of alliance committed to the modernization of Brazil. Vargas, and later Juan Perón in neighboring Argentina, emulated Mussolini's strategy of consolidating power by means of mediating class disputes under the banner of nationalism.


title: Vargas Era

text: The constitution established a new Chamber of Deputies that placed government authority over the private economy and established a system of corporatism aimed at industrialization and reducing foreign dependency. These provisions essentially designated corporate representatives according to class and profession, organizing industries into state syndicates, but generally maintained private ownership of Brazilian-owned businesses.


title: Vargas Era

text: The 1934–37 constitution, and especially the "Estado Novo" afterwards, heightened efforts to centralize authority in Rio de Janeiro and drastically limit provincial autonomy in the traditionally devolved, sprawling nation. This was its more progressive role, seeking to consolidate the 1930 revolution, displacing the institutional power of the paulista coffee oligarchs with a centralist policy that respected local agro-exporting interests, but created the necessary urban economic base for the new urban sectors. The modernizing legacy is firmly evident: state government was to be rationalized and regularized, freed from the grips of "coronelismo".


title: Vargas Era

text: The constitution of 1934 thus established a more direct mechanism for the federal executive to control the economy, pursuing a policy of planning and direct investment for the creation of important industrial complexes. State and mixed public-private companies dominated heavy and infrastructure industries, and private Brazilian capital predominated in manufacturing. There was also a significant growth of direct foreign investment in the 1930s as foreign corporations sought to enlarge their share of the internal market and overcome tariff barriers and exchange problems by establishing branch plants in Brazil. The state thus emphasized the basic sectors of the economy, facing the difficult task of forging a viable capital base for future growth in the first place, including mining, oil, steel, electric power, and chemicals.


title: Vargas Era

text: Vargas' four-year term as President under the 1934 Constitution was due to expire in 1938, and he was barred from re-election. However, on 10 November 1937, Vargas made a national radio address denouncing the existence of a communist plot to overthrow the government, called the "Cohen Plan". In reality, however, the Cohen Plan was forged by the government with the objective of creating a favourable atmosphere for Vargas to stay in power, perpetuating his rule and assuming dictatorial powers.


title: Vargas Era

text: The communists had indeed attempted to take over the Government in November 1935, in a botched coup attempt known as the Communist Uprising. In the wake of the failed communist uprising, the congress had already given greater powers to Vargas, and approved the creation of a "National Security Tribunal" ("" (TSN)), established by a statute adopted on 11 September 1936.


title: Vargas Era

text: In his address of 10 November 1937, Vargas, invoking the supposed communist threat, decreed a state of emergency and dissolved the Legislature. He also announced the adoption by Presidential "fiat" of a new, severely authoritarian Constitution that effectively placed all governing power in his hands. The 1934 Constitution was thus abolished, and Vargas proclaimed the establishment of a "New State". The short interval was further evidence that the self-coup had been planned well in advance.


title: Vargas Era

text: Under this dictatorial regime the powers of the National Security Tribunal were streamlined, and it focused on the prosecution of political dissenters. Also, the powers of the police were greatly enhanced, with the establishment of the "Department of Political and Social Order" ("" (DOPS)), a powerful political police and secret service. When created in 1936, the National Security Tribunal was supposed to be a temporary Court, and defendants could file appeals against its judgements to the "Superior Military Court" (""), Brazil's Court of Appeals for the Armed Forces, which was in turn subordinate to the nation's Supreme Court. Thus, communists and other defendants accused of plotting coups were judged by the military court-martial system (with the National Security Tribunal as the trial court of first instance for those cases), and not by the ordinary courts. With the advent of the Estado Novo regime, the National Security Tribunal became a permanent Court, and became autonomous from the rest of the Court system. It gained authority to adjudicate not only cases of communist conspirators and other coup plotters, but it also tried anyone accused of being subversive or dangerous to the Estado Novo regime. Also, several extrajudicial punishments were inflicted by the police itself (especially the DOPS), without trial.


title: Vargas Era

text: The 1937 Constitution provided for elections to a new Congress, as well as a referendum to confirm Vargas' actions. However, neither were held — ostensibly due to the dangerous international situation. Instead, under an article of the Constitution that was supposed to be transitional pending new elections, the President assumed legislative as well as executive powers. For all intents and purposes, Vargas ruled for eight years under what amounted to martial law. Also, under the 1937 Constitution, Vargas should have remained President for only six more years (until November 1943), instead—again presumably due to the dangerous international situation—he remained in power until his overthrow in 1945.


title: Vargas Era

text: The Estado Novo dictatorship also greatly curtailed the autonomy of the Judicial branch, and suppressed the autonomy of the Brazilian States, that were governed by federal interventors, who discharged (on a formally temporary basis), the legislative and executive powers.


title: Vargas Era

text: In December 1937, one month after the Estado Novo coup, Vargas signed a Decree disbanding all political parties, including the fascist "Brazilian Integralist Action" ("Ação Integralista Brasileira" (AIB)). The integralists had until then been supportive of Vargas' anti-communist measures. On May 11, 1938, the integralists, angered by the closing of the AIB, invaded the Guanabara Palace, attempting to depose Vargas. This episode is known as Integralist Uprising and was unsuccessful.


title: Vargas Era

text: Between 1937 and 1945, the duration of the Estado Novo, Vargas gave continuity to the formation of structure and professionalism in the State. Vargas oriented the state to intervene in the economy, promoting economic nationalism. The movement towards a "New State" was significant, in that along with the dismissal of Congress and its political parties, he wanted to recognize the indigenous population. He gained great favour in their eyes, and was called the "Father of the Poor". Besides gaining popularity with them, he provided them with tools to assist them in the improvement of their agrarian lifestyles. He felt that if the country were to progress that the Indians, the very symbol of Brazilianness, should reap the benefits, ridden the label of oppression the country. This was important to establish a unified society. The intention was to form a strong impulse toward industrialization.


title: Vargas Era

text: The Estado Novo had a powerful effect on "Modernist architecture in Brazil" (""), because it provided sufficient authority to implement urban planning on a large scale in Brazil. Although sufficient wealth was not available to complete the plans, they had a powerful, lasting effect on the cities and their organization. One of the best-planned cities in the world, Curitiba, received its first planning during the Estado Novo. One notable urban planner was Alfred Agache.


title: Vargas Era

text: A series of measures were used to restrain opposition, such as the nomination of Intervenors for the States and censorship of the media, performed by the "Department of Press and Propaganda" ("" (DIP)). This agency also promoted the ideology of the Estado Novo, designed the official propaganda of the government and tried to direct public opinion.


title: Vargas Era

text: In 1943, Vargas promulgated the Consolidation of Labor Laws (CLT), guaranteeing that a job would be stable after ten years of service. It also provided weekly rest, regulated the work of minors and women, regulated night-time work and set a working day to eight hours.


title: Vargas Era

text: The liberal revolution of 1930 overthrew the oligarchic coffee plantation owners and brought to power an urban middle class that and business interests that promoted industrialization and modernization. Aggressive promotion of new industry turned around the economy by 1933. Brazil's leaders in the 1920s and 1930s decided that Argentina's implicit foreign policy goal was to isolate Portuguese-speaking Brazil from Spanish-speaking neighbors, thus facilitating the expansion of Argentine economic and political influence in South America. Even worse, was the fear that a more powerful Argentine Army would launch a surprise attack on the weaker Brazilian Army. To counter this threat, President Getúlio Vargas forged closer links with the United States. Meanwhile, Argentina moved in the opposite direction. During World War II, Brazil was a staunch ally of the United States and sent an expeditionary force to Europe. The United States provided over $370 million in Lend-Lease grants, in return for free rent on air bases used to transport American soldiers and supplies across the Atlantic, and naval bases for anti-submarine operations. In sharp contrast, Argentina was officially neutral and at times favored Germany.


title: Vargas Era

text: With the start of World War II, in 1939, Vargas maintained neutrality until 1941, when an agreement, proposed by Brazilian foreign relations minister Oswaldo Aranha, was formed between American continental nations to align with any American country in the event of an attack by an external power. Due to this agreement, from Pearl Harbor Brazil's entering the war became just a matter of time. American policy also financed Brazilian iron and steel extraction and placed military bases along the Brazilian North-Northeast coast, headquartered in Natal. With the conquest of Southeast Asia by Japanese troops, Getúlio signed a treaty, the Washington Accords, in 1942, which provisioned the supply of natural rubber from the Amazon to the Allies, resulting in the second rubber boom and the forced migration of many people from the drought-stricken northeast to the heart of Amazônia. These people were known as "Soldados da Borracha" ("rubber soldiers").


title: Vargas Era

text: After the sinking of over 25 Brazilian merchant ships by German and Italian submarines throughout 1942, popular mobilization forced the Brazilian government to abandon its passiveness and declare war on Germany and Italy in August, 1942. Popular mobilization to make the war declaration effective, with the despatching of Brazilian troops to Europe, continued, but a decision by the Brazilian Government to actually send troops to fight the enemy was only made in January 1943, when Vargas and the U.S President Franklin Delano Roosevelt met in Natal, where the first official agreement was made to create an expeditionary force (BEF). In July 1944 the first BEF group was sent to fight in Italy, and, despite being poorly equipped and trained, it accomplished its main missions.


title: Vargas Era

text: Soon after the war, however, fearing the BEF's popularity and possible political use of the allied victory by some BEF members, the then Brazilian government decided to make demobilization effective, with the BEF still in Italy. Returning to Brazil, its members were also subjected to some restrictions. Civilian veterans were forbidden from wearing military decorations or uniforms in public, while military vets were transferred to regions far from great cities or to border garrisons.


title: Vargas Era

text: The events related to Brazilian participation in the war and the ending of the conflict in 1945 strengthened pressures in favour of redemocratisation. Although there were some concessions by the regime, such as the setting of a date for presidential elections, amnesty for political prisoners, the freedom to organize political parties, and a commitment to choose a new Constitutional convention, Vargas was not able to retain support for the continuation of his presidency and was deposed by the military in a surprise coup launched from his own War Ministry on October 29, 1945.


title: Vargas Era

text: Once Vargas was deposed, the military summoned his legal deputy, José Linhares, the President of the Supreme Federal Court (Brazil's chief justice), to assume the Presidency (the office of Vice-President had been abolished, and no legislature had been elected under the 1937 Constitution, so that the President of the Supreme Court was the first person in the line of succession). José Linhares immediately summoned elections for President and for a Constituent Assembly. The elections were held in December, 1945, and José Linhares remained in office only until the inauguration of the Assembly and of the elected President (General Eurico Gaspar Dutra) which took place on January 31, 1946. The inauguration marked the end of the "Estado Novo" and the beginning of the Fourth Brazilian Republic.


title: Doin' Time

text: "Doin' Time" is a song by the American band Sublime for their self-titled third album. The lyrics tell of a cheating girlfriend, whose infidelities and poor treatment of her lover makes him feel like he is in prison. It was released as a single on November 25, 1997; the disc contained alternate versions of the song by Wyclef Jean and The Pharcyde. Additional versions appeared on the post-Bradley Nowell compilation album "Second-hand Smoke" and several bootlegs, including one with Snoop Dogg.


title: Doin' Time

text: This song reached number 87 on the "Billboard" Hot 100 and number 28 on the Modern Rock Tracks chart.


title: Doin' Time

text: "Doin' Time" samples "Summertime" by George Gershwin, composed for the opera "Porgy and Bess". The track heavily samples a cover of "Summertime" by jazz flautist Herbie Mann, a live bossa nova version from his album "Herbie Mann at the Village Gate". The band originally recorded the song with the lyrics "doin' time and the livin's easy". In order to release the song using the Gershwin sample, the band had to agree to use the line "summertime" instead of "doin' time". However, the song was already recorded with the "doin' time" lyric, and lead singer Bradley Nowell had recently died of a heroin overdose. The lyric was re-recorded by Sublime's friend/producer Michael Happoldt singing "summertime". It is this version of the song that appears on Sublime's self-titled album. Future Long Beach Dub Allstars DJ Marshall Goodman appears on the recording and is mentioned in the lyrics.


title: Doin' Time

text: The line "And we can do it like this, in the place to be." is sampled from the Beastie Boys' "Slow and Low" from their 1986 album "Licensed to Ill". The song also samples "Jump for Jah" and “Come Now” by Ini Kamoze, "Buffalo Gals" by Malcolm McLaren, and "Holy Thursday" by David Axelrod.


title: Doin' Time

text: The original version of "Doin' Time" with the original, unaltered vocal was released in 2006 on the Deluxe Edition of the band's self-titled "Sublime" album, as well as the 2 disc 180 gram vinyl "Back To Black 60th Vinyl Anniversary" edition. The deluxe edition also includes 5 remixes of "Doin' Time", and the original music video.


title: Doin' Time

text: On May 7, 2019, American singer Lana Del Rey teased a cover of the song and said it was "coming soon". Del Rey's cover was officially released on May 17, 2019, coinciding with the premiere of a documentary about Sublime at the Tribeca Film Festival. It was released as the fourth single from Del Rey's sixth studio album "Norman Fucking Rockwell!". On August 29, 2019, she released a music video for the cover, which referenced the film "Attack of the 50 Foot Woman" (1958). When asked about covering the song, Del Rey credited the transitioning of and shifts in genres to Sublime, saying the group "made a genre and sound totally their own", adding that because of the indelible "SoCal vibe" the group created, "not a day goes by that [she does not] listen to at least one Sublime song."


title: Doin' Time

text: Del Rey's version of "Doin' Time" received critical acclaim upon its release, with music critics as well as Sublime's former bandmates and family offering praise for Del Rey's treatment of the song.


title: Doin' Time

text: An article from "Rolling Stone" that described Del Rey's cover as "shimmering" and "glittering" included Sublime drummer Bud Gaugh's personal evaluation of Del Rey's version, wherein Gaugh lauded the incorporation of her well-recognized vocal style into the song and said that the "smoky, sexy, and iconic sound of her voice breathes new life into one of our favorite singles." In an interview published by iHeartRadio, Troy Dendekker, the widow of Sublime frontman Bradley Nowell, likewise praised Del Rey's cover by calling it "magical and haunting" and explained that it was "an honor to have [Del Rey’s] talent complement the Sublime legacy."


title: Doin' Time

text: "Billboard", reviewer Gil Kaufman stated that Del Rey "does [the song] justice", particular highlighting how Del Rey incorporated her own "sleepy, intimate vibe over the song's laid-back groove." "The Fader"s Meaghan Garvey gave a positive review to the song, saying that "the song of the summer is 'Doin' Time' by Sublime, as sung by Lana herself”, and opined that “[Del Rey's] version of 'Doin' Time' improves upon the original, with its slinkier arrangement and fluttering bridge.". "Stereogum"s Keely Quinlan gave an overwhelmingly positive review, praising it as a "very, very good" cover and went on to state that Del Rey's "stacked, reverb-soaked vocals fit this vibe expertly, and some additional percussion adds a gorgeous sweetness." Eric Torres of "Pitchfork" also gave praise to Del Rey's version when he described the cover as "decidedly within Del Rey's wheelhouse.” and highlighted the way in which Del Rey "[adapted] Bradley Nowell's expressive rapping into her own blasé drawl.”


title: Doin' Time

text: In the video, Del Rey — as an analog of the 50 Foot giant woman — appears amid locations across Los Angeles. At the video's beginning, Del Rey is found reclining in an empty channel of the L.A. River. She plucks a palm tree out of the ground and walks up a downtown L.A. street with it, then drops it. She then drinks from a water tower (which has disappointingly little water in it, reflecting the lyric that her lover cheats and then there's very little left for her) and checks her makeup in a glass window. She steps over a freeway and goes to Venice Beach, where she walks into the ocean and splashes in the water. This is revealed to be a movie that Lizzy, the old Lana, is watching at the Drive-In. She sees her boyfriend making out with another girl and she doesn't look pleased. After messing with sand, Lana from the movie blows a sandstorm into the audience, then climbs out of the drive-in screen to shake & drop the car her boyfriend and the other girl is in, killing them, exacting revenge on behalf of Lizzy. She and Lizzy give each other a smile, then she climbs back into the movie.


title: FIFA 18

text: FIFA 18 is a football simulation video game developed and published by Electronic Arts and released worldwide on 29 September 2017 for Microsoft Windows, PlayStation 3, PlayStation 4, Xbox 360, Xbox One and Nintendo Switch. It is the 25th installment in the "FIFA" series. Portuguese footballer Cristiano Ronaldo, at the time contracted to Real Madrid, appears as the cover athlete of the regular edition, as well as the alternate covers of the Icon and 2018 FIFA World Cup editions of the game.


title: FIFA 18

text: "FIFA 18" is the second instalment in the series to use the Frostbite 3 game engine, although some versions of the game use a different game engine. The PlayStation 4, Microsoft Windows and Xbox One versions include a continuation of "The Journey" a story-based mode that was originally in "FIFA 17" titled "The Journey: Hunter Returns". The PlayStation 3 and Xbox 360 versions, marketed as "FIFA 18: Legacy Edition", were not built on the Frostbite engine and do not contain any new gameplay features, and are hence identical to the previous release aside from updated kits and squads.


title: FIFA 18

text: "FIFA 18" is a sports game that simulates association football. The game features 52 fully licensed stadiums from 12 countries, including new stadiums, plus 30 generic fields for a total of 82. All 20 Premier League stadia are represented in the series. Commentary is once again provided by Martin Tyler and Alan Smith with Alan McInally (in-game score updates), Geoff Shreeves (injury reports) and Mike West (classified results).


title: FIFA 18

text: "FIFA 18" Ultimate Team Icons, the new version of what has previously been called Legends is playable on the PS4, Xbox One and PC versions of the game, as Legends were exclusive to Xbox One. Diego Maradona was added as a legend to the Ultimate Team, joining Brazilian stars Pelé and Ronaldo, Russian goalkeeper Lev Yashin, and French star Thierry Henry for the 95-rated card. New goal celebrations featured include Cristiano Ronaldo's "Siii" jump (accompanied with a voiceover from Ronaldo), Wayne Rooney's "Knockout", Samuel Eto'o's "Old Man" routine, Robert Lewandowski's "X", and Raúl kissing his ring finger. The Cruyff turn – a feint named after 1970s Dutch star Johan Cruyff – is one of the four new skills added to the game.


title: FIFA 18

text: "FIFA 18" features the third tier of Germany's Bundesliga, the 3. Liga. It also features the Iceland national football team, the Saudi Arabia national football team, both the men's and women's national New Zealand teams, and has again included the Turkish Super League after EA renewed its licence with them.


title: FIFA 18

text: EA Sports have introduced Quick Subs into "FIFA 18" where the player can make a substitute when the ball goes out of play. Also now in Career Mode players can watch interactive transfer negotiations happen and can also see their new signings unveiled in cut scenes.


title: FIFA 18

text: The story-based Journey mode that was introduced in "FIFA 17" returns in this instalment and continues the narrative under the title "The Journey: Hunter Returns". If one completed the original story, they will begin "FIFA 18" at the same club – with traits and honours, such as a Premier League title or FA Cup win, being carried over. As for those starting fresh, they will see a montage of key plot points in the game, then be able to select from any current English Premier League side. Alex Hunter, the 18-year-old main character from Clapham, London, returns and is fully customisable. Players can unlock items which include new clothes and hairstyles for Hunter. While "FIFA 17" locked Hunter to the English Premier League and Championship, in "FIFA 18" players can now experience new locations, such as Brazil and the United States. The trailer released for this game mode also shows numerous widely known football players making an appearance such as Cristiano Ronaldo, Antoine Griezmann, Dele Alli, Thomas Müller, Gyasi Zardes, Rio Ferdinand and Thierry Henry. NBA player James Harden is also featured in the trailer and on the video game itself. Alex Morgan and Megan Rapinoe also make cameo appearances. The story mode also has new playable characters, such as Danny Williams, who is Alex Hunter's best friend, and also featuring a character new to the series, Alex Hunter's half-sister, Kim Hunter.


title: FIFA 18

text: The story begins with a TV-style 'previously on' section that recaps the key events of the first journey. Then the game cuts to Alex Hunter and his friend Danny Williams, enjoying their last day on holiday in Brazil, before they are approached by some young kids who challenge them to a football game. After returning home to England, Alex and his team are informed about a pre-season tournament in the US, before which Alex is invited to an interview with Rio Ferdinand, but later runs into his old friend and rival Gareth Walker, who says he can't believe that Alex is still with his agent Michael Taylor. Then at the tour in LA, Alex's team faces off against Real Madrid and at the end of the match, regardless of the result, Alex swaps numbers with Cristiano Ronaldo, who suggests that Alex comes and plays for Madrid, having been impressed by his play. If the player beats Real Madrid, they play against LA Galaxy, where Hunter encounters Gyasi Zardes in the tunnel before the match starts. Alex also meets his father during the tour, and begrudgingly accepts an invitation to have dinner with him. After the tour, Alex Hunter and his teammates go to Chicago where they participate in the MLS All-Star Game.


title: FIFA 18

text: Following the first game of the new Premier League season, Michael tells Alex that none other than Real Madrid are keen on signing him. Despite it being a risky move with Alex who is still in his youth, he decides to follow his dreams, and put forward a transfer request. This causes both Alex's teammates and the fans to lose faith in his commitment to the team – even to the point of the fans booing him when he is subbed on during a game. Unfortunately, just one day before the transfer window closes, Michael reveals that he found out that the Real Madrid deal was a scam, and that they were never interested in him joining their team. While the club executive appreciates that neither Michael or Alex had any reason to believe the deal was fake, it doesn't counter the fact that Alex put a transfer request in – meaning that he wanted to leave. Alex is subsequently pulled from the senior squad and put on the youth squad. With just hours until the deadline, Michael admits that he really wanted to sign Alex with Madrid because he was falling behind in his reputation as an agent, and so he went with the deal without really thinking too much. Alex is enraged at Michael for gambling his football career for his personal gain, and the player is then given the option to forgive Michael and stay with him, or fire him due to his almost career ending mistake.


title: FIFA 18

text: Regardless of the player's decision, Alex then gets a call from his Dad, who is now working for LA Galaxy. The team offer him a contract to play for LA, due to some injuries their strikers have suffered from. With no other option to go for, aside from training with the youth squad, Alex accepts the deal, helping the team to reach the playoffs. Shortly after he arrives in the US, a young girl recognizes him in the changing rooms. While dining out with his father, Alex learns that she is Kim Hunter – his half sister. Less than impressed with his father for not telling him about Kim, Alex storms off, but later comes to support Kim during her international debut for the US ladies against Germany. With Christmas coming around, Alex returns home to England after the season with LA ends, but gives Kim their grandfather's football for luck in her future games.


title: FIFA 18

text: After reuniting with Danny, who signed up with Alex's former club when he left, Alex learns that Atlético Madrid, PSG, and Bayern Munich are interested in signing him (if the player kept Michael, he signs him or if the player fired him, Alex is signed by his dad). Alex signs to one of them and when he arrives finds out that Dino, the manager of Alex's former loan club, is at his new club as well. Dino pairs Alex up with either Thomas Muller, Antoine Griezmann, or Dele Alli, the player serving as Alex's strike partner. Just three games in however, Alex suffers a knee injury that sidelines him from the pitch for most of the season. At this point the game switches to Danny Williams' perspective, whose career at Alex's former club is at risk. After playing a game, the player is given the option to either play as Williams and try and save his career, or simply give it up and take control of Hunter in the next chapter.


title: FIFA 18

text: Having recovered from his injury in rehab, Alex meets up with Kim for a kick around before going back to his European team, where he finds out that Dino's job is at risk, and he may be fired if the club doesn't win any silverware by the season's end. If Hunter plays well and wins the league or cup final, Dino keeps his job. If not, Dino will indeed be fired and Alex helps him clean out his desk.


title: FIFA 18

text: After the season ends, Alex takes Jim over to the US to meet Kim for the first time and they dine at the restaurant. After he eats, Alex receives a call from an agent who claims to have been keeping her eye on him. She offers to make him an icon and tells him to meet up with her, leading into his appearance in FIFA 19.


title: FIFA 18

text: "FIFA 18" was developed and published by Electronic Arts. In January 2017, during the Nintendo Switch Presentation, EA announced a custom-built port of "FIFA 18" on the Nintendo Switch console. It runs on an internally developed game engine, as opposed to Frostbite engine that several versions of the game run on. While the Switch version includes a career mode, it excludes the story-based Journey mode. The Switch version runs at a resolution of 1080p at 60 frames per second when docked to a TV, and 720p at 60 frames per second in the handheld/tabletop mode. The Switch version marks the first time Ultimate Team ever made an appearance on a Nintendo system. Features exclusive to the Switch version include local multiplayer in the form of the new mode Local Seasons, allowing up to two Nintendo Switches to connect and compete in a five-match sequence. Another mode exclusive to Switch is the Switch Kick-Off mode, allowing players to instantly get into local/solo matches.


title: FIFA 18

text: The faces for Forest Green Rovers were captured for the game, a first for a club outside of Europe's top leagues. EA chose the club after they were promoted to the Football League after a 128-year wait.


title: FIFA 18

text: "FIFA 18" was released worldwide on 29 September 2017 for Microsoft Windows, PlayStation 4, PlayStation 3, Xbox 360, Xbox One and Nintendo Switch. Cristiano Ronaldo is featured on the cover of the game's retail box.


title: FIFA 18

text: On 30 April 2018, EA announced a free expansion based on the 2018 FIFA World Cup, featuring all 32 teams that qualified, all 12 stadiums used at the 2018 FIFA World Cup as well as the ability for players to create their own customized World Cup tournaments and 17 other national teams that did not qualify: Austria, Canada, Chile, China, Czech Republic, Greece, Italy, Netherlands, Norway, Northern Ireland, Republic of Ireland, Romania, Senegal, Turkey, United States and Wales. It was released on 29 May 2018 for the PC, Nintendo Switch, PlayStation 4 and Xbox One versions of the game, with FIFA Mobile getting the mode for a limited time only on 6 June 2018.


title: FIFA 18

text: "FIFA 18" received "generally favourable" reviews for the PS4, Xbox One and PC versions of the game, while the Nintendo Switch version received "mixed or average" reviews from critics, according to review aggregator Metacritic.


title: FIFA 18

text: In their review scoring 7 out of 10, GameSpot wrote, "From the variety of game modes on offer and how everything's presented, to the constant updates in FUT's Team of the Week, Daily Objectives, and discussion of real-world happenings in commentary, "FIFA 18" captures the world of football and confidently translates it into a video game. On the pitch, however, EA's soccer series is still lagging far behind "PES 2018"s more fluid, satisfying football." IGN gave it an 8.1/10, saying, "A sharp focus on attack but few new additions make this a spectacular if somewhat shallow experience."


title: FIFA 18

text: "Eurogamer" ranked the game 30th on their list of the "Top 50 Games of 2017". The game won the award for "Best Sports Game" at the 2017 Game Critics Awards, and was nominated for "Best Console Game (Nintendo Switch)" and "Best Sports Game" at the Gamescom 2017 Awards. It was also nominated for "Best Multiplayer Game" at the Golden Joystick Awards, for "Best Sports/Racing Game" at The Game Awards 2017, and for "Best Sports/Driving Game" at the Titanium Awards. It won the award for "Best Story" at "Game Informer"s 2017 Sports Game of the Year Awards, while it took the lead for "Best Sports Game" in their Reader's Choice Best of 2017 Awards. It won the awards for "Best Music Supervision in a Video Game" at the Guild of Music Supervisors Awards, and for "Sports Game of the Year" at the 21st Annual D.I.C.E. Awards, and was nominated for "Game, Franchise Sports" at the 17th Annual National Academy of Video Game Trade Reviewers Awards, and for "eSports Game of the Year" at the 2018 SXSW Gaming Awards. It won the award for "Best Selling Game" at the Italian Video Game Awards, whereas its other nomination was for "People's Choice". It was also nominated for "Best Game" at BBC Radio 1's Teen Awards.


title: FIFA 18

text: In September 2018, EA Sports announced that the game sold more than 24 million with all of its versions.


title: FIFA 18

text: "FIFA 18" faced a backlash from fans due to its bugs and microtransactions system in Ultimate Team mode which makes it pay-to-win resulting in a Black Friday boycott by fans in November 2017 and a petition being launched by fans with the hashtag #FixFifa. Players criticized EA of changing the game through patches which resulted in large amounts of glitches and bugs in the game, players not getting what they paid for, and the need to spend a large amount of real currency to obtain a decent Ultimate Team. FIFA Ultimate Team packs have been called loot boxes in another name and the similarity to addictive gambling due to their use of variable-ratio scheduling used in gambling. Players also accused Ultimate Team packs of having mediocre drop rates. "FIFA 18", alongside several other EA games such as "", are also under investigation by countries such as Belgium for their loot box systems.


title: Song thrush

text: The song thrush (Turdus philomelos) is a thrush that breeds across the West Palearctic. It has brown upper-parts and black-spotted cream or buff underparts and has three recognised subspecies. Its distinctive song, which has repeated musical phrases, has frequently been referred to in poetry.


title: Song thrush

text: The song thrush breeds in forests, gardens and parks, and is partially migratory with many birds wintering in southern Europe, North Africa and the Middle East; it has also been introduced into New Zealand and Australia. Although it is not threatened globally, there have been serious population declines in parts of Europe, possibly due to changes in farming practices.


title: Song thrush

text: The song thrush builds a neat mud-lined cup nest in a bush or tree and lays four to five dark-spotted blue eggs. It is omnivorous and has the habit of using a favourite stone as an "anvil" on which to break open the shells of snails. Like other perching birds (passerines), it is affected by external and internal parasites and is vulnerable to predation by cats and birds of prey.


title: Song thrush

text: The song thrush was described by German ornithologist Christian Ludwig Brehm in 1831, and still bears its original scientific name, "Turdus philomelos". The generic name, "Turdus", is the Latin for "thrush", and the specific epithet refers to a character in Greek mythology, Philomela, who had her tongue cut out, but was changed into a singing bird. Her name is derived from the Ancient Greek "Φιλο" "philo-" ("loving"), and "μέλος" "melos" ("song"). The dialect names "throstle" and "mavis" both mean "thrush", being related to the German "drossel" and French "mauvis" respectively. "Throstle" dates back to at least the fourteenth century and was used by Chaucer in the "Parliament of Fowls". Mavis is derived via Middle English "mavys" and Old French "mauvis" from Middle Breton "milhuyt" meaning "thrush." Mavis (Μαβής) can also mean "purple" in Greek.


title: Song thrush

text: A molecular study indicated that the song thrush's closest relatives are the similarly plumaged mistle thrush ("T. viscivorus") and Chinese thrush ("T. mupinensis"); these three species are early offshoots from the Eurasian lineage of "Turdus" thrushes after they spread north from Africa. They are less closely related to other European thrush species such as the blackbird ("T. merula") which are descended from ancestors that had colonised the Canary islands from Africa and subsequently reached Europe from there.


title: Song thrush

text: The song thrush has three subspecies, with the nominate subspecies, "T. p. philomelos", covering the majority of the species' range. "T. p. hebridensis", described by British ornithologist William Eagle Clarke in 1913, is a mainly sedentary (non-migratory) form found in the Outer Hebrides and Isle of Skye in Scotland. It is the darkest subspecies, with a dark brown back, greyish rump, pale buff background colour to the underparts and grey-tinged flanks.


title: Song thrush

text: "T. p. clarkei", described by German zoologist Ernst Hartert in 1909, and named for William Eagle Clarke, breeds in the rest of Great Britain and Ireland and on mainland Europe in France, Belgium, the Netherlands and possibly somewhat further east. It has brown upperparts which are warmer in tone than those of the nominate form, an olive-tinged rump and rich yellow background colour to the underparts. It is a partial migrant with some birds wintering in southern France and Iberia. This form intergrades with the nominate subspecies in central Europe, and with "T. p. hebridensis" in the Inner Hebrides and western Scotland, and in these areas birds show intermediate characteristics. Additional subspecies, such as "T. p. nataliae" of Siberia, proposed by the Russian Sergei Buturlin in 1929, are not widely accepted.


title: Song thrush

text: The song thrush (as represented by the nominate subspecies "T. p. philomelos") is in length and weighs . The sexes are similar, with plain brown backs and neatly black-spotted cream or yellow-buff underparts, becoming paler on the belly. The underwing is warm yellow, the bill is yellowish and the legs and feet are pink. The upperparts of this species become colder in tone from west to east across the breeding range from Sweden to Siberia. The juvenile resembles the adult, but has buff or orange streaks on the back and wing coverts.


title: Song thrush

text: The most similar European thrush species is the redwing ("T. iliacus"), but that bird has a strong white supercilium, red flanks, and shows a red underwing in flight. The mistle thrush ("T. viscivorus") is much larger and has white tail corners, and the Chinese thrush ("T. mupinensis"), although much more similar in plumage, has black face markings and does not overlap in range.


title: Song thrush

text: The song thrush has a short, sharp "tsip" call, replaced on migration by a thin high "seep", similar to the redwing's call but shorter. The alarm call is a "chook-chook" becoming shorter and more strident with increasing danger. The male's song, given from trees, rooftops or other elevated perches, is a loud clear run of musical phrases, repeated two to four times, "filip filip filip codidio codidio quitquiquit tittit tittit tereret tereret tereret", and interspersed with grating notes and mimicry. It is given mainly from February to June by the Outer Hebridean race, but from November to July by the more widespread subspecies. For its weight, this species has one of the loudest bird calls.


title: Song thrush

text: An individual male may have a repertoire of more than 100 phrases, many copied from its parents and neighbouring birds. Mimicry may include the imitation of man-made items like telephones, and the song thrush will also repeat the calls of captive birds, including exotics such as the white-faced whistling duck.


title: Song thrush

text: The song thrush breeds in most of Europe (although not in the greater part of Iberia, lowland Italy or southern Greece), and across Ukraine and Russia almost to Lake Baikal. It reaches to 75°N in Norway, but only to about 60°N in Siberia. Birds from Scandinavia, Eastern Europe and Russia winter around the Mediterranean, North Africa and the Middle East, but only some of the birds in the milder west of the breeding range leave their breeding areas.


title: Song thrush

text: In Great Britain song thrushes are commonly found where there are trees and bushes. Such areas include parks, gardens, coniferous and deciduous woodland and hedgerows.


title: Song thrush

text: Birds of the nominate subspecies were introduced to New Zealand and Australia by acclimatisation societies between 1860 and 1880, apparently for purely sentimental reasons. In New Zealand, where it was introduced on both the main islands, the song thrush quickly established itself and spread to surrounding islands such as the Kermadecs, Chatham and Auckland Islands. Although it is common and widespread in New Zealand, in Australia only a small population survives around Melbourne. In New Zealand, there appears to be a limited detrimental effect on some invertebrates due to predation by introduced bird species, and the song thrush also damages commercial fruit crops in that country. As an introduced species it has no legal protection in New Zealand, and can be killed at any time.


title: Song thrush

text: The song thrush typically nests in forest with good undergrowth and nearby more open areas, and in western Europe also uses gardens and parks. It breeds up to the tree-line, reaching in Switzerland. The island subspecies "T. p. hebridensis" breeds in more open country, including heathland, and in the east of the song thrush's Eurasian range, the nominate subspecies is restricted to the edge of the dense conifer forests.


title: Song thrush

text: In intensively farmed areas where agricultural practices appear to have made cropped land unsuitable, gardens are an important breeding habitat. In one English study, only 3.5% of territories were found in farmland, whereas gardens held 71.5% of the territories, despite that habitat making up only 2% of the total area. The remaining nests were in woodlands (1% of total area).


title: Song thrush

text: The winter habitat is similar to that used for breeding, except that high ground and other exposed localities are avoided; however, the island subspecies "T. p. hebridensis" will frequent the seashore in winter.


title: Song thrush

text: The song thrush is not usually gregarious, although several birds may roost together in winter or be loosely associated in suitable feeding habitats, perhaps with other thrushes such as the blackbird, fieldfare, redwing and dark-throated thrush. Unlike the more nomadic fieldfare and redwing, the song thrush tends to return regularly to the same wintering areas.


title: Song thrush

text: This is a monogamous territorial species, and in areas where it is fully migratory, the male re-establishes its breeding territory and starts singing as soon as he returns. In the milder areas where some birds stay year round, the resident male remains in his breeding territory, singing intermittently, but the female may establish a separate individual wintering range until pair formation begins in the early spring.


title: Song thrush

text: During migration, the song thrush travels mainly at night with a strong and direct flight action. It flies in loose flocks which cross the sea on a broad front rather than concentrating at short crossings (as occurs in the migration of large soaring birds), and calls frequently to maintain contact. Migration may start as early as late August in the most easterly and northerly parts of the range, but the majority of birds, with shorter distances to cover, head south from September to mid-December. However, hard weather may force further movement. Return migration varies between mid-February around the Mediterranean to May in northern Sweden and central Siberia. Vagrants have been recorded in Greenland, various Atlantic islands, and West Africa.


title: Song thrush

text: The female song thrush builds a neat cup-shaped nest lined with mud and dry grass in a bush, tree or creeper, or, in the case of the Hebridean subspecies, on the ground. She lays four or five bright glossy blue eggs which are lightly spotted with black or purple; they are typically size and weigh , of which 6% is shell. The female incubates the eggs alone for 10–17 days, and after hatching a similar time elapses until the young fledge. Two or three broods in a year is normal, although only one may be raised in the north of the range. On average, 54.6% of British juveniles survive the first year of life, and the adult annual survival rate is 62.2%. The typical lifespan is three years, but the maximum recorded age is 10 years 8 months.


title: Song thrush

text: The song thrush is occasionally a host of parasitic cuckoos, such as the common cuckoo, but this is very rare because the thrush recognizes the cuckoo's non-mimetic eggs. However, the song thrush does not demonstrate the same aggression toward the adult cuckoo that is shown by the blackbird. The introduced birds in New Zealand, where the cuckoo does not occur, have, over the past 130 years, retained the ability to recognize and reject non-mimetic eggs.


title: Song thrush

text: Adult birds may be killed by cats, little owls and sparrowhawks, and eggs and nestlings are taken by magpies, jays, and, where present, grey squirrels. As with other passerine birds, parasites are common, and include endoparasites, such as the nematode "Splendidofilaria (Avifilaria) mavis" whose specific name "mavis" derives from this thrush. A Russian study of blood parasites showed that all the fieldfares, redwings and song thrushes sampled carried haematozoans, particularly "Haemoproteus" and "Trypanosoma". "Ixodes" ticks are also common, and can carry pathogens, including tick-borne encephalitis in forested areas of central and eastern Europe and Russia, and, more widely, "Borrelia" bacteria. Some species of "Borrelia" cause Lyme disease, and ground-feeding birds like the song thrush may act as a reservoir for the disease.


title: Song thrush

text: The song thrush is omnivorous, eating a wide range of invertebrates, especially earthworms and snails, as well as soft fruit and berries. Like its relative, the blackbird, the song thrush finds animal prey by sight, has a run-and-stop hunting technique on open ground, and will rummage through leaf-litter seeking potential food items.


title: Song thrush

text: Land snails are an especially important food item when drought or hard weather makes it hard to find other food. The thrush often uses a favorite stone as an "anvil" on which to break the shell of the snail before extracting the soft body and invariably wiping it on the ground before consumption. Young birds initially flick objects and attempt to play with them until they learn to use anvils as tools to smash snails. The nestlings are mainly fed on animal food such as worms, slugs, snails and insect larvae.


title: Song thrush

text: The grove snail ("Cepaea nemoralis") is regularly eaten by the song thrush, and its polymorphic shell patterns have been suggested as evolutionary responses to reduce predation; however, song thrushes may not be the only selective force involved.


title: Song thrush

text: The song thrush has an extensive range, estimated at , and a large population, with an estimated 40 to 71 million individuals in Europe alone.


title: Song thrush

text: In the western Palaearctic, there is evidence of population decline, but at a level below the threshold required for global conservation concern (i.e., a reduction in numbers of more than 30% in ten years or three generations) and the IUCN Red List categorises this species as of "Least Concern". In Great Britain and the Netherlands, there has been a more than 50% decline in population, and the song thrush is included in regional Red Lists. The decreases are greatest in farmlands (73% since the mid-1970s) and believed to be due to changes in agricultural practices in recent decades. The precise reasons for the decline are not known but may be related to the loss of hedgerows, a move to sowing crops in autumn rather than spring, and possibly the increased use of pesticides. These changes may have reduced the availability of food and of nest sites. In gardens, the use of poison bait to control slugs and snails may pose a threat. In urban areas, some thrushes are killed while using the hard surface of roads to smash snails.


title: Song thrush

text: The song thrush's characteristic song, with melodic phrases repeated twice or more, is described by the nineteenth-century British poet Robert Browning in his poem "Home Thoughts, from Abroad":


title: Song thrush

text: The song also inspired the nineteenth-century British writer Thomas Hardy, who spoke in "Darkling Thrush" of the bird's "full-hearted song evensong/Of joy illimited", but twentieth-century British poet Ted Hughes in "Thrushes" concentrated on its hunting prowess: "Nothing but bounce and/stab/and a ravening second". Nineteenth-century Welsh poet Edward Thomas wrote 15 poems concerning blackbirds or thrushes, including "The Thrush":


title: Song thrush

text: The song thrush is the emblem of West Bromwich Albion Football Club, chosen because the public house in which the team used to change kept a pet thrush in a cage. It also gave rise to Albion's early nickname, "The Throstles". A few English pubs and hotels share the name "Throstles Nest".


title: Song thrush

text: Thrushes have been trapped for food from as far back as 12,000 years ago and an early reference is found in the "Odyssey": "Then, as doves or thrushes beating their spread wings against some snare rigged up in thickets—flying in for a cosy nest but a grisly bed receives them." Hunting continues today around the Mediterranean, but is not believed to be a major factor in this species' decline in parts of its range.


title: Song thrush

text: In Spain, this species is normally caught as it migrates through the country, often using birdlime which, although banned by the European Union, is still tolerated and permitted in the Valencian Community. In 2003 and 2004 the EU tried, but failed, to stop this practice in the Valencian region.


title: Song thrush

text: Up to at least the nineteenth century the song thrush was kept as a cage bird because of its melodious voice. As with hunting, there is little evidence that the taking of wild birds for aviculture has had a significant effect on wild populations.


title: Music of the Philippines

text: The music of the Philippines () includes the musical performance arts in the Philippines and the music of Filipinos composed in various local and international genres and styles. Philippine musical compositions are often a mixture of different Asian, Spanish, Latin American, American, and indigenous influences. Philippine folk music has a strong Spanish and Latin American influence, derived from when the country was under the Spanish crown for over 300 years.


title: Music of the Philippines

text: Notable folk song composers include the National Artist for Music Lucio San Pedro, who composed the famous "Sa Ugoy ng Duyan" that recalls the loving touch of a mother to her child. Another composer, the National Artist for Music Antonino Buenaventura, is notable for notating folk songs and dances. Buenaventura composed the music for "Pandanggo sa Ilaw".


title: Music of the Philippines

text: Philippine gong music today can be geographically divided into two types: the flat gongs commonly known as "gangsà" unique to the groups in the Cordillera mountains and the bossed gongs of Muslim and animist groups spanning the Sulu archipelago, much of Mindanao, Palawan, and the inlands of Panay and Mindoro. The latter were once ubiquitous throughout coastal, lowland Philippine societies before widespread Christianization, and less frequently imports of flat chau gongs from China.


title: Music of the Philippines

text: Kulintang refers to a racked gong chime instrument played in the southern islands of the Philippines, along with its varied accompanying ensembles. Different groups have different ways of playing the "kulintang". Two major groups seem to stand out in "kulintang" music. These are the Maguindanaon and the Maranao. The kulintang instrument itself could be traced to either the introduction of gongs to Southeast Asia from China before the 9th century CE or more likely, to the introduction of bossed gong chimes from Java in the 16th century. Nevertheless, the kulintang ensemble is the most advanced form of ensemble music with origins in the pre-colonial epoch of Philippine history and is a living tradition in southern parts of the country.


title: Music of the Philippines

text: The musical traditions involving the kulintang ensemble consist of regional musical styles and varying instrumentation transcending the present national borders of maritime Southeast Asia, comprising Buddhist, animist, Muslim, and Christian peoples around Borneo, lesser Sunda islands, Sulawesi, Maluku, Sulu, and Mindanao. It is distantly related to the "gamelan" ensembles of Java, Bali, Sumatra & the Malay peninsula, and south Borneo, even moreso the ensembles of mainland Southeast Asia, primarily because of the usage for the same racked bossed gong chimes that play melody and/or percussion.


title: Music of the Philippines

text: Spain ruled the Philippines for over three centuries, and as such, Hispanic influence is prevalent in folk and traditional music, of coastal lowland regions of Luzon, Visayas, and the predominantly Visayan north and east Mindanao alongside the westernmost tip of Zamboanga.


title: Music of the Philippines

text: Hispanic music in the Philippines is unique within the Hispanosphere where most musical forms and genres were derived almost exclusively from Iberian and some Mexican traditions, owing to the Philippine colony's orientation as a distant entrepôt for resale of primarily Chinese and other Asian luxury goods across the Pacific to mainland New Spain (present-day Acapulco, Mexico). In contrast, much of Latin American music shows strong African and occasional indigenous American influences to varying degrees, resulting from their primary historical orientation as extractive colonies in the Colombian exchange.


title: Music of the Philippines

text: Aside from standardized genres are many precolonial musical forms syncretized with Catholic and general Hispanic idioms, typically involving in religious folk rituals. The Pasyon chants iniquitous to Christian Filipinos preserve prehispanicized vocal styles, and invocations of patron saints throughout many towns inherited precolonial forms of ancestor and spirit worship. Examples include "Subli" (Batangas), "Sinulog" (Cebu), "Tinikling" (Leyte), and "Bolibong Kingking" (Bohol).


title: Music of the Philippines

text: The "rondalla" is a traditional string orchestra comprising four-string, mandolin-type instruments such as the banduria and laud; a guitar; a double bass; and often a drum for percussion. The rondalla has its origins in the Iberian "rondalla" tradition and is used to accompany several Hispanic-influenced song forms and dances.


title: Music of the Philippines

text: The harana and kundiman are popular lyrical songs dating back to the Spanish period and are customarily used in courtship rituals. The Harana is rooted in the Mexican-Spanish from Spain, traditional and based on the rhythmic patterns of the habanera. The Kundiman, meanwhile, has pre-colonial origins from the Tagalophone parts of the country, uses a triple meter rhythm, and is characterized by beginning in a minor key and shifting to a major one in the second half. But make no mistake, harana and kundiman are stylistically different. Whereas harana is in 2/4/ time, kundiman is in 3/4. The formula is verse 1 on minor key (e.g. C Minor) followed by verse 2 on parallel major key (C Major) midway through.


title: Music of the Philippines

text: In the 1920s, Harana and Kundiman became more mainstream after performers such as Atang de la Rama, Jovita Fuentes, Conching Rosal, Sylvia La Torre, and Ruben Tagalog introduced them to a wider audience.


title: Music of the Philippines

text: The Tinikling is a dance from Leyte which involves two individual performers hitting bamboo poles, using them to beat, tap, and slide on the ground, in coordination with one or more dancers who step over and in between poles. It is one of the most iconic Philippine dances and is similar to other Southeast Asian bamboo dances.


title: Music of the Philippines

text: The Cariñosa (meaning "loving" or "affectionate one") is the national dance and is part of the María Clara suite of Philippine folk dances. It is notable for the use of a fan and handkerchief in amplifying romantic gestures expressed by the couple performing the traditional courtship dance. The dance is similar to the Mexican Jarabe Tapatío, and is related to the Kuracha, Amenudo, and Kuradang dances in the Visayas and Mindanao Area.


title: Music of the Philippines

text: Manila sound is a musical genre that began in the mid-1970s in the city of Manila. The genre flourished and peaked in the mid to late-1970s. It is often considered the "bright side" of the Philippine martial law era and has influenced most of the modern genres in the country, being the forerunner to OPM.


title: Music of the Philippines

text: Original Pilipino Music, more commonly referred to as OPM, a term coined by Danny Javier of the APO Hiking Society, originally referred only to a genre of Philippine pop songs, mostly ballads, that became popular after the collapse of its predecessor, the Manila sound of the 1970s. Currently, the term ""OPM"" has been a catch-all description for all popular music composed and performed by Filipinos, originating from the Philippines.


title: Music of the Philippines

text: Before the emergence of OPM in the 1970s, popular music in the Philippines throughout the 50s and 60s was a varied showcase for songs with vernacular and movie themes interpreted by recording artists such Pilita Corrales, Sylvia La Torre, Diomedes Maturan, Ric Manrique Jr., Ruben Tagalog, Helen Gamboa, Vilma Santos, Edgar Mortiz, Carmen Camacho, among many others.


title: Music of the Philippines

text: In the 1970s, popular OPM artists were Nora Aunor, Tirso Cruz III, Eddie Peregrina, Ramon Jacinto, Victor Wood, and Asin. The more major commercial Philippine pop music artists were Claire dela Fuente, Didith Reyes, Rico Puno, Ryan Cayabyab, APO Hiking Society's Danny Javier, Jim Paredes, and Boboy Garrovillo, Basil Valdez, Celeste Legaspi, Hajji Alejandro, Rey Valera, Freddie Aguilar, Imelda Papin, Eva Eugenio, Marco Sison, Nonoy Zuñiga, Leah Navarro, Cinderella, Tillie Moreno, Ric Segreto, Janet Basco, Boyfriends, Hotdog, VST & Co., and many others.


title: Music of the Philippines

text: Between the 1980s and the 1990s, OPM was led by artists such as Regine Velasquez, Pops Fernandez, APO Hiking Society, Kuh Ledesma, Jose Mari Chan, Dingdong Avanzado, Tito Mina, Rodel Naval, Janno Gibbs, Ogie Alcasid, Joey Albert, Lilet, Martin Nievera, Manilyn Reynes, Lea Salonga, Kristina Paner, Richard Reynoso, Rachel Alejandro, Raymond Lauchengco, JoAnne Lorenzana, Francis Magalona, Gino Padilla, Sharon Cuneta, Sheryl Cruz, Keno, Lou Bonnevie, Zsa Zsa Padilla and Gary Valenciano, among many others.


title: Music of the Philippines

text: In the 1990s, famous artists include Eraserheads, Rockstar (Arkasia), Siakol, the Company, April Boy Regino, Smokey Mountain, Rivermaya, Jaya, Agot Isidro, Dessa, Isabel Granada, Vina Morales, Donna Cruz, Neocolours, Jolina Magdangal, Jessa Zaragoza, Ariel Rivera, South Border, Carol Banawa, Yano, Teeth, Introvoys, AfterImage, Side A, Andrew E., Lani Misalucha, Ella May Saison, Joey Ayala, Parokya ni Edgar, Viktoria, April Boys, Color It Red, Roselle Nava and Blakdyak, among many others.


title: Music of the Philippines

text: In the 2000s and the 2010s, leading OPM artists include Sarah Geronimo, Julie Anne San Jose, Angeline Quinto, Aicelle Santos, Gerald Santos, Jonalyn Viray, Morissette, Rachelle Ann Go, Christian Bautista, Kitchie Nadal, Yasmien Kurdi, Moonstar88, Itchyworms, Rocksteddy, Aiza Seguerra, Toni Gonzaga, Richard Poon, Nina, Yeng Constantino, Piolo Pascual, KZ Tandingan, Nyoy Volante, Daniel Padilla, Kamikazee, Hale, Spongecola, Mark Bautista, Jennylyn Mercado, Jake Zyrus, Jed Madela, Erik Santos, Parokya Ni Edgar, Ben&Ben, TNT Boys, Moira Dela Torre, James Reid, Sheryn Regis, Gloc-9, MNL48, SB19, and Skusta Clee, among many others.


title: Music of the Philippines

text: Zack Tabudlo, Arthur Nery, Adie, Nobita, Bandang Lapis, Ace Banzuelo, SB19, BGYO, Bini, Alamat, Kenniah, mrld, Lo Ki, Rob Deniel, and many others.


title: Music of the Philippines

text: Underground bands emerged; along with them were their perceptions of idealism and self-expression. The famous lyricist of Circle's End, Geno Georsua landed on top as the melodramatic expressionist. Bassist Greg Soliman of UST Pendong grasps the title as the best bassist of underground music.


title: Music of the Philippines

text: Since its origin, OPM has been centered in Manila, where Tagalog and English are the dominant languages. Other ethnolinguistic groups such as the Visayans, Bikolanos, and Kapampangans, who make music in their native languages, rarely break into the popular Filipino local music scene, with only a handful of exceptions, which include the Bisrock (Visayan rock music) song "Charing" by 1017, a Davao-based band, and "Porque" by Maldita, a Zamboanga-based Chavacano band. A lot of compositions of Bisrock are contributed by bands such as Phylum and Missing Filemon.


title: Music of the Philippines

text: Following suit are the Kapampangans. The debut music video of "Oras" (""Time"") by Tarlac City-based Kapampangan band Mernuts penetrated MTV Pilipinas, making it the first-ever Kapampangan music video to join the ranks of other mainstream Filipino music videos. "RocKapampangan: The Birth of Philippine Kapampangan Rock", an album of modern remakes of Kapampangan folk extemporaneous songs by various Kapampangan bands was also launched in February 2008, and was regularly played via Kapampangan cable channel Infomax-8 and via one of Central Luzon's biggest FM radio stations, GVFM 99.1. Inspired by what the locals call "Kapampangan cultural renaissance", Angeles City-born balladeer Ronnie Liang rendered Kapampangan translations of some of his popular songs such as "Ayli" (Kapampangan version of "Ngiti"), and "Ika" (Kapampangan version of "Ikaw") for his repackaged album.


title: Music of the Philippines

text: Despite the growing clamor for non-Tagalog and non-English music and the greater representation of other Philippine languages, the local Philippine music industry, which is centered in Manila, is unforthcoming in venturing investments to other locations. Some of the major reasons for this include the language barrier, small market size, and socio-cultural emphasis away from regionalism in the Philippines. An example would be the Ilokano group The Bukros Singers, who swept through Ilocandia in the 1990s and became a precursor for other Ilokano performers into the 2000s, but rarely broke through other music markets in the Philippines.


title: Music of the Philippines

text: The country's first songwriting competition, Metro Manila Popular Music Festival, was first established in 1977 and launched by the Popular Music Foundation of the Philippines. The event featured many prominent singers and songwriters during its time. It was held annually for seven years until its discontinuation in 1985. It was later revived in 1996 as the "Metropop Song Festival", running for another seven years before being discontinued in 2003 due to the decline of its popularity. Another variation of the festival had been established called the Himig Handog contest which began in 2002, operated by ABS-CBN Corporation and its subsidiary music label Star Music (formerly Star Records).


title: Music of the Philippines

text: Five competitions have been held so far starting in 2000 to 2003 and were eventually revived in 2013. Unlike its predecessors, the contest has different themes which reflect the type of song entries chosen as finalists each year. In 2012, the Philippine Popular Music Festival was launched and is said to be inspired by the first songwriting competition. Another songwriting competition for OPM music being held annually is the Bombo Music Festival, being conducted by the radio network Bombo Radyo, first conceived in 1985.


title: Music of the Philippines

text: From 2010s to nowadays Philippine pop music or P-pop went through a huge resurgence, with increased quality, budget, investment, and variety, mirroring that of the country's rapid economic growth, and an accompanying social and cultural resurgence of its Asian identity. Heavy influence from K-pop and J-pop, Asian style ballads, idol groups, and EDM music can be heard, with less reliance on Western genres, mirroring the Korean wave and similar Japanese wave popularity among millennial (born 1980-1994) and Gen Z (born 1995-2015) Filipinos and mainstream culture. Famous P-pop music artists who define the growth of this now mainstream genre include 4th Impact, Sarah Geronimo, SB19, 1st.One, KZ Tandingan, Morissette, Erik Santos, Yeng Constantino, MNL48, Regine Velasquez, BGYO, Bini, Alamat, Press Hit Play, and P-Pop Generation.


title: Music of the Philippines

text: Choral music has become an important part of Philippine music culture. It dates back to the choirs of churches that sing during mass in the old days. In the middle of the 20th century, performing choral groups started to emerge and increasingly become popular as time goes by. Aside from churches, universities, schools, and local communities have established choirs.


title: Music of the Philippines

text: Philippine choral arrangers like Robert Delgado, Fidel Calalang, Lucio San Pedro, Eudenice Palaruan among others have included in the vast repertoires of choirs beautiful arrangements of OPM, folk songs, patriotic songs, novelty songs, love songs, and even foreign songs.


title: Music of the Philippines

text: The Philippine Madrigal Singers (originally the University of the Philippines Madrigal Singers) is one of the most famous choral groups not only in the Philippines, but also worldwide. Winning international competitions, the group became one of the most formidable choral groups in the country. Other award-winning choral groups are the University of Santo Tomas Singers, the Philippine Meistersingers (Former Adventist University of the Philippines Ambassadors), the U.P. Singing Ambassadors, and the U.P. Concert Chorus, among others.


title: Music of the Philippines

text: The United States occupied the Islands from 1898 until 1946 and introduced American blues, folk music, R&B and rock & roll which became popular.  In the late 1950s, native performers adapted Tagalog lyrics for North American rock & roll music, resulting in the seminal origins of Philippine rock. The most notable achievement in Philippine rock of the 1960s was the hit song "Killer Joe", which propelled the group, Rocky Fellers, reaching number 16 on the American radio charts.


title: Music of the Philippines

text: Up until the 1970s, popular rock musicians wrote and produced songs primarily in English. In the early 1970s, rock music began to be written using local languages, with bands like the Juan Dela Cruz Band being among the first popular bands to do so. Mixing Tagalog and English lyrics within the same song was also popular, an example of which includes the song "Ang Miss Universe Ng Buhay Ko (""The Miss Universe of My Life"") by the band Hotdog, who was a primary innovator in the Manila sound scene. The mixing of the two languages (known as "Taglish"), while common in casual speech in the Philippines, was seen as a bold move, but the success of Taglish in popular songs, including Sharon Cuneta's first hit, "Mr. DJ", broke the barrier.


title: Music of the Philippines

text: Philippine rock musicians' acts were influenced by folk music and other various cultures, helping to lead to the 1978 breakthrough success of Freddie Aguilar. Aguilar's "Anak" (""Child""), his debut recording, is the most commercially successful Filipino recording, and was popular throughout Asia and Europe, and has been translated into numerous languages by singers worldwide. Asin also broke into the music scene in the same period and was popular. Other similar artists included Sampaguita, Coritha, Florante, Mike Hanopol, and Heber Bartolome.


title: Music of the Philippines

text: Folk rock became the Philippine protest music of the 1980s, and Aguilar's "Bayan Ko" (""My Country"") became popular as an anthem during the 1986 EDSA Revolution. At the same time, a counterculture rejected the rise of politically focused lyrics. In Manila, a punk rock scene developed, led by bands like Betrayed, the Jerks, Urban Bandits, and Contras. The influence of new wave was also felt during these years, spearheaded by the Dawn.


title: Music of the Philippines

text: The 1990s saw the emergence of Eraserheads, considered by many Filipinos as the number one Filipino musical artist. The wake of their success saw the emergence of a string of influential Filipino rock bands such as True Faith, Yano, Siakol, The Youth, Introvoys, After Image, Teeth, Parokya ni Edgar and Rivermaya, each of which mixed the influence of a variety of rock sub-genres into their style. A 1990s death metal (Skychurch, Genital Grinder, Death After Birth, Disinterment, Kabaong ni Kamatayan, Mass Carnage, Apostate, Murdom, Exhumed, Sacrilege, Rumblebelly, Disinterment (Death Metal Philippines), Dethrone, Aroma) emergence had bands as prominent fixtures at Club Dredd of the "Tunog kalye" era.


title: Music of the Philippines

text: Filipino rock in the 2000s also developed to include punk rock, hardcore punk, emo, hard rock, heavy metal, and alternative rock, with acts like Razorback, Wolfgang, Greyhoundz, Slapshock, Queso, Typecast, Chicosci, Kamikazee, Bamboo, Franco, Urbandub, Tanya Markova, Kiko Machine, and the progressive bands Paradigm, Fuseboxx, Earthmover, and Eternal Now.


title: Music of the Philippines

text: The 2010s saw the rise of various unsigned acts of different sub-genres from another format of rock, independent music which included indie acts such as Autotelic, Snakefight, Jejaview, Bullet Dumas, Ang Bandang Shirley, Cheats, BP Valenzuela, She's Only Sixteen, The Ransom Collective, Oh, Flamingo!, Sud, Jensen and The Flips, MilesExperience, Tom's Story, Lions & Acrobats, Ben&Ben, December Avenue, IV of Spades, CHNDTR, Clara Benin, Reese Lansangan, Unique Salonga, This Band, I Belong to the Zoo, Brisom, Lola Amour, Luncheon, Munimuni,


title: Music of the Philippines

text: Rock festivals have emerged through recent years, becoming annual events for rock/metal enthusiasts. One big event is the Pulp Summer Slam where local rock/metal bands and international bands such as Lamb of God, Anthrax, Death Angel, and Arch Enemy have performed. Another all-local annual event, Rakrakan Festival, is one where over 100 Pinoy rock acts perform.


title: Music of the Philippines

text: The neo-traditional genre in Filipino music is also gaining popularity, with artists such as Joey Ayala, Grace Nono, Bayang Barrios, Kadangyan and Pinikpikan reaping relative commercial success while utilizing the traditional musical sounds of many indigenous tribes in the Philippines.


title: Music of the Philippines

text: Filipino hip-hop is hip hop music performed by musicians of Filipino descent, both in the Philippines and overseas, especially by Filipino-Americans. The Philippines is known to have the first hip-hop music scene in Asia, emerging in the early 1980s, largely due to the country's historical connections with the United States where hip-hop originated. Rap music released in the Philippines has appeared in different languages such as Tagalog, Chavacano, Cebuano, Ilocano, and English. In the Philippines, Francis M, Andrew E., Vincent Dapalong, Michael V., Denmark and Gloc-9 are cited as the most influential rappers in the country, being the first to release mainstream rap albums. A new breed of hip hop/rap/trap artists like Abra, Bassilyo, Curse 1, Flict-G, Smugglaz, Dello, Loonie, Shehyee, Shanti Dope, Al James, Because, Bugoy na Koykoy, Nik Makino, Honcho, Skusta Clee, Flow G, Ex Battalion, ALLMO$T, and O.C. Dawgs would later follow in the late 2000s and Nowadays.


title: Music of the Philippines

text: Many other genres are growing in popularity in the Philippine music scene, including several alternative groups and tribal bands promoting cultural awareness of the Philippine Islands.


title: Music of the Philippines

text: Likewise, jazz experienced a resurgence in popularity. The initial impetus was provided by W.D.O.U.J.I. (Witch Doctors of Underground Jazz Improvization) with their award-winning independent release "Ground Zero" distributed by the now-defunct N/A Records in 2002, and Buhay, led by Tots Tolentino, in the year before that. This opened up the way for later excursions, most notable of which is the Filipino jazz supergroup Johnny Alegre Affinity, releasing its eponymous debut album in 2005 under London-based Candid Records. The Kapampangan singer likewise reinvented his persona as a premier jazz vocalist, winning the London International Jazz Competition for Vocalists in 2006. Among the female jazz singer-songwriters, the British-Filipino Mishka Adams became very popular as a flagship artist of Candid Records, releasing two well-received albums.


title: Music of the Philippines

text: Other notable names were guitarist Bob Aves with his ethno-infused jazz, and Akasha, led by Mar Dizon, which anchored Monday-night jazz jams during the early 2000s in Freedom Bar, a venue located in Cubao, Quezon City. The spoken-word fusion ensemble Radioactive Sago Project also displayed very strong jazz underpinnings. In recent years, after-hours jazz jams in a venue called Tago Jazz Cafe, also located in Cubao, became an incubator for groups like Swingster Syndicate and Camerata Jazz.


title: Music of the Philippines

text: Pinoy novelty songs became popular in the 1970s up to the early 1980s. Popular novelty singers around this time were Reycard Duet, Fred Panopio and Yoyoy Villame. Novelty pop acts in the 1990s and 2000s included Michael V., Bayani Agbayani, Grin Department, Masculados, Black Jack Vhong Navarro, Lito Camo, Sexbomb Girls, Joey de Leon ("Itaktak Mo"), Viva Hot Babes, and Willie Revillame.


title: Music of the Philippines

text: The prevalence of Bossa nova and Latino music in Philippine popular music had been very evident, in the 1970s, 1980s, 1990s, and onwards. Performers such Annie Brazil and her son Richard Merk, the Katindig family of musicians (Eddie Katindig, Romy Katindig, Boy Katindig, Tateng Katindig, Henry Katindig), Bo Razon, Eileen Sison, and more recently, Sitti, achieved popularity and commercial success with their infectious Latin-derived performances and recordings.


title: Music of the Philippines

text: While there has long been a flourishing underground reggae and ska scene, particularly in Baguio, it was only recently that such genres were accepted into the mainstream scene. Acts like Tropical Depression, Brownman Revival, Put3ska, Roots Revival of Cebu, and The Brown Outfit Bureau of Tarlac City have been instrumental in popularizing what is called "Island Riddims". There is also a burgeoning mod revival, spearheaded by Juan Pablo Dream and a large indie-pop scene.


title: Music of the Philippines

text: Electronic music began in the mid-1990s in the Manila underground spearheaded by luminaries like Manolet Dario of the Consortium. In 2010, local artists started to create electropop songs themselves. As of now, most electronic songs are used in commercials. The only radio station so far that purely plays electronic music is 107.9 U Radio. The 2010s also saw the rise of budots from Davao City, regarded as the first "Filipino-fied" EDM, as well as high-profile nightclub venues such as The Palace Manila (BGC, Taguig) and Cove Manila (Okada Manila in Parañaque). Indie electronic producers, DJs, and artists like that of Somedaydream, Borhuh, Kidwolf, Zelijah, John Sedano, MVRXX, MRKIII, Bojam, CRWN, NINNO, Kidthrones, and Jess Connelly have also gained popularity. Some mainstream club DJs, including the likes of Ace Ramos, Mars Miranda, Marc Marasigan, Martin Pulgar, Katsy Lee, Patty Tiu, and David Ardiente, has also made their names on popular club concerts and festivals which featured international DJs.


title: Cosette

text: Cosette () is a fictional character in the 1862 novel "Les Misérables" by Victor Hugo and in the many adaptations of the story for stage, film, and television. Her birth name, Euphrasie, is only mentioned briefly. As the orphaned child of an unmarried mother deserted by her father, Hugo never gives her a surname. In the course of the novel, she is mistakenly identified as "Ursule", "Lark", or "Mademoiselle Lanoire".


title: Cosette

text: She is the daughter of Fantine, a working woman who leaves her to be looked after by the Thénardiers, who exploit and victimise her. Rescued by Jean Valjean, who raises Cosette as if she were his own, she grows up in a convent school. She falls in love with Marius Pontmercy, a young lawyer. Valjean's struggle to protect her while disguising his past drives much of the plot until he recognizes "that this child had a right to know life before renouncing it"—and he must allow her romantic attachment to Marius to blossom.


title: Cosette

text: Euphrasie, nicknamed Cosette by her mother, is the illegitimate daughter of Fantine and Félix Tholomyès, a rich student. She is born in Paris circa 1815. Tholomyès abandons Fantine, who leaves three-year-old Cosette with the Thénardiers at their inn in Montfermeil, paying them to care for her child while she works in the city of Montreuil-sur-Mer. Unbeknownst to Fantine, the Thénardiers abuse Cosette while she is under their care. They beat and starve her and force her to perform heavy labor in the inn. Under the Thénardiers' care she is described as "thin and pale", wears rags for clothing, and has chilblains on her hands as well as bruised and reddened skin. She is forced to go barefoot in winter. The narrator also says that "fear was spread all over her".


title: Cosette

text: While Fantine is in the hospital, the mayor of Montreuil-sur-Mer—Jean Valjean masquerading as "Madeleine" to avoid revealing that he is a paroled convict—vows to retrieve Cosette for her. Although Fantine dies before seeing her daughter, Valjean becomes determined to look after the young girl.


title: Cosette

text: When he arrives in Montfermeil on Christmas Eve, Valjean finds Cosette fetching a pail of water and accompanies her back to the inn, where he witnesses her mistreatment by the Thénardiers as well as the unkindnesses of their daughters Éponine and Azelma. Valjean leaves the inn and returns with an expensive new doll which he offers to Cosette. At first reluctant, Cosette joyfully accepts it, which infuriates Thénardier; Éponine and Azelma become jealous.


title: Cosette

text: The next morning, Christmas Day, Valjean informs the Thénardiers that he has come to take Cosette with him. Madame Thénardier immediately agrees but Thénardier pretends affection for Cosette and acts reluctant. Valjean pays 1500 francs to settle Fantine's debts and leaves with Cosette. Thénardier tries to swindle more money out of Valjean by saying that he has changed his mind and wants Cosette back, informing Valjean that Cosette's mother had entrusted her to his care and he cannot release her without a note from her mother. Valjean, agreeing with him, hands him a letter signed by Fantine. Thénardier then attempts to order Valjean to return Cosette or to pay a thousand crowns, but Valjean ignores him and leaves with Cosette.


title: Cosette

text: Valjean takes Cosette to Paris, where they lodge at Gorbeau House; Valjean begins her education. When Inspector Javert discovers Valjean's whereabouts, he and Cosette must flee. Valjean climbs over a wall and they find themselves in a garden attached to a convent. The gardener Fauchelevent recognizes Valjean as the man who rescued him years earlier and agrees to shelter them. Valjean poses as Fauchelevent's brother and says he is Cosette's grandfather. They live peacefully in the convent for many years as Valjean works with Fauchelevent and Cosette attends the convent school. Over time, she appears to have no recollection of her childhood before arriving at the convent. As Cosette matures, beautiful and healthy, with chestnut hair, beautiful eyes, rosy cheeks, pale skin, and a radiant smile, Valjean realizes it would be unfair to allow her to become a nun without having experienced the outside world which a cloistered nun must renounce.


title: Cosette

text: In a later chapter, Cosette eventually remembers her childhood—praying for the mother she never knew; the two ugly Thénardiers, and fetching them water somewhere "very far from Paris". In the same chapter, she asks Valjean about her mother, but he does not answer her question. When Cosette has a dream about her mother as an angel, she remarks that her mother must have been a saint. Valjean replies, "through martyrdom".


title: Cosette

text: Marius sees Cosette for the first time in the Luxembourg Garden. She is fourteen years old, and fresh out of the convent, so he pays little attention to her. After a few months, Marius notices her and sees that she has grown to be an extremely beautiful young woman. Soon Cosette and Marius exchange glances and fall in love. Valjean notices how attentive Marius is to their movements. When he learns that Marius has followed them home and inquired about them, he quickly moves to a more obscure address with Cosette.


title: Cosette

text: Marius spots Cosette again during a charitable visit she and Valjean make to the Thénardiers at Gorbeau House, directly next door to Marius. He asks Éponine to find her address for him, and she reluctantly agrees. After many weeks, Éponine takes Marius to Cosette's new address in order to please Marius. Marius watches Cosette for a few nights before approaching her. When Cosette and Marius finally meet again in the garden, they confess their mutual love, share their first kiss, and introduce themselves. They continue to meet in secret.


title: Cosette

text: Éponine prevents Thénardier, Patron-Minette and Brujon from robbing Valjean and Cosette's house. The same night, Cosette informs Marius that she and Valjean will be departing for England soon. This news devastates them both, because it will mean the end of their relationship. Marius briefly attempts to obtain money and permission to marry from his grandfather to circumvent this issue. Their discussion dissolves into a heated argument stemming from the grandfather's suggestion to "Make her [his] mistress", and Marius storms out.


title: Cosette

text: The next day, Éponine (now dressed as a boy) finds Valjean in an embankment in the Champ de Mars and anonymously throws him a note, which tells him to "move". Valjean considers this in horror for a few days, then informs Cosette they will move to their other house and will be in England in a week. Cosette quickly writes a letter to Marius with this information. She catches sight of Éponine through the gate and asks the "workman" to deliver the letter to Marius. Éponine accepts the letter, but does not deliver it.


title: Cosette

text: Several nights later, Marius is led to the barricades by Éponine, in hope that they will die together. After being fatally shot, Éponine reveals this to Marius and gives him Cosette’s letter before she dies. Marius writes a farewell letter to Cosette, which is delivered to Valjean by Gavroche. Valjean reads Marius’ farewell letter and decides to follow Marius to the barricades. After the battle is over, he takes Marius' unconscious body through the sewers. After, quite literally, dragging Marius through quicksand in the sewer, Valjean finally manages to get Marius through the sewers alive. He is let out by Thénardier, who has a government key and does not recognize him, simply assuming him to be an assassin who killed Marius.