title: The Power of Positive Thinking

text: Albert Ellis, an influential psychologist of the 20th century and the founder of cognitive therapy, also criticized Peale's techniques for their similarities with hypnotism. He compared the techniques presented with those of the hypnotist Émile Coué and asserted that the repeated use of these hypnotic techniques could lead to significant mental health problems. Ellis stated that eventually Peale's teachings “lead to failure and disillusionment, and not only boomerang back against people, but often prejudice them against effective therapy."


title: The Power of Positive Thinking

text: Another criticism is that Peale's philosophy is not accomplished through his techniques presented. R. C. Murphy writes that Peale's teachings “endorse the cruelties which men commit against each other” which encourages readers to “give up [their] strivings and feel free to hate as much as [they] like”. Murphy argues that by teaching others to destroy all negativity, Peale is, in fact, fostering negativity and aggression. Harvard scholar Donald Meyer presents a similar criticism in his article "Confidence Man" written in 1955. Meyer writes that "The Power of Positive Thinking" provides partial awareness to the limitations of the readers, but does not supply the necessary self-confidence to overcome those limitations. He proceeds to compare Peale to a con man saying that the problem with Peale lies in the “paltriness of the confidence he preached. He did not really try to fool you into thinking you could do much, or be much, or live much. He did not make you aware of greater heights any more than of greater abysses.”


title: The Power of Positive Thinking

text: Psychologist Martin Seligman, former APA president and founder of positive psychology, also condemned Peale's methods in his book, "Authentic Happiness". He writes that, “positive thinking often involves trying to believe upbeat statements such as 'Every day, in every way, I’m getting better and better,' in the absence of evidence, or even in the face of contrary evidence.” Seligman continues his critique saying, “if you can manage the feat of actually believing these sorts of statements, more power to you. Many educated people, trained in skeptical thinking, cannot manage this kind of boosterism.”


title: The Power of Positive Thinking

text: Similarly, Donald Meyer, in his book "The Positive Thinkers", critiques the effectiveness of Peale's techniques saying that Peale always “reacted to the image of harshness with flight rather than competitive fight.” Meyer later quotes Peale as saying, “No man, however resourceful or pugnacious, is a match for so great an adversary as a hostile world. He is at best a puny and impotent creature quite at the mercy of the cosmic and social forces in the midst of which he dwells." Meyer argues that positive thinking is disempowering to the individual; for, Peale presents individuals as weak compared to the “hostile world” with only the help of his techniques to overcome negative circumstances. In addition, Meyer also questions the effectiveness of Peale's positive thinking techniques in the antagonistic environment Peale presents.


title: The Power of Positive Thinking

text: Episcopal theologian John M. Krumm criticized Peale's teachings for their basis in religion, defining his teachings as heretical. Krumm writes that "the emphasis upon techniques such as the repetition of confident phrases” or “the manipulation of certain mechanical devices” gives “the impression of a thoroughly depersonalized religion. Very little is said about the sovereign mind and purpose of God; much is made of the things men can say to themselves and can do to bring about their ambitions and purposes." Krumm argues that Peale does not have the backing of religion to support his techniques. Krumm continues with a warning: "the predominant use of impersonal symbols for God is a serious and dangerous invitation to regard man as the center of reality and the Divine Reality as an impersonal power, the use and purpose of which is determined by the man who takes hold of it and employs it as he thinks best.”


title: The Power of Positive Thinking

text: Edmund Fuller, book review editor of the "Episcopal Churchnews," warned against following Peale's teachings in an article titled “Pitchmen in the Pulpit” from March 1957. Fuller cautions readers not to believe Peale just because he was a minister. He writes that Peale's books have no connection to Christianity and that they “influence, mislead and often disillusion sick, maladjusted, unhappy or ill-constructed people, obscuring for them the Christian realities. They offer easy comforts, easy solutions to problems and mysteries that sometimes perhaps, have no comforts or solutions at all, in glib, worldly terms. They offer a cheap 'happiness' in lieu of the joy Christianity can offer.”


title: The Power of Positive Thinking

text: While contemporary theologians and mental health experts criticized Peale's teachings in "The Power of Positive Thinking," the general public praised the self-help book. The "Los Angeles Times" estimates that “legions of followers testified that Peale’s message changed their lives for the better and represented the best combination of faith and pragmatism.” This is evidenced by the popularity of Peale's book, which sold more than 5 million copies worldwide and was eventually translated into over 40 languages. In addition, Peale was close friends with American presidents Eisenhower and Nixon, both of whom highly regarded his positive thinking teachings. Countless others accredited "The Power of Positive Thinking" for their success in overcoming obstacles including George Foster, of the Cincinnati Reds, Rev. Robert Schuller, founder and pastor of the Crystal Cathedral in Garden Grove, and Billy Graham, a prominent Southern Baptist Minister.


title: The Power of Positive Thinking

text: Former U.S. president Donald Trump has called Peale "his pastor" and "one of the greatest speakers" he had ever seen. According to Donald's niece and author Mary L. Trump, Donald Trump's father, Fred, became interested in Peale's message in the 1950s. Fred and his wife, Mary Anne MacLeod Trump, traveled to the Marble Collegiate Church in Manhattan with their children to hear Peale's sermons. Donald Trump grew up hearing Peale's teachings from his parents, and Peale officiated his first wedding. Trump credits his survival in 1990 after being almost a billion dollars in debt to Peale's positive thinking teachings.


title: The Power of Positive Thinking

text: The book is referenced in the 2020 DC Comics Wonder Woman sequel film, "Wonder Woman 1984", the villain of which is a self-help-touting entrepreneur.


title: The Power of Positive Thinking

text: A Texas woman named Helen Hadsell read the book in 1959 and credited the book with much of her success winning contests. After reading the book she began entering and winning contests. She has stated from that point on she won every contest she ever entered.


title: Zulu Dawn

text: Zulu Dawn is a 1979 American adventure war film about the historical Battle of Isandlwana between British and Zulu forces in 1879 in South Africa. The screenplay was by Cy Endfield, from his book, and Anthony Storey. The film was directed by Douglas Hickox. The score was composed by Elmer Bernstein.


title: Zulu Dawn

text: "Zulu Dawn" is a prequel to "Zulu", released in 1964, which depicts the historical Battle of Rorke's Drift later the same day, and which was co-written and directed by Cy Endfield.


title: Zulu Dawn

text: The film opens in the Cape Colony in January 1879. British Army officer Lord Chelmsford plots with diplomat Sir Henry Bartle Frere to annex the neighbouring Zulu Empire, which they perceive as a threat to the Cape Colony's emerging industrial economy. Frere issues an ultimatum to the Zulu king, Cetshwayo, demanding that he dissolve the Zulu military; an indignant Cetshwayo rebuffs the demand, providing Lord Chelmsford and Frere with a "casus belli" against the Zulus. Despite objections from prominent individuals in the Cape Colony and Great Britain, Frere authorises Lord Chelmsford to command a British expeditionary force to invade the Zulu Empire.


title: Zulu Dawn

text: The British expeditionary force marches into the Zulu Empire, with Lord Chelmsford directing it towards the Zulu capital, Ulundi. Eager to bring the war to a swift conclusion, the British become increasingly frustrated as the Zulu military adopted a Fabian strategy, refusing to engage in a pitched battle; a few skirmishes occurred between British and Zulu scouts with indecisive results. Three Zulu warriors allowed themselves to be captured in a skirmish and are interrogated by the British, but refused to divulge any information and eventually escape, informing their commander of the British dispositions. Halfway to Ulundi, Lord Chelmsford, ordered the British force to make camp at the base of Mount Isandlwana, ignoring the advice of his Boer attendants to fortify the camp and transform his supply wagons into a laager.


title: Zulu Dawn

text: Upon receiving inaccurate reports from his scouts concerning the Zulus' dispositions, Lord Chelmsford leads half the British force on a wild goose chase far from the camp against a phantom Zulu force. The next day, the British camp receives reinforcements led by Colonel Durnford, who dispatches scouts to reconnoiter the surrounding area before leaving the camp to personally scout the region. One of the British scouting parties discovers a Zulu force massing at the bottom of a nearby valley. The Zulu force quickly attacks the British camp, but are initially repulsed; however, they spread out and adopt a strategy of encircling the British, who are eventually pushed back after they run out of ammunition. A massed infantry charge by the Zulu force breaks the British lines, causing them to retreat back towards their camp. Overwhelmed by the attacking Zulus, the British force collapses and is quickly massacred.


title: Zulu Dawn

text: Zulu warriors quickly hunt down any British survivors fleeing the battle, while several British soldiers attempt an unsuccessful last stand. The British camp's commander, Colonel Pulleine, entrusts a regimental colour to his soldiers who attempt to carry it safely back to the Cape Colony; they pass numerous dead and dying British soldiers during their journey. Eventually reaching the Buffalo River, the British soldiers are discovered and killed by Zulu warriors; the colour is captured by a Zulu. One of the British soldiers, who lies mortally wounded, shoots and kills the Zulu wielding the colour, who drops it into the river, where it floats out of reach of the Zulu force. In the evening, Lord Chelmsford returns to the scene of the battle, and receives news that a Zulu force has attacked Rorke's Drift. The film ends with Zulu warriors dragging captured artillery back to Ulundi.


title: Zulu Dawn

text: The Lamitas Property Investment Corporation raised money for the film. They financed a series of films, including several in South Africa, such as "The Wild Geese" (1978). The company committed about £5 million to "Zulu Dawn", most of it raised from a Swiss bank, the Banque de Paris et des Pay Bas. HBO helped guarantee finance. The budget was initially set at $6.5 million but the budget kept increasing and eventually cost $11.75 million, despite coming in only two days over schedule.


title: Zulu Dawn

text: Jake Eberts was involved in raising finance for the film. He had to guarantee Burt Lancaster's salary when Lancaster's agent insisted on one. This meant Eberts was liable for the loan. In 1983 the interest made this £450,000. Eberts spent years paying it back.


title: Zulu Dawn

text: John Hurt was cast in a lead role but was refused entry to South Africa. This confused Hurt who was not particularly political. It was thought South African Intelligence may have confused him with the actor John Hurd, who was a draft dodger.


title: Zulu Dawn

text: Orion Pictures picked the film up for worldwide distribution through Warner Bros. and other companies.


title: Zulu Dawn

text: In 1978, the producers and financiers agreed to defer their fees and no completion guarantee was in place to get the film finished. Norma Foster was a liaison between the South African government (notably the Minister of Information, Dr Connie Mulder) and the filmmakers; she later claimed the producers owed her £20,000. Co-producers, James Faulkner and Barrie Saint Clair, claimed they were owed £100,000 in deferred fees. Over 100 creditors in South Africa claimed they were owed £250,000. Faulkner and Saint Clair sought an injunction to block screening of the film until they were paid. Lamitas denied liability for the money, claiming expenses exceeded the agreed budget and the injunction was lifted May 21, 1979. They later offered to settle for 25 pence on the pound.


title: Zulu Dawn

text: The film has received mixed reviews. On review aggregation website Rotten Tomatoes, "Zulu Dawn" has an approval rating of 50% based on 8 reviews and an average rating of 6.03/10.


title: International Ice Hockey Federation

text: The International Ice Hockey Federation (IIHF; ; ) is a worldwide governing body for ice hockey. It is based in Zurich, Switzerland, and has 83 member countries.


title: International Ice Hockey Federation

text: The IIHF maintains the IIHF World Ranking based on international ice hockey tournaments. Rules of play for IIHF events differ from hockey in North America and the rules of the National Hockey League (NHL). Decisions of the IIHF can be appealed through the Court of Arbitration for Sport in Lausanne, Switzerland. The IIHF maintains its own hall of fame for international ice hockey. The IIHF Hall of Fame was founded in 1997, and has been located within the Hockey Hall of Fame since 1998.


title: International Ice Hockey Federation

text: Previously, the IIHF also managed the development of inline hockey, however in june 2019 the IIHF announced that they would no longer govern inline hockey or organize the Inline Hockey World Championships.


title: International Ice Hockey Federation

text: The main functions of the IIHF are to govern, develop and organize hockey throughout the world. Another duty is to promote friendly relations among the member national associations and to operate in an organized manner for the good order of the sport.


title: International Ice Hockey Federation

text: The federation may take the necessary measures in order to conduct itself and its affairs in accordance with its statutes, bylaws and regulations as well as in holding a clear jurisdiction with regards to ice hockey at the international level. The IIHF is the body responsible with arranging the sponsorships, license rights, advertising and merchandising in connection with all IIHF competitions.


title: International Ice Hockey Federation

text: Another purpose of the federation is to provide aid in the young players' development and in the development of coaches and game officials. On the other hand, all the events of IIHF are organized by the federation along with establishing and maintaining contact with any other sport federations or sport groups. The IIHF is responsible for processing the international players' transfers. It is also the body that presides over ice hockey at the Olympic Games as well as over all levels of the IIHF World Championships. The federation works in collaboration with local committees when organizing its 25 World Championships, at five different categories.


title: International Ice Hockey Federation

text: Even though the IIHF runs the world championships, it is also responsible for the organization of several European club competitions such as the Champions Hockey League or the Continental Cup.


title: International Ice Hockey Federation

text: The federation is governed by the legislative body of the IIHF which is the General Congress along with the executive body, which is the Council. The Congress is entitled to make decisions with regard to the game's rules, the statutes and bylaws in the name of the federation. It is also the body that elects the president and the council or otherwise known as board. The president of the IIHF is basically the representative of the federation. He represents the federation's interests in all external matters and he is also responsible that the decisions are made according to the federation's statutes and regulations. The president is assisted by the General Secretary, who is also the highest ranked employee of the IIHF.


title: International Ice Hockey Federation

text: The International Ice Hockey Federation was founded on 15 May 1908 at 34 Rue de Provence in Paris, France, as Ligue Internationale de Hockey sur Glace (LIHG). The 1920 Olympics were the first to integrate hockey into their program.


title: International Ice Hockey Federation

text: The 1928 Winter Olympics, which also served as the World and European Championship for the year, saw a record 11 countries participate. The 1936 Winter Olympics set a new record with 15 participants.


title: International Ice Hockey Federation

text: The Hungarian Revolution of 1956 which had caused Hungary to be occupied by the Soviet Army, led to a boycott of the 1957 World Championships, which were being staged in Moscow. Canada and the United States led the boycott, and were joined by Norway, West Germany, Italy, and Switzerland.


title: International Ice Hockey Federation

text: The 1962 World Championship, hosted by the American cities of Colorado Springs and Denver, was boycotted by the Soviet Union and Czechoslovakia, which led to a further boycott by the other Eastern Bloc countries. At issue was the boycott of the 1957 championships in Moscow by Canada and the United States, and the Americans refusal of East German passports in reaction to the building of the Berlin Wall by East Germany.


title: International Ice Hockey Federation

text: For the 1965–66 season, the IIHF created the European Cup, a tournament consisting of the top club teams from around Europe. The competition was originated by Günther Sabetzki, based on the Association football European Cup (now UEFA Champions League). In 1968 the IIHF organized the European U19 Championship, a junior competition for players aged 19 and under. The age limit was later reduced to 18 in 1977.


title: International Ice Hockey Federation

text: During the 1980s Canada stopped boycotting the World Championships and Olympic Games. The Canadians had boycotted these tournaments between 1970 and 1976 after the IIHF had refused to allow them to roster professional players at the World Championships from NHL teams that had not qualified for the Stanley Cup playoffs. President Sabetzki managed to find a compromise that resulted in the return of Canada to international events beginning in 1977. The pro players whose teams had been eliminated from the playoffs were allowed to compete and in exchange, Canada agreed to participate in the World Championships. They also waived their right to host any World Championships. The creation of the Canada Cup (a competition organized by the NHL in Canada every four years) was also part of the new agreement between the IIHF and North American professional hockey.


title: International Ice Hockey Federation

text: The IIHF continued to grow in numbers during the 1980s and 1990s, both due to political events and the continued growth of hockey worldwide. The dissolution of the Soviet Union saw its membership transferred to Russia, and the addition of four ex-Soviet republics; Azerbaijan, Belarus, Kazakhstan, and Ukraine to the federation. In addition, the memberships of Estonia, Latvia, and Lithuania - all of which had initially joined the IIHF in the 1930s but were expelled following their annexation by the Soviet Union - were renewed. The breakup of Yugoslavia also resulted in an increase in membership. Croatia and Slovenia joined as new members, while the membership of the old Yugoslavia was transferred to FR Yugoslavia (which later became known as Serbia and Montenegro and still later dissolved into the independent republics of Serbia and Montenegro). When Czechoslovakia broke up, its membership rights were transferred to the Czech Republic, and Slovakia was admitted as a new member. The influx of new members resulted in the IIHF increasing the size of the Group A tournament. It expanded from 8 teams to 12 in 1992 and from 12 to 16 in 1998.


title: International Ice Hockey Federation

text: The IIHF celebrated its 100th anniversary in 2008. As part of the celebrations, the 2008 World Championship was held in Canada for the first time (the tournament was co-hosted by the cities of Halifax and Quebec City). To commemorate the anniversary, the IIHF Centennial All-Star Team was chosen by votes.


title: International Ice Hockey Federation

text: The number of members grew in the 21st century: Chile (2000), Bosnia and Herzegovina (2001), Liechtenstein (2001), North Macedonia (2001), the United Arab Emirates (2001), Macau (2005), Malaysia (2006), Moldova (2008), Georgia (2009), Kuwait (2009; had originally joined in 1985, but was expelled in 1992), Morocco (2010), Kyrgyzstan (2011), Jamaica (2012), Qatar (2012), Oman (2014), Turkmenistan (2015), Indonesia (2016), Nepal (2016), the Philippines (2016), Algeria (2019), Colombia (2019), Iran (2019), Lebanon (2019), Uzbekistan (2019), and Tunisia (2021)..


title: International Ice Hockey Federation

text: The IIHF received international criticism for holding the 2014 Men's Ice Hockey World Championships in Belarus because of the poor human rights record of the country. Several human rights organisations launched the "Don’t play with the dictator!" boycott campaign and there were appeals from the US Congress, German Parliament and the European Parliament. The IIHF again received criticism for planning to partly hold the 2021 Men's Ice Hockey World Championships in Belarus. In January 2021, the IIHF withdrew the 2021 World Championship from Minsk due to safety and security issues during the political unrest, besides the COVID-19 pandemic and decided to solely hold the tournament in Riga, Latvia.


title: International Ice Hockey Federation

text: On May 23, 2021 civilian Ryanair Flight 4978, which was enroute from Athens to Vilnius, was forced to land in Minsk and a passenger of that flight was detained. In protest, Latvian officials replaced the Belarusian state flag in Riga with the former flag associated with the Belarusian opposition groups, including at the 2021 IIHF World Championship display of flags. This was by order of Mayor of Riga Mārtiņš Staķis and Minister of Foreign Affairs of Latvia Edgars Rinkēvičs. The IIHF issued a statement protesting the replacement of the flag, and IIHF president René Fasel asked the mayor to remove the IIHF name, its flag and its symbols from such sites, or to restore the flag, insisting that the IIHF is an "apolitical sports organization". In response, Staķis said he would remove the IIHF flags.


title: International Ice Hockey Federation

text: On February 28, 2022, the IIHF announced that the memberships of the Russian and Belarusian hockey federations would be suspended until further notice due to the countries' invasion of Ukraine.


title: International Ice Hockey Federation

text: Still, non-Russian players in Russian clubs are according to IIHF rules bound by their contracts, and can not leave their clubs and Russia until their contracts expire or is terminated by their club. If players leave anyway they can be sued and would be blocked from playing for other clubs.


title: International Ice Hockey Federation

text: Prior to the establishment of the IIHF Hall of Fame, the IIHF displayed a collection of historical artifacts from World Championships and the Olympic Games in temporary exhibits. From 1992 to 1997, the IIHF loaned its exhibits to the International Hockey Hall of Fame in Kingston, Ontario, Canada.


title: International Ice Hockey Federation

text: The first step taken by the IIHF to create its own hall of fame was a proposal made in 1996, which was later ratified at the 1997 IIHF summer congress to host the museum in Zürich. The approval came exactly 89 years from the foundation of the IIHF, with the purpose of honoring former international ice hockey players, builders (administrators) and officials. The annual induction ceremony takes place on the medal presentation day of the Ice Hockey World Championships. The IIHF agreed with the National Hockey League to transfer its exhibits to the Hockey Hall of Fame in Toronto, Canada, as of 29 July 1998.


title: International Ice Hockey Federation

text: The federation has 60 full members, including two suspended members: Australia, Austria, Azerbaijan, Belarus (suspended), Belgium, Bosnia and Herzegovina, Bulgaria, Canada, China, Chinese Taipei, Croatia, Czechia, Denmark, Estonia, Finland, France, Georgia, Germany, Great Britain, Hong Kong, Hungary, Iceland, India, Iran, Ireland, Israel, Italy, Japan, Kazakhstan, North Korea, South Korea, Kuwait, Kyrgyzstan, Latvia, Lithuania, Luxembourg, Malaysia, Mexico, Mongolia, Netherlands, New Zealand, Norway, the Philippines, Poland, Qatar, Romania, Russia (suspended), Serbia, Slovakia, Slovenia, South Africa, Spain, Sweden, Switzerland, Thailand, Turkey, Turkmenistan, Ukraine, the United Arab Emirates, and the United States. Full members have a national body dedicated to the sport, and participate annually in the international championships. Only full members have voting rights.


title: International Ice Hockey Federation

text: In addition, there are 22 associate members who either do not have a national body dedicated to the sport, or do not regularly participate in the international championships. They are Algeria, Andorra, Argentina, Armenia, Brazil, Colombia, Greece, Indonesia, Jamaica, Lebanon, Liechtenstein, Macau, Moldova, Morocco, Nepal, North Macedonia, Oman, Portugal, Puerto Rico, Singapore, Tunisia, and Uzbekistan.


title: International Ice Hockey Federation

text: Based on the number of registered ice hockey players, including male, female and junior, provided by the respective countries' federations. Note that this list includes 71 out of 83 IIHF member countries with more than 100 registered players as of October 2022.


title: International Ice Hockey Federation

text: The IIHF World Ranking is a tool to reflect the long-term quality of the countries' national team program. The IIHF World Ranking is released following each IIHF Ice Hockey World Championship and the Olympic Ice Hockey Tournament.


title: The Red Shoes (fairy tale)

text: "The Red Shoes" (Danish: "De røde sko") is a literary fairy tale by Danish poet and author Hans Christian Andersen first published by C.A. Reitzel in Copenhagen 7 April 1845 in "New Fairy Tales. First Volume. Third Collection" ("Nye Eventyr. Første Bind. Tredie Samling"). Other tales in the volume include "The Elf Mound" ("Elverhøi"), "The Jumpers" ("Springfyrene"), "The Shepherdess and the Chimney Sweep" ("Hyrdinden og Skorstensfejeren"), and "Holger Danske" ("Holger Danske").


title: The Red Shoes (fairy tale)

text: The tale was republished 18 December 1849 as a part of "Fairy Tales. 1850." ("Eventyr. 1850.") and again on 30 March 1863 as a part of "Fairy Tales and Stories. Second Volume. 1863." ("Eventyr og Historier. Andet Bind. 1863."). The story is about a girl forced to dance continually in her red shoes. "The Red Shoes" has seen adaptations in various media including film.


title: The Red Shoes (fairy tale)

text: A peasant girl named Karen is adopted while still very young, by a rich old lady after her mother's death and, as such, grows up vain and spoiled. Before her adoption, Karen had a roughly-made pair of red shoes; after, she has her adoptive mother buy her a pair of red shoes fit for a princess. Karen is so enamoured of her new shoes that she wears them to church, but the old lady tells her, "This is highly improper: you must only wear black shoes in church". But the following Sunday, Karen is unable to resist putting the red shoes on again. As she is about to enter the church, she meets a mysterious old soldier with a red beard. "Oh, what beautiful shoes for dancing," the soldier says. "Never come off when you dance," he tells the shoes, and he taps each of the shoes with his hand. After church, Karen cannot resist taking a few dance steps, and off she goes, as though the shoes controlled her, but she finally manages to stop them after a few minutes.


title: The Red Shoes (fairy tale)

text: After her adoptive mother becomes ill and passes away, Karen doesn't attend her funeral, choosing to go to a dance instead. Once again her shoes take control and this time she is unable to stop dancing. An angel appears to her, bearing a sword, and condemns her to dance even after she dies, as a warning to vain children everywhere. Karen begs for mercy but the red shoes take her away before she hears the angel's reply.


title: The Red Shoes (fairy tale)

text: Karen finds an executioner and asks him to chop off her feet. He does so but the shoes continue to dance, even with Karen's amputated feet inside them. The executioner gives her a pair of wooden feet and crutches. Thinking that she has suffered enough for the red shoes, Karen decides to go to church so people can see her. Yet her amputated feet, still in the red shoes, dance before her, barring the way. The following Sunday she tries again, thinking she is at least as good as the others in church, but again the dancing red shoes bar the way.


title: The Red Shoes (fairy tale)

text: When Sunday comes again Karen dares not go to church. Instead she sits alone at home and prays to God for help. The angel reappears, now bearing a spray of roses, and gives Karen the mercy she asked for: her heart becomes so filled with peace and joy that it bursts. Her soul flies on to Heaven, where no one mentions the red shoes.


title: The Red Shoes (fairy tale)

text: Andersen named the story's anti-heroine Karen after his own loathed half-sister, Karen Marie Andersen. The origins of the story is based on an incident Andersen witnessed as a small child. His father, who was a shoemaker, was sent a piece of red silk by a rich lady to make a pair of dancing slippers for her own daughter. Using some valuable red leather along with the silk, he carefully created a pair of shoes only for the rich customer to tell him they were awful. She said he had 'done nothing but spoil [her] silk'. To which his father replied, "In that case, I may as well spoil my leather too," and he cut up the shoes in front of her.


title: Nakajima B5N

text: The Nakajima B5N (, Allied reporting name "Kate") was the standard carrier-based torpedo bomber of the Imperial Japanese Navy (IJN) for much of World War II.


title: Nakajima B5N

text: Although the B5N was substantially faster and more capable than its Allied counterparts, the American Douglas TBD Devastator monoplane (the U.S. Navy's first all-metal, carrier-borne monoplane of any type with retracting gear), and the British Fairey Swordfish and Fairey Albacore torpedo biplanes, it was nearing obsolescence by 1941. Nevertheless, the B5N operated throughout the whole war, due to the delayed development of its successor, the B6N.


title: Nakajima B5N

text: In the early part of the Pacific War, when flown by well-trained IJN aircrews and as part of well-coordinated attacks, the B5N achieved particular successes at the battles of Pearl Harbor, Coral Sea, Midway, and Santa Cruz Islands.


title: Nakajima B5N

text: The B5N was designed by a team led by Katsuji Nakamura in response to a 1935 specification by the Navy for a torpedo bomber to replace the Yokosuka B4Y. Internally designated Type K by Nakajima, it successfully competed with the Mitsubishi B5M for a production contract. The first prototype flew in January 1937 and was ordered into production soon afterwards with the full designation Type 97 Carrier Attack Bomber (九七式艦上攻撃機) ("kyū-nana-shiki kanjō kōgeki-ki" or "kankō" for short).


title: Nakajima B5N

text: Combat experience during the Second Sino-Japanese War revealed several weaknesses in the original B5N1 production model. These were mainly concerned with the lack of protection that the design offered its crew and its fuel tanks. Keen to maintain the high performance of the type, the Navy was reluctant to add weight in the form of armor, and instead looked to obtaining a faster version of the aircraft in the hopes of outrunning enemy fighters. The B5N2 was given a much more powerful engine - Nakajima's own "Sakae" Model 11, 14-cylinder twin-row radial, as used in the initial models of the Mitsubishi A6M fighter – and various modifications were made to streamline it. Although its performance was only marginally better, and its weaknesses remained unremedied, this version replaced the B5N1 in production and service from 1939.


title: Nakajima B5N

text: The navigator/bombardier/observer position was equipped with a Type 90 bombsight, which was a long vertical tube located in the front-left of the seat. There was also a Type 3 reflector compass for precise navigation that was mounted on the top of the cockpit frame. The radio-operator/gunner position was equipped with one of the standard-issue radio sets for navy three-seater aircraft (Type 96 Mk3 earlier and Type 2 Mk3 later) that was mounted in front of the radio-operator/gunner's seat and behind the navigator/bombardier/observer's seat.


title: Nakajima B5N

text: The radio-operator/gunner also operated one flexible 7.7 mm (.303 in) Type 92 machine gun at the rear end of the cockpit. One Type 91 torpedo could be mounted on the racks that were fixed eccentrically to the right at the bottom of the fuselage. Alternatively, racks could be replaced to carry either one 800 kg bomb (e.g., Type 99 No 80 armor-piercing bomb) or two 250 kg bombs (e.g., Type 98 No 25 land bomb) or six 60 kg bombs (e.g., Type 2 No 6 land bomb). Replacing the racks and exchanging between the torpedo and bombs was not a trivial process and could take more than two hours to complete.


title: Nakajima B5N

text: Initially, most of the B5N bombers were painted in silver, which was the color used throughout the early stages of the Second Sino-Japanese War. The color eventually changed to dark green before the start of the Pacific War.


title: Nakajima B5N

text: The B5N was primarily employed as a carrier-based aircraft and occasionally as a land-based bomber. It carried a crew of three: pilot, navigator/bombardier/observer, and radio-operator/gunner. Like with other IJN multi-seat aircraft, an individual bomber was commanded by the senior ranking crew member aboard, which could be the observer rather than the pilot.


title: Nakajima B5N

text: The initial model B5N1 first saw action in the Second Sino-Japanese War in 1938. The updated, B5N2 played a major role in the Attack on Pearl Harbor. One of B5N2's carried Mitsuo Fuchida, the commander of the attack, with one high-level bomber from the carrier credited with sinking the battleship . The B5N2 torpedo bombers also sunk the battleships , , and . Five torpedo bombers were shot down in the first wave. Apart from this raid, the greatest successes of the B5N2 were the key roles it played in sinking the United States Navy aircraft carrier at the Battle of the Coral Sea and at the Battle of the Santa Cruz Islands, and the disabling of the at the Battle of Midway, later sunk by the .


title: Nakajima B5N

text: B5N2 torpedo bombers normally performed a coordinated attack on enemy carriers with Aichi D3A dive bombers. Ideally, dive bombers would help to suppress the ship's anti-aircraft fire, which improved the chances of success for the slow-flying torpedo bombers. During the Battle of the Eastern Solomons, IJN tried to minimize losses to torpedo bombers and initially sent only the dive bombers to attack and cripple US carriers for the subsequent torpedo strike, this proved unsuccessful, as the torpedo bombers did not launch until the battle was over.


title: Nakajima B5N

text: The B5N served as the basis for a follow-on design, the B6N, which eventually replaced it in front-line service. The B5N continued to fly in secondary roles, such as training, target towing, and anti-submarine warfare. Some of the aircraft used for this latter purpose were equipped with early radars and magnetic anomaly detectors. B5Ns were also used as bombers during the unsuccessful defense of the Philippines in October 1944, suffering severe losses. Later in the war, they were used for "kamikaze" attacks.


title: Nakajima B5N

text: None of the 1,150 production B5Ns survived World War II intact. Only two partially-recovered B5Ns are known to exist, neither of them airworthy.


title: Nakajima B5N

text: Replicas of the B5N2s were made using stretched fuselages from U.S. Canadian Car and Foundry "Harvard" - a variant of the North American T-6 Texan trainers, which were modified to represent Japanese aircraft for the movie "Tora! Tora! Tora!", and have been used in a number of movies and airshows since to depict the aircraft.


title: Nakajima B5N

text: One recovered B5N2 is at the Wings Museum in Balcombe, West Sussex, UK. This large portion was recovered from the Kuril Islands by a British private collector in 2003.


title: C. N. R. Rao

text: Chintamani Nagesa Ramachandra Rao (born 30 June 1934), is an Indian chemist who has worked mainly in solid-state and structural chemistry. He has honorary doctorates from 84 universities from around the world and has authored around 1,774 research publications and 54 books. He is described as a scientist who had won all possible awards in his field except the Nobel Prize.


title: C. N. R. Rao

text: A precocious child, Rao completed BSc from Mysore University at age seventeen, and MSc from Banaras Hindu University at age nineteen. He earned a PhD from Purdue University at the age of twenty-four. He was the youngest lecturer when he joined the Indian Institute of Science in 1959. After a transfer to Indian Institute of Technology Kanpur, he returned to IISc, eventually becoming its Director from 1984 to 1994. He was chair of the Scientific Advisory Council to the Prime Minister of India from 1985 to 1989 and from 2005 to 2014. He founded and works in Jawaharlal Nehru Centre for Advanced Scientific Research and International Centre for Materials Science.


title: C. N. R. Rao

text: Rao received most important scientific awards and honours including the Marlow Medal, Shanti Swarup Bhatnagar Prize for Science and Technology, Hughes Medal, India Science Award, Dan David Prize, Royal Medal, Von Hippel Award, and ENI award. He also received Padma Shri and Padma Vibhushan from the Government of India. On 16 November 2013, the Government of India selected him for Bharat Ratna, the highest civilian award in India, making him the third scientist after C.V. Raman and A. P. J. Abdul Kalam to receive the award. He received the award on 4 February 2014 from President Pranab Mukherjee at the Rashtrapati Bhavan.


title: C. N. R. Rao

text: C.N.R. Rao was born in a Kannada Deshastha Madhva Brahmin family in Bangalore to Hanumantha Nagesa Rao and Nagamma Nagesa Rao. His father was an Inspector of Schools. He was an only child, and his learned parents made an academic environment. He was well versed in Hindu literature from his mother and in English from his father at an early age. He did not attend elementary school but was home-tutored by his mother, who was particularly skilled in arithmetic and Hindu literature. He entered middle school in 1940, at age six. Although he was the youngest in his class, he used to tutor his classmates in mathematics and English. He passed the lower secondary examination (class VII) in the first class in 1944. He was ten years old, and his father rewarded him with four annas (twenty-five paisa). He attended Acharya Patashala high school in Basavanagudi, which made a lasting influence on his interest in chemistry. His father enrolled him to a Kannada-medium course to encourage his mother tongue, but at home used English for all conversation. He completed secondary school leaving certificate in first class in 1947. He studied BSc at Central College, Bangalore. Here he developed his communication skills in English and also learnt Sanskrit.


title: C. N. R. Rao

text: He obtained his bachelor's degree from Mysore University in 1951, in first class, and only at the age of seventeen. He initially thought of joining Indian Institute of Science (IISc) for a diploma or a postgraduate degree in chemical engineering, but a teacher persuaded him to attend Banaras Hindu University. He obtained a master's in chemistry from BHU two years later. In 1953 he was granted a scholarship for PhD in Indian Institute of Technology Kharagpur. But four foreign universities, MIT, Penn State, Columbia and Purdue also offered him financial support. He chose Purdue. His first research paper was published in the "Agra University Journal of Research" in 1954. He completed PhD in 1958, only after two years and nine months, at the age of twenty-four.


title: C. N. R. Rao

text: After completion of his graduate studies, Rao returned to Bangalore in 1959 to take up a lecturing position, joining IISc and embarking on an independent research program. The facility at the time was so meagre that he described it, saying, "You would get string and sealing wax and that's about it." In 1963 he accepted a permanent position in the Department of Chemistry at the Indian Institute of Technology Kanpur. He was elected Fellow of the Indian Academy of Sciences in 1964. He returned to IISc in 1976 to establish a solid state and structural chemistry unit. and became director of the IISc from 1984 to 1994. At various points in his career Rao has taken appointments as a visiting professor at Purdue University, the University of Oxford, the University of Cambridge and University of California, Santa Barbara. He was the Jawaharlal Nehru Professor at the University of Cambridge and Professorial Fellow at the King's College, Cambridge during 1983–1984.


title: C. N. R. Rao

text: Rao has been working as the National Research Professor holding the positions Linus Pauling Research Professor and Honorary President of Jawaharlal Nehru Centre for Advanced Scientific Research, Bangalore, which he founded in 1989. He had served as chair of the Scientific Advisory Council to the Indian Prime Minister for two terms, from 1985 to 1989 and from 2005 to 2014. He is also the director of the International Centre for Materials Science (ICMS), which he founded in 2010, and serves on the board of the Science Initiative Group.


title: C. N. R. Rao

text: Rao is one of the world's foremost solid state and materials chemists. He has contributed to the development of the field over five decades. His work on transition metal oxides has led to basic understanding of novel phenomena and the relationship between materials properties and the structural chemistry of these materials.


title: C. N. R. Rao

text: Rao was one of the earliest to synthesise two-dimensional oxide materials such as LaCuO. He was one of the first to synthesise 123 cuprates, the first liquid nitrogen-temperature superconductor in 1987. He was also the first to synthesis Y junction carbon nanotubes in the mid-1990s. His work has led to a systematic study of compositionally controlled metal-insulator transitions. Such studies have had a profound impact in application fields such as colossal magneto resistance and high temperature superconductivity. Oxide semiconductors have unusual promise. He has made immense contributions to nanomaterials over the last two decades, besides his work on hybrid materials.


title: C. N. R. Rao

text: He shares co-authorship of more than 1750 research papers and has co-authored or edited more than 54 books.


title: C. N. R. Rao

text: From several universities, including Bordeaux, Caen, Colorado, Khartoum, Liverpool, Northwestern, Novosibirsk, Oxford, Purdue, Stellenbosch, Universite Joseph Fourier, Wales, Wroclaw, Notre Dame, Uppsala, Aligarh Muslim University, Anna, AP, Banaras, Bengal Engineering, Bangalore, Burdwan, Bundelkhand, Delhi, Hyderabad, IGNOU, IIT Bombay, Kharagpur, Delhi, Patna, JNTU, Kalyani, Karnataka, Kolkata, Kuvempu, Lucknow, Mangalore, Manipur, Mysore, Osmania, Punjab, Roorkee, Sikkim Manipal, SRM, Tumkur, Sri Venkateswara, Vidyasagar, Amity University, Gurgaon, Visveswaraya Technological University and The Assam Royal Global University, Guwahati 2022.


title: C. N. R. Rao

text: Rao is married to Indumati Rao in 1960. They have two children, Sanjay and Suchitra. Sanjay works as a science populariser in schools around Bangalore. Suchitra is married to Krishna N. Ganesh, the Director of the Indian Institute of Science Education and Research (IISER) at Pune, Maharashtra. Rao is technophobic and he never checks his email by himself. He also said that he uses the mobile phone only to talk to his wife.


title: C. N. R. Rao

text: In 1987, Rao and his team published a series of four papers, of which three were in the "Proceedings of the Indian Academy of Sciences" ("Chemical Science"), "Pramana", and "Current Science", all published by the Indian Academy of Sciences. A report was submitted to the Society for Scientific Values that the three papers had no mention of the dates of receipt, which were normally explicitly mentioned in those journals. Upon inquiry, it was found that the paper manuscripts were actually received after the date of publication, indicating that they were backdated. The society declared the case as "Use of Wrong Means to Claim Priority."


title: C. N. R. Rao

text: Rao has been subject of allegations on plagiarism. Rao and Saluru Baba Krupanidhi at the Indian Institute of Science in Bangalore, with their students Basant Chitara and L. S. Panchakarla, published a paper "Infrared photodetectors based on reduced graphene oxide and graphene nanoribbons" in the journal "Advanced Materials" in 2011. After publication the journal editors found sentences copied verbatim in the introduction and methodology from a paper published in "Applied Physics Letters" in 2010. According to "Nature" report, it was Basant Chitara, a PhD student at IISc, who wrote the text. An apology was issued by the authors later in the same journal. Rao said that he did read the manuscript and that it was an oversight on his part as he focused mainly on the results and discussion.


title: C. N. R. Rao

text: Scientists such as Rahul Siddharthan (Institute of Mathematical Sciences, Chennai), Y.B. Srinivas (Institute of Wood Science and Technology), and D.P. Sengupta (former professor at IISC), agreed that the plagiarised portion has no bearing on the findings, yet Siddharthan opined that the reactions made by Rao and Krupanidhi were overboard. Rao and Krupanidhi publicly blamed Chitara, and denied the publication as not plagiarism. Rao had commented, "This should not be really considered as plagiarism, but an instance of copying of a few sentences in the text." He even extended the blame to Krupanidhi asserting that he had no role in it as it was written by Krupanidhi without his knowledge. His claims were not justified by the fact that he was the senior scientist and corresponding author in that publication.


title: C. N. R. Rao

text: More allegations of instances of plagiarism in articles co-authored Rao have been reported. Written with S. Venkataprasad Bhat and Krupanidhi, Rao's paper in 2010 about the effect of nanoparticles on solar cells in "Applied Physics Express" contains texts that are very similar to those of a paper by Matheu "et al." from "Applied Physics Letters" in 2008, which it did not even cite. Rao had stated, referring to the 2011 incident, that "[If] I have ever stolen an idea or a result (in) my entire life, (then) hang me." But Rao's article contains similar study to and duplicated figures with that of Matheu "et al." An article in the "Journal of Luminescence" in 2011, written with Chitara, Nidhi Lal and Krupanidhi, contains 20 unattributed lines which appear to be copied from articles by Itskos "et al." in "Nanotechnology" (June 2009 issue) and Heliotis "et al." in "Advanced Materials" (January 2006 issue)"." Another article in "Nanotechnology", written also with Chitara and Krupanidhi, uses six lines from the 1995 article by Huang "et al". in "Applied Physics Letters."


title: C. N. R. Rao

text: Rao was given a Bharat Ratna by the Government of India in spite of the controversy and was active as a Professor at Jawaharlal Nehru Centre for Advanced Scientific Research (JNCASR). In December 2013, brother and sister Tanaya Thakur, a law student, and Aditya Thakur, a class XII student, filed a public interest litigation in Allahabad High Court, Lucknow Bench, to challenge Rao's Bharat Ratna. They asserted that "a scientist with proven cases of plagiarism shall not be presented the highest civilian award." But the court ruled them out as "filing pleas for publicity." There was another plea to revoke the award in 2015, but the Central Information Commission dismissed the petition.


title: C. N. R. Rao

text: On 17 November 2013, at a press conference following the announcement of his Bharat Ratna, he called the Indian politicians "idiots" which caused a national outrage. He said, "Why the hell have these idiots [politicians] given so little to us despite what we have done? For the money that the government has given us we [scientists] have done much more." In his defence Rao insisted that he merely talked about the "idiotic" way the politicians ignore investments for research funding in science.


title: Jetty

text: A jetty is a structure that projects from land out into water. A jetty may serve as a breakwater, as a walkway, or both; or, in pairs, as a means of constricting a channel. The term derives from the French word "", "thrown", signifying something thrown out.


title: Jetty

text: Another form of jetties, wing dams are extended out, opposite one another, "from each bank of a river", at intervals, to contract a wide channel, and by concentration of the current to produce a deepening.


title: Jetty

text: Jetties have been constructed on each side of the outlet river of some of the rivers flowing into the Baltic, with the objective of prolonging the scour of the river and protecting the channel from being shoaled by the littoral drift along the shore. Another application of parallel jetties is in lowering the bar in front of one of the mouths of a deltaic river flowing into a tide — a virtual prolongation of its less sea, by extending the scour of the river out to the bar by banks. Jetties prolonging the Sulina branch of the Danube into the Black Sea, and the south pass of the Mississippi River into the Gulf of Mexico, formed of rubble stone and concrete blocks, and respectively, have enabled the discharge of these rivers to scour away the bars obstructing the access to them; and they have also carried the sediment-bearing waters sufficiently far out to come under the influence of littoral currents, which, by conveying away some of the sediment, postpone the eventual formation of a fresh bar farther out (see river engineering).


title: Jetty

text: Where a river is narrow near its mouth, has a generally feeble discharge and a small tidal range, the sea is liable on an exposed coast to block up its outlet during severe storms. The river is thus forced to seek another exit at a weak spot of the beach, which along a low coast may be at some distance off; and this new outlet in its turn may be blocked up, so that the river from time to time shifts the position of its mouth. This inconvenient cycle of changes may be stopped by fixing the outlet of the river at a suitable site, by carrying a jetty on each side of this outlet across the beach, thereby concentrating its discharge in a definite channel and protecting the mouth from being blocked up by littoral drift. This system was long ago applied to the shifting outlet of the river Yare to the south of Yarmouth, and has also been successfully employed for fixing the wandering mouth of the Adur near Shoreham, and of the Adour flowing into the Bay of Biscay below Bayonne. When a new channel was cut across the Hook of Holland to provide a straighter and deeper outlet channel for the river Meuse, forming the approach channel to Rotterdam, low, broad, parallel jetties, composed of fascine mattresses weighted with stone, were carried across the foreshore into the sea on either side of the new mouth of the river, to protect the jetty channel from littoral drift, and cause the discharge of the river to maintain it out to deep water. The channel, also, beyond the outlet of the river Nervion into the Bay of Biscay has been regulated by jetties; and by extending the south-west jetty out for nearly with a curve concave towards the channel the outlet has not only been protected to some extent from the easterly drift, but the bar in front has been lowered by the scour produced by the discharge of the river following the concave bend of the southwest jetty. As the outer portion of this jetty was exposed to westerly storms from the Bay of Biscay before the outer harbour was constructed, it has been given the form and strength of a breakwater situated in shallow water.


title: Jetty

text: Where docks are given sloping sides, openwork timber jetties are generally carried across the slope, at the ends of which vessels can lie in deep water or more solid structures are erected over the slope for supporting coal-tips. Pilework jetties are also constructed in the water outside the entrances to docks on each side, so as to form an enlarging trumpet-shaped channel between the entrance, lock or tidal basin and the approach channel, in order to guide vessels in entering or leaving the docks. Solid jetties, moreover, lined with quay walls, are sometimes carried out into a wide dock, at right angles to the line of quays at the side, to enlarge the accommodation; and they also serve, when extended on a large scale from the coast of a tideless sea under shelter of an outlying breakwater, to form the basins in which vessels lie when discharging and taking in cargoes in such a port as Marseille.


title: Jetty

text: The approach channel to some ports situated on sandy coasts is guided and protected across the beach by parallel jetties. In some cases, these are made solid up to a little above low water of neap tides, on which open timber-work is erected, provided with a planked platform at the top raised above the highest tides. In other cases, they consist entirely of solid material without timber-work. The channel between the jetties was originally maintained by tidal scour from low-lying areas close to the coast, and subsequently by the current from sluicing basins; but it is now often considerably deepened by sand-pump dredging. It is protected to some extent by the solid portion of the jetties from the inroad of sand from the adjacent beach, and from the levelling action of the waves; while the upper open portion serves to indicate the channel and to guide the vessels, if necessary (see harbor). The bottom part of the older jetties, in such long-established jetty ports as Calais, Dunkirk and Ostend, was composed of clay or rubble stone, covered on the top by fascine-work or pitching, but the deepening of the jetty channel by dredging and the need that arose for its enlargement led to the reconstruction of the jetties at these ports. The nes jetties at Dunkirk were founded in the sandy beach, by the aid of compressed air, at a depth of . below low water of spring tides; and their solid masonry portion, on a concrete foundation was raised . above low water of neap tides.


title: Jetty

text: A small tidal rise spreading tidal water over a large expanse of lagoon or inland backwater causes the influx and efflux of the tide to maintain a deep channel through a narrows no longer confined by a bank on each side, becomes dispersed, and owing to the reduction of its scouring force, is no longer able at a moderate distance from the shore effectually to resist the action of tending to form a continuous beach in front of the outlet. Hence a bar is produced that diminishes the available depth in the approach channel. By carrying out a solid jetty over the bar, however on each side of the outlet, the tidal currents are concentrated in the channel across the bar, and lower it by scour. Thus the available depth of the approach channels to Venice through the Malamocco and Lido outlets from the Venetian Lagoon have been deepened several feet (metres) over their bars by jetties of rubble, carried out across the foreshore into deep water on both sides of the channel. Other examples are provided by the long jetties extended into the sea in front of the entrance to Charleston harbour, formerly constructed of fascines weighed down with stone and logs, but subsequently of rubble stone, and by the two converging rubble jetties carried out from each shore of Dublin Bay for deepening the approach to Dublin harbour. Jetties have the adverse effect of endangering Surf Culture as a whole with their ability to destroy surf breaks.


title: Fragaria vesca

text: Fragaria vesca, commonly called the wild strawberry, woodland strawberry, Alpine strawberry, Carpathian strawberry or European strawberry, is a perennial herbaceous plant in the rose family that grows naturally throughout much of the Northern Hemisphere, and that produces edible fruits.


title: Fragaria vesca

text: Five to eleven soft, hairy white flowers are borne on a green, soft fresh-hairy stalk that usually lifts them above the leaves. The light-green leaves are trifoliate (in threes) with toothed margins. The plant spreads mostly by means of runners (stolons), but the seeds are viable and establish new populations.


title: Fragaria vesca

text: Vilmorin-Andrieux (1885) makes a distinction between wild or wood strawberries ("Fragaria vesca") and alpine strawberries ("Fragaria alpina"), a distinction which is not made by most seed companies or nurseries, which usually sell "Fragaria vesca" as "alpine strawberry".


title: Fragaria vesca

text: , "Plants of the World Online" accepts two subspecies in addition to the autonym, "Fragaria vesca" ssp. "vesca":


title: Fragaria vesca

text: Typical habitat is along trails and roadsides, embankments, hillsides, stone- and gravel-laid paths and roads, meadows, young woodlands, sparse forest, woodland edges, and clearings. Often plants can be found where they do not get sufficient light to form fruit. In the southern part of its range, it can grow only in shady areas; further north it tolerates more sun. It is tolerant of a variety of moisture levels (except very wet or dry conditions). It can survive mild fires and/or establish itself after fires.


title: Fragaria vesca

text: Although "F. vesca" primarily propagates via runners, viable seeds are also found in soil seed banks and seem to germinate when the soil is disturbed (away from existing populations of "F. vesca").


title: Fragaria vesca

text: Its leaves serve as significant food source for a variety of ungulates, such as mule deer and elk, and the fruit are eaten by a variety of mammals and birds that also help to distribute the seeds in their droppings.


title: Fragaria vesca

text: The wild strawberry is used as an indicator plant for diseases that affect the garden strawberry. It is also used as a genetic model plant for garden strawberry and the family Rosaceae in general, due to its:


title: Fragaria vesca

text: The genome of "F. vesca" was sequenced in 2010, and with greater detail and accuracy in 2017 by the Knapp UC Davis program.


title: Fragaria vesca

text: All strawberry (Fragaria) species have a base haploid count of seven chromosomes; "Fragaria vesca" is diploid, having two pairs of these chromosomes for a total of 14.


title: Fragaria vesca

text: Evidence from archaeological excavations suggests that "Fragaria vesca" has been consumed by humans since the Stone Age.


title: Fragaria vesca

text: Woodland strawberry fruit is strongly flavored, and is still collected and grown for domestic use and on a small scale commercially for the use of gourmets and as an ingredient for commercial jam, sauces, liqueurs, cosmetics and alternative medicine. In Turkey, hundreds of tons of wild fruit are harvested annually, mainly for export.


title: Fragaria vesca

text: Most of the cultivated varieties have a long flowering period (and have been considered by botanists as belonging to "Fragaria vesca" var. "vesca" ssp. "semperflorens"). They are usually called "alpine strawberries". They either form runners or multiple crowns in a cluster, fruit over a very long period with larger fruit than the common wood strawberry, and are usually propagated by seeds or division of the plants. The type in cultivation is usually everbearing and produces few runners. Plants tend to lose vigour after a few years due to their abundant fruiting and flowering with final decline caused by viral diseases. Large-fruiting forms are known since the 18th century and were called "Fressant" in France. Some cultivars have fruit that are white or yellow when fully ripe, instead of the normal red.


title: Fragaria vesca

text: Cultivars that form stolons are often used as groundcover, while cultivars that do not may be used as border plants. Some cultivars are bred for their ornamental value. Hybrids, "Fragaria" × "vescana", have been created from crosses between woodland strawberry and garden strawberry. Hybrids between the woodland strawberry and the European species "Fragaria viridis" were in cultivation until around 1850, but are now lost.


title: Fragaria vesca

text: Alpine strawberry has an undeserved reputation among home gardeners as hard to grow from seed, often with rumors of long and sporadic germination times, cold pre-chilling requirements, etc. In reality, with proper handling of the very small seeds (which can easily be washed away with rough watering), 80% germination rates at 1–2 weeks are easily achievable.


title: Fragaria vesca

text: Curious mutations have arisen and are sometimes grown by plantsmen and other connoisseurs of the unusual:


title: Apollo and Daphne (Bernini)

text: Apollo and Daphne is a life-sized Baroque marble sculpture by Italian artist Gian Lorenzo Bernini, executed between 1622 and 1625. Housed in the Galleria Borghese in Rome, the work depicts the climax of the story of Apollo and Daphne (Phoebus and Daphne) in Ovid's "Metamorphoses".


title: Apollo and Daphne (Bernini)

text: The sculpture was the last of a number of artworks commissioned by Cardinal Scipione Borghese, early in Bernini's career. "Apollo and Daphne" was commissioned after Borghese had given an earlier work of his patronage, Bernini's The Rape of Proserpina, to Cardinal Ludovico Ludovisi.


title: Apollo and Daphne (Bernini)

text: Much of the early work was done in 1622–23, but a pause, possibly to work on Bernini's sculpture of "David", interrupted its completion, and Bernini did not finish the work until 1625. The sculpture itself was not moved to the Cardinal's Villa Borghese until September 1625. Bernini did not execute the sculpture by himself; he had help from a member of his workshop, Giuliano Finelli, who undertook the sculpture of the details that show Daphne's conversion from human to tree, such as the bark and branches, as well as her windswept hair. Some historians, however, discount the importance of Finelli's contribution. "Apollo and Daphne" was finally completed in the fall of 1625, sparking an immediate enthusiastic reception of the work.


title: Apollo and Daphne (Bernini)

text: While the sculpture may be appreciated from multiple angles, Bernini planned for it to be viewed slightly from the right because the work would have been visible from the doorway where it was located. Viewing the sculpture from this angle allowed the observer to see the reactions of Apollo and Daphne simultaneously, thus understanding the narrative of the story in a single instant, without the need to move position. However, the sculpture was later moved to the middle of the room.


title: Apollo and Daphne (Bernini)

text: Like Bernini's 1622 sculpture "The Rape of Proserpina", "Apollo and Daphne" has a cartouche with a moral aphorism by Pope Urban VIII. Attributing Christian moral value to a pagan subject was a way of justifying the statue's presence in the Borghese villa.


title: Apollo and Daphne (Bernini)

text: When Phoebus (Apollo), fated by Cupid's love-exciting arrow, sees Daphne, the maiden daughter of Peneus, a river god, he is filled with wonder at her beauty and consumed by desire. But Daphne has been fated by Cupid's love-repelling arrow and denies the love of men. As the Nymph flees he relentlessly chases her—boasting, pleading, and promising everything. When her strength is finally spent she prays to her father Peneus:


title: Apollo and Daphne (Bernini)

text: The praise for "Apollo and Daphne" continued despite the decline of Bernini's reputation after his death. A French traveler in 1839 commented that the group is "astonishing both for mechanism of art and elaborateness, is full of charm in the ensemble and the details." One 19th-century literary journal considered it the only Bernini work worthy of lasting praise. Others were less positive. An English travel writer in 1829 noted Bernini's technical skill but added that the sculpture "bears all the want of judgment, taste, and knowledge of that age", going on to criticize the appearance of Apollo for being too like a shepherd and not enough like a god.


title: Apollo and Daphne (Bernini)

text: More recent historians have been much more positive. Robert Torsten Petersson calls it "an extraordinary masterpiece ... suffused with an energy that works out of the tips of the laurel leaves and Apollo's hand and drapery."


title: I'm Breathless

text: I'm Breathless: Music from and Inspired by the Film Dick Tracy is an album by American singer and songwriter Madonna, released on May 22, 1990, by Sire Records to accompany the film "Dick Tracy". The album contains three songs written by Stephen Sondheim, which were used in the film, in addition to several songs written by Madonna that were inspired by but not included in the film. Madonna starred as Breathless Mahoney alongside her then-boyfriend Warren Beatty who played the title role, Dick Tracy. After filming was complete, Madonna began work on the album, with Sondheim, producer Patrick Leonard and engineer Bill Bottrell. She also worked with producer Shep Pettibone on the album's first single, "Vogue". The album was recorded in three weeks, at Johnny Yuma Recording and Ocean Way Studios, in Los Angeles, California.


title: I'm Breathless

text: Musically, "I'm Breathless" consists predominantly of jazz, swing and pop songs. The tracks reflected Madonna's showgirl personality and were influenced by her relationship with Beatty. The singer wanted to create music that would fit the style and production of the film, set in the days of the Untouchables law enforcement, and sang the songs accordingly. In some areas she pitched her vocals and belted the notes when necessary. She smoked cigarettes in order to portray the vocals of her character Breathless. Beatty and singer Mandy Patinkin were featured as duet partners on three of the songs.


title: I'm Breathless

text: In support of both "I'm Breathless" and her previous album, "Like a Prayer", Madonna embarked on the Blond Ambition World Tour where a section was dedicated to the songs from the album. It was critically acclaimed, winning an award at the 1990 Pollstar Concert Industry Awards. However, due to its use of Catholic imagery, Pope John Paul II called for a boycott of the show. After the tour was over, Madonna performed songs from the album at the 1990 MTV Video Music Awards and the 1991 Academy Awards. "Vogue", the first single from "I'm Breathless", became one of Madonna's most successful releases, reaching number one in over 30 countries. It was also critically acclaimed and was seen as an influential song, while the video helped to bring vogueing into mainstream popularity. The second and final single, "Hanky Panky", was a top-ten hit in the United States and the United Kingdom.


title: I'm Breathless

text: Music critics applauded the Sondheim numbers, along with Madonna's vocals and versatility. However, some deemed the non-film songs to be of little value. "Sooner or Later", one of the Sondheim tracks, went on to win the Academy Award for Best Original Song. "I'm Breathless" was commercially successful, peaking at number one on the European Top 100 Albums, as well as the national charts of Australia, Germany, and Japan—in the latter it became the country's best-selling foreign album of the year. It also reached number two on the US "Billboard" 200 chart and was certified double platinum by the Recording Industry Association of America (RIAA). "I'm Breathless" has sold more than seven million copies worldwide.


title: I'm Breathless

text: In 1990, Madonna was part of the film "Dick Tracy" starring as Breathless Mahoney, with Warren Beatty playing the titular character. Madonna told "Premiere" magazine that initially she had waited for Beatty to call her for the film. But when he did not, the singer decided to involve herself voluntarily. She pursued the part of Mahoney, but offered to work for minimum wages to avoid favoritism. Principal photography for "Dick Tracy" began on February 2, 1989, and ended three months later. The filmmakers considered shooting the film on-location in Chicago, Illinois, but production designer Richard Sylbert believed that "Dick Tracy" would work better using sound stages and backlots at Universal Studios in Universal City, California. Other filming took place at Warner Bros Studios in Burbank, California. Beatty often encouraged dozens of takes of every scene. The film was released in the United States on June 15, 1990, and was the third-highest opening weekend of 1990. "Dick Tracy" was the ninth-highest-grossing film in the US in 1990, and number twelve globally. The film also received positive reviews from critics. Roger Ebert from the "Chicago Sun-Times" praised the matte paintings, art direction and prosthetic makeup design, stating: ""Dick Tracy" is one of the most original and visionary fantasies I've seen on a screen".


title: I'm Breathless

text: Beatty had realized several positive aspects of hiring Madonna as an actress for the film. She would be inclined to develop a soundtrack for "Dick Tracy" and the film studio would see this as a promotional opportunity before the release of their product, since Madonna was popular as a recording artist. This would also benefit Warner Bros. Records, who would get a reason to release a new Madonna record. According to J. Randy Taraborrelli, author of "", by the 1980s record labels started to release albums which were closely associated with a film, thereby gaining double promotion. These were mostly termed as soundtracks although many of them were not related to the film. After the shooting for "Dick Tracy" was over, Madonna started working on a soundtrack in the studio. She had begun recording three songs by Stephen Sondheim for the film—"Sooner or Later", "More" and "What Can You Lose"—which would be part of the album, but also had to write new songs comparable in style to the previous. Madonna also recorded "Now I'm Following You" whose version sung by Andy Paley appeared in the film. In her favor, she produced the entire album, including the Sondheim songs and thereby recorded them quickly in the studio. "I want people to think of me as a musical comedy actress. That's what this album is about for me. It's a stretch. Not just pop music, but songs that have a different feel to them, a theatrical feel,” she said at the time.


title: I'm Breathless

text: Madonna was in a relationship with Beatty at that time, and her whole acting, recording and singing stemmed from impressing him with the album, which was important to her. Beatty and actor Mandy Patinkin also lent their voices for songs from the album. While "I'm Breathless" was being completed, it still needed a lead single. At the same time, Madonna and producer Shep Pettibone decided to compose a new song called "Vogue" to be placed on the B-side of "Keep It Together", the final single from her fourth studio album, "Like a Prayer" (1989), to ensure that the song would fare better on the charts. When Warner executives heard the song, they decided to release it as an A-side, and was eventually included on the album. Despite not appearing in the film, "Vogue" was used in a commercial for "Dick Tracy". "I'm Breathless" is one of three soundtracks released alongside the film, the others being the "Dick Tracy: Original Soundtrack", and an orchestral score by Danny Elfman.


title: I'm Breathless

text: "I'm Breathless" is a jazz, swing and pop album where Madonna and Sondheim tried to recreate the music of the period portrayed in "Dick Tracy". According to Rikky Rooksby, author of "The Complete Guide to the Music of Madonna", the harmonic and melodic styles were more "complex" than the songs which Madonna was accustomed to, hence she found it difficult and demanding. She spoke about the "wilderness" of the tunes, saying that she was not confident of doing justice to the songs, and neither was Sondheim. But he kept on encouraging the singer so that the recording sessions would not be affected. Madonna also recruited producer Patrick Leonard and engineer Bill Bottrell to help her with the project. She and Leonard toiled to create music that would fit the style and production of the film, set in the days of the Untouchables law enforcement. According to Lucy O'Brien, author of "", after Madonna's split from husband Sean Penn in 1989, the singer was comfortable in her new relationship with Beatty, which influenced the songs. The singer and Leonard enlisted a ten-piece live band and jazz musicians. The sessions took place at Johnny Yuma Recording and Ocean Way Studios in Los Angeles, California, and concluded by three weeks. The songs on the album reflect Madonna's showgirl personality where her singing ranged from "rootsy, rocking" in nature to slow, "laid-back and soulful" vocals. A studied approach was evident in most of them, which O'Brien compared to "an actress playing a part and performing a vocal exercise in technique". Some of the songs had Madonna pitching her vocals and belting the notes only when necessary. A dryness was prevalent in most of the singing, which was required for the songs and the setting. Guy Pratt, who also played bass, said that the singer "was in character and started smoking. She actually ponced a cigarette off me. Her character smoked, so therefore she did."


title: I'm Breathless

text: O'Brien said that the songs on "I'm Breathless" had a "coquettish" and "pandering nature", and was the polar opposite to Madonna's previous release, "Like a Prayer", which had an introspective composition. "I'm Breathless" opens with the sound of an intercom and a shuffle, and power ballad "He's a Man" starts, a song which Madonna sings as if she was a "hooker stalking the boulevard". Also, Madonna's "haunting" vocals continue after the music has faded. One of the Sondheim songs, "Sooner or Later", evokes a 1930s jazz ballad with comping piano, brushed drum sounds, double bass, and horns. Conjuring the atmosphere of a smoky nightclub, the song finds Madonna in her lowest range as the melody shifts continuously. "Hanky Panky", the third song and second single, deals with sadomasochistic themes centered on a girl celebrating the pleasures of a "good spanking". It is performed in an almost comical style, and stemmed from a line in the film, where Breathless says to Tracy, "You don't know whether to hit me or kiss me".


title: I'm Breathless

text: The following track on the album, "I'm Going Bananas", is a Carmen Miranda-ish song done in a Spanish accent. A salsa rhythm is predominant, with Madonna squeezing her vocal cords while singing, backed by percussion and brass. In the fifth track, "Crybaby", Madonna mimics the vocals of Betty Boop. The melody is heard over the interlining synth strings, horns and trumpets, and a bass. Rooksby explained that Madonna sang about a guy who is "too sensitive and soft", and the chorus employs a chromatic chord sequence. The next track "Something to Remember" deals with her failed marriage to Penn and was the source of inspiration for naming her 1995 compilation album. Musically, it has melancholy chords and rambling melody, which according to Taraborrelli made it the most compelling song by Madonna.


title: I'm Breathless

text: Mark Coleman from "Rolling Stone" described "Back in Business" as a "nagging headache". It contains a "slow-verse-fast-chorus" sequence. According to Rooksby, "the chorus bursts into life, with Madonna clearly relishing the lyrics about good guys finishing last... the coldness of her delivery is apt for the topic." Her vocals are accompanied by muted trumpet sounds and a saxophone solo. "More" is the second Sondheim number where Madonna recites the materialistic-themed lyrics with irony, over a bouncy two-beat with tap-dancing during an instrumental break. The track consists of syncopated chord structure, tempo changes and lyrical rhymes. The arrangement switches between slow and fast tempo, requiring proper enunciation by Madonna. The final Sondheim song, "What Can You Lose", is the duet with Patinkin. It is a torch song where Patinkin supplies the male voice while Madonna sings during the second verse with strings and harmonics.


title: I'm Breathless

text: Madonna sings a two-part duet with Beatty titled "Now I'm Following You". With beats atop a riff, Madonna reveals that "Dick" is an "interesting name". The first part has strings, brass and muted horns, with a tap-dancing sequence during the intermediate piano solo and blues effect. At the last chord, the sound of the record getting stuck is heard, and a needle is drawn across the vinyl, leading into the much faster part two. The word "Dick" is continuously repeated in the main melody structure until the song ends with the sound of a record being snatched off a music player. Bill Meyers, who played piano during the recording, recalled that the song required only one take from Beatty. "Vogue" closes out the album and is musically different from the rest of the tracks. It is a dance number consisting of a "throbbing beat" and lyrically has a theme of escapism. The song talks about Vogueing, a dance form which reproduced poses from high-fashion modelling. The song also has a rap section, where Madonna names various "golden era" Hollywood celebrities, including Greta Garbo, Marilyn Monroe and Marlene Dietrich.


title: I'm Breathless

text: Madonna first performed "Vogue" during her Blond Ambition tour (April–August 1990), followed by the September 6 performance at the 1990 MTV Video Music Awards, clad in 18th-century-inspired fashions. Madonna's performance recreated the royal court of Marie Antoinette, dripping with sexual innuendo; at one point the singer flipped open her large skirt, allowing one of the dancers to crawl inside. Her dancer Carlton Wilborn explained that "[such] level of production had never been done on MTV. The costumes, the fans, the drama... MTV just had no idea, we just came out and rocked." O'Brien described the performance as a "moment of inspired brilliance", while Taraborrelli noted it as a "classic, camp show that elevated the standards of future performances on that program". It was later ranked by "Billboard" as the sixth best performance in the history of the award show.


title: I'm Breathless

text: At the 1991 Academy Awards, Madonna appeared with singer Michael Jackson as her date and performed "Sooner or Later". According to journalist Liz Smith, Madonna had promised to perform at the award show if either "Sooner or Later" or "More" was nominated in the Best Original Song category. She wore a long, tight, white dress designed by Bob Mackie and covered in sequins and pearls. On her neck she wore $20 million worth of jewelry from Harry Winston. Taraborrelli recalled that Madonna had appropriated every move and mannerisms of Marilyn Monroe for the performance, making it a tribute to the actress. When she appeared onstage, there was technical difficulty resulting in the microphone not rising from below the stage, and a stage-hand passing it to her. "Billboard" ranked it as the seventh "most awesome" Oscar performance of all time, saying that "Madonna gave a performance that took us back to the glamorous days of old Hollywood."


title: I'm Breathless

text: "I'm Breathless", alongside Madonna's previous album, "Like a Prayer", was majorly promoted in Madonna's third concert tour, the Blond Ambition World Tour, which visited Asia, North America and Europe. Consisting of 57 dates, the concert was divided into five sections, the first inspired by the 1927 German expressionist film "Metropolis", the second by religious themes, the third by "Dick Tracy" and cabaret, the fourth by Art Deco, and the fifth was an encore. The show contained sexual themes and Catholic imagery, such as in Madonna's performance of "Like a Prayer", which was based in church-like surroundings with Madonna wearing a crucifix and her backup dancers dressed like priests and nuns. The concert was criticized for its sexual content and religious imagery; in Toronto, Canada, Madonna was threatened of being arrested for obscenity, and Pope John Paul II later called for a boycott, with one of the three Italian dates being cancelled. Despite this, the tour was a critical success, winning "Most Creative Stage Production" at the 1990 Pollstar Concert Industry Awards.


title: I'm Breathless

text: The performance of the "I'm Breathless" songs began with "Sooner or Later" sung atop a grand piano, followed by "Hanky Panky", with Madonna standing in front of a microphone. She was dressed in a striped vaudeville-style corset, playing the part of a nightclub singer. Near the end Madonna joked: "You all know the pleasures of a good spanking, don't you? [...] When I hurt people, I feel better, you know what I mean?" The final song of the segment was "Now I'm Following You" where Madonna danced and lip-synched with dancer Salim Gauwloos, dressed as Dick Tracy. Regarding the "shameless promotion" of "Dick Tracy" in this segment, O'Brien said that "along with her yen for artistic expression, Madonna has always had an eye on the bottom dollar... [But] the "Dick Tracy" section is the least dynamic part of the show".


title: I'm Breathless

text: "Vogue" was released as the lead single from the soundtrack, on March 27, 1990. A deep house influenced song, it became Madonna's eighth single to top the "Billboard" Hot 100 chart. It also reached the top of the Hot Dance Club Play chart. Internationally, "Vogue" reached the top the charts in 30 countries, such as the United Kingdom, Australia, Canada and Finland. It became the world's best-selling single of 1990, selling over six million copies. "Vogue" has been continuously acclaimed since its release; reviewers have praised its anthemic nature, calling it a "funky" and "catchy" song, and listed it as one of the singer's musical highlights.


title: I'm Breathless

text: The music video for "Vogue", directed by David Fincher, showed Madonna paying homage to various golden era Hollywood actresses. Shot in black-and-white, the video takes stylistic inspiration from the 1920s and 30s; in it, Madonna and her dancers can be seen voguing different choreographed scenes. Critics noted the way in which Madonna used her postmodern influence to expose an underground subcultural movement to the masses and for making the sex and gender roles ambiguous in its portrayal of people. The video has been ranked as one of the greatest of all times in different critic lists and polls, and won three awards at the 1990 MTV Video Music Awards, out of a total of nine nominations.


title: I'm Breathless

text: The album's second single, "Hanky Panky", was released on June 30, 1990. Critical response for the song was positive, with "The New York Times" calling it "a calculated bid for outrage". It enjoyed commercial success, reaching the top ten in New Zealand and the United Kingdom. In the United States, it peaked at number ten in the week of July 28, 1990. "Now I'm Following You", the two-part duet with Warren Beatty, was intended to be the third single, but was ultimately canceled. Several remixes were commissioned and promos and test pressings were issued.


title: I'm Breathless

text: J. Randy Taraborrelli gave "I'm Breathless" a favorable review in his book "", writing that it was "one of Madonna's greatest musical moments", and praising her vocal performance. Authors Allen Metz and Carol Benson wrote in their book "The Madonna Companion" that the album suited Madonna well, but questioned her decision to make it a subsidiary for "Dick Tracy" instead of an independent release. Lucky Lara from "Manila Standard Today" denoted the album as a "surprise career decision" for Madonna and found that it showcased the singer's versatility and other facets of her pop personality. She added that the album was able to prove that Madonna "is cut out to do many other things, not just the trashy stuff". Writing for the "Sarasota Herald-Tribune", Liz Smith gave another positive review, calling the album "excellent, different from anything [Madonna] has ever attempted", and listing the Sondheim songs as highlights.


title: I'm Breathless

text: Ray Boren from "Deseret News" was impressed with Madonna's vocals, calling them "sultry" and "cutesy", listing "Vogue" and "Something to Remember" as highlights. Greg Sandow of "Entertainment Weekly" gave "I'm Breathless" an A rating, praising Madonna for "invent[ing] a new Broadway vocal persona, built around a chest voice not yet perfectly under control but still much richer and duskier than her low range sounded before." Robert Christgau from "The Village Voice" said the record's "show-tune-pop-shlock" suits Madonna "with its pedigree of wit and musicality", as does the music's campiness, which she "sure knows how to do right". He listed "Cry Baby", "He's a Man" and "Hanky Panky" as the best tracks. Mark Coleman from "Rolling Stone" gave the album a rating of three-and-a-half out of five stars and positive review, claiming that Madonna "pulls it off with brass and panache". He added that "Vogue" showed the singer "can still deliver that indefinable something extra". Sal Cinquemani from Slant Magazine gave it four out of five stars, declaring: ""I'm Breathless" proves that Madonna is a true renaissance woman".


title: I'm Breathless

text: According to Jon Pareles of "The New York Times", "after all the nuances Madonna has brought to the role of the bad girl, it's strange that she would settle now for such a restricted, unexamined version of respectability" and "for the first time, Madonna has let the deal dictate the music". Tan Gim Ean from "New Straits Times" noted that Madonna played against her strengths on the songs of the album. He described her vocals as "competent", but felt that the songs required "more range and agility than Madonna has at her disposal." Dave Tianen from "Milwaukee Journal Sentinel" described the album as a "mixed bag of period pieces, some of them too cute for their own good", adding that ""I'm Breathless" never becomes more than the sum of its mannerisms". AllMusic critic Stephen Thomas Erlewine claimed that the songs are just "cutesy novelty numbers", and listing "Vogue" as a standout track. Rooksby panned the album, saying that it "failed to transcend the sterile, preserved-in-amber quality of pastiche". Mark Cooper from "Q" magazine lamented, in its June 1990 review, "It's something of a disappointment because the lady herself stays so firmly committed to a character who's less original than the persona she evolved during the '80s." Nonetheless, in the same magazine's December 1994 issue, Madonna declared: "I would have to say the favorite record that I've made is the soundtrack to "Dick Tracy". I love every one of those songs... My judgment is never based on the world's reaction." "Music Week" staff called a "mediocre soundtrack album".


title: I'm Breathless

text: While reviewing the album on its 30th anniversary, Mike Wass from Idolator wrote that its "genius" lied in the ability to "find the middle ground between Broadway fare and top 40 pop", concluding that "[Madonna] wasn’t trying to bend and twist into another genre, she simply dismantled it and took the bits and pieces that pleased her". "Rolling Stone"s Joe Blistein deemed it one Madonna's most "fascinating" albums; "she could have easily recorded the three Sondheim songs for "Dick Tracy" and called it a day. Instead, she chose to deliver a record of big-band jazz and musical-theater pastiche". Nonetheless, he opined it wouldn't become a "forgotten classic", as the singer hasn't performed any songs from the album in any of her tours since Blond Ambition. He did finish his review by expressing: "["I'm Breathless"] remains a compelling snapshot of a pivotal moment in Madonna’s life and career, when the world rolled in ecstasy at her feet and she had the power to push it any which way she wanted, to mold it to suit her ideal".


title: I'm Breathless

text: "I'm Breathless" debuted at number 44 on the "Billboard" 200 during the week of June 9, 1990, peaking at number 2 two weeks later. In total, the album remained on the chart for twenty-five weeks. "I'm Breathless" was certified double-platinum by the Recording Industry Association of America (RIAA), denoting shipment of over two million copies throughout the country. On June 2, 1990, "I'm Breathless" entered the Canadian "RPM" Albums Chart at number 39, eventually peaking at number three. During the week of November 10, 1990, the album spent its last week on the chart, exiting at number 99, after spending 24 weeks on the album's chart. To date, the album has been certified double-platinum by the Canadian Recording Industry Association (CRIA) for shipment of 200,000 copies.


title: I'm Breathless

text: In Australia, the album debuted at number one on the ARIA Charts, during the week of June 3, 1990, where it remained for three consecutive weeks, and a total of twenty-three weeks on the chart. It was certified platinum by the Australian Recording Industry Association (ARIA) for shipment of 70,000 copies. "I'm Breathless" entered the New Zealand Albums Chart at number twenty-eight during the week of June 3, 1990. The next week, it peaked at number two, spending a total of twenty-two weeks in the chart. In Japan, "I'm Breathless" became Madonna's second number-one album on the Oricon Albums Chart and had sold an estimated 329,382 units by the year end. At the 1991 Japan Gold Disc Awards, Madonna was honored by the Recording Industry Association of Japan (RIAJ) with Best Album of the Year – Pop Female, Grand Prix Album of the Year, and Grand Prix Artist of the Year; the last two were given for the best-selling international album and the best-selling international artist of the year, respectively.


title: I'm Breathless

text: The album also experienced success in European markets. In Germany, "I'm Breathless" topped the Media Control albums chart and was certified gold by Bundesverband Musikindustrie (BVMI) for shipping 250,000 copies. In France, the album peaked at number three, and was certified double-gold by the Syndicat National de l'Édition Phonographique (SNEP). In the Netherlands, "I'm Breathless" entered the MegaCharts at number twelve during the week of June 3, 1990. It eventually peaked at number five, staying a total of nineteen weeks on the chart. The Nederlandse Vereniging van Producenten en Importeurs van beeld- en geluidsdragers (NVPI) certified the album gold for shipment of 50,000 copies. On the Swiss Albums Chart dated June 3, 1990, "I'm Breathless" debuted on its peak position of number three. After nineteen weeks, it was certified gold by the International Federation of the Phonographic Industry (IFPI) for shipment of 25,000 copies. In the United Kingdom, the album debuted and peaked at number two on the UK Albums Chart, during the week dated June 2, 1990. Soon after, "I'm Breathless" was certified platinum by the British Phonographic Industry (BPI), denoting shipments of over 300,000 units. In Spain, the album peaked at number two, and was certified double platinum for shipping 200,000 copies. The album has sold seven million copies worldwide.


title: I'm Breathless

text: In "The Soundtrack Album: Listening to Media" (2020), editors explained that the trend of releasing albums with the concept "Music From and Inspired By" began "in large part due to the success of Prince's "Batman" album (1989) and Madonna's "I'm Breathless" album". With this release, Madonna brought back the glamour of the Prohibition era. Joe Blistein of "Rolling Stone" explained that the album "recalled the Prohibition era more than anything in the contemporary zeitgeist".


title: I'm Breathless

text: Contemporary and retrospective assessments specifically praised the results despite her musical reinvention, with Blistein describing "it was a decisively dizzying left turn for an artist who'd already built a solid career out of them". Biographer Marie Cahill in "Madonna" (1991), recalls that it represented a "departure from what Madonna has done before". In "Madonna: The Biography" (1991), Robert Matthew-Walker notes that it contained the most songs on a Madonna's album up to that point, and also argues that with this record she shows the "immense outpouring of her talent". Editor Matthew Rettenmund commented, "She even invents a new Broadway vocal persona". In at least one interview, she herself calls "I'm Breathless" her "best" and "favorite" of her albums because it is "different". In "80s Chart-Toppers: Every Chart-Topper Tells a Story" (2012), Sharon Davis describes that "I'm Breathless" "became a surprise runaway success worldwide", and Macmillan Educational's publication "International Year Book: Covering the Year 1990" stated the results were "surprisingly well, considering that its musical roots were in the 1940s".


title: I'm Breathless

text: Some authors slightly pointed out how the album would help the involved parties reach "new" audiences in their career. Before its release, on May 14, 1990, Elizabeth Wurtzel for "New York" magazine stated, "Maybe "Breathless" will introduce Madonna to Sondheim's audience, but it's more likely that Madonna will being Sondheim to "her" audience". In his review for "Rolling Stone" issued on June 1990, Mark Coleman also commented on this point, saying Madonna's album will "automatically introduce" Sondheim to a "whole new audience". By 2021, "The Atlantic" editor Sophie Gilbert, explicitly states she was introduced to Sondheim's material thanks to Madonna. On the other hand, from "El País", called it a "novelty" that Warren Beatty recorded a song for an album for the first time in his career.


title: I'm Breathless

text: "I'm Breathless" was included in a number of critics' lists. It appeared at number five in the 1990 Pazz & Jop: Dean's List of "The Village Voice". The staff of "Slant Magazine" recognized the release as one of "The 10 Best Albums of 1990", commenting that it is in this album "where she truly started pushing outside her vocal comfort zone". It was ranked among the "100 best movie and TV soundtracks of all time" by "Houston Chronicle" and Stacker. It was featured in Russell Ash's "The Top 10 of Everything" (1999) book in his Madonna's albums ranking. Entertainment website "E! Online" commented: "The album is most fondly remembered for spawning one of Madge's most successful and influential tracks, 'Vogue'". Finally, the song "Something to Remember" was included in VH1's list of "Madonna's 25 Most Underrated Deep Cuts And B-Sides".


title: Hemocytometer

text: The hemocytometer (or haemocytometer) is a counting-chamber device originally designed and usually used for counting blood cells.


title: Hemocytometer

text: The hemocytometer was invented by Louis-Charles Malassez and consists of a thick glass microscope slide with a rectangular indentation that creates a precision volume chamber. This chamber is engraved with a laser-etched grid of perpendicular lines. The device is carefully crafted so that the area bounded by the lines is known, and the depth of the chamber is also known. By observing a defined area of the grid, it is therefore possible to count the number of cells or particles in a specific volume of fluid, and thereby calculate the concentration of cells in the fluid overall. A well used type of hemocytometer is the "Neubauer" counting chamber.


title: Hemocytometer

text: Other types of hemocytometers with different rulings are in use for different applications. Fuchs-Rosenthal rulings, commonly used for spinal fluid counting, Howard Mold rulings used for mold on food and food packaging products, McMaster Egg Slide ruling used for counting microbial eggs in fecal material, Nageotte Chamber ruling for counting low levels of white cells in white cell-reduced platelet components, Palmer Nanoplankton ruling for counting smaller plankters. Petroff-Hausser counter using Improved Neubauer rulings is used for bacteria & sperm counts & is offered with varying chamber depths. The Sedgwick-Rafter Cell ruling in a hemocytometer is primarily designed for use in the microscopy of drinking water.


title: Hemocytometer

text: The gridded area of the Improved Neubauer ruled hemocytometer consists of nine 1 x 1 mm (1 mm) squares. These are subdivided in three directions; 0.25 x 0.25 mm (0.0625 mm), 0.25 x 0.20 mm (0.05 mm) and 0.20 x 0.20 mm (0.04 mm). The central square is further subdivided into 0.05 x 0.05 mm (0.0025 mm) squares. The raised edges of the hemocytometer hold the coverslip 0.1 mm off the marked grid, giving each square a defined volume (see figure on the right).


title: Hemocytometer

text: To use the hemocytometer, first make sure that the special coverslip provided with the counting chamber is properly positioned on the surface of the counting chamber. When the two glass surfaces are in proper contact Newton's rings can be observed. If so, the cell suspension is applied to the edge of the coverslip to be sucked into the void by capillary action which completely fills the chamber with the sample. The number of cells in the chamber can be determined by direct counting using a microscope, and visually distinguishable cells can be differentially counted. The number of cells in the chamber is used to calculate the concentration or density of the cells in the mixture the sample comes from. It is the number of cells in the chamber divided by the chamber's volume, which is known from the start, taking account of any dilutions and counting shortcuts: