title: Brigadoon (film)

text: Bosley Crowther in "The New York Times" of September 17, 1954, described the film as "curiously flat and out-of-joint, rambling all over creation and seldom generating warmth or charm." Crowther admired the costumes, sets, and decor but deplored the omission of several musical numbers. He found fault with the film's two stars and its director: "the personable Gene Kelly and Cyd Charisse have the lead dancing roles. Even so, their several individual numbers are done too slickly, too mechanistically. What should be wistful and lyric smack strongly of trickery and style ... Mr. Kelly's [performance] is as thin and metallic as a nail; Miss Charisse's is solemn and posey ... Vincente Minnelli's direction lacks his usual vitality and flow." He concluded by noting the film was "pretty weak synthetic Scotch." "Variety" posted a lukewarm review, calling the dance staging "not particularly arresting, although a few of the numbers will have a desired effect on the audience, and the vocals fail to give the tunes the tonal impact needed to put them over." "Harrison's Reports" wrote of the film: "It has much to recommend it from the viewpoint of the production values, and there are individual musical sequences that are nimble, gay, and cheery, but some of the other production numbers are long drawn out and tedious, and on the whole the picture's fantasy theme misfires." John McCarten of "The New Yorker" wrote: "There are times in this version of 'Brigadoon' when one is seized by the wild hope that the exposition of the town's dilemma will be quickly boiled down to an essence, so that Gene Kelly and Cyd Charisse can get on with their dancing. The problems of the community are always getting in the way though ... I rather regretted that they weren't able to cut loose with their musical paces more often." "The Monthly Film Bulletin" called the film "a sizeable disappointment. Overloaded with Hollywood-Scottish trappings, with tartans, bagpipes and a wedding celebration preceded by a miniature sort of gathering of the clans, the tenuous romantic fantasy is slackly developed ... and the whimsical dream-world it creates holds no compelling attractions."


title: Brigadoon (film)

text: Leonard Maltin in his reappraisal feels this adaptation was unfairly overlooked when it first appeared and particularly praises the "lovely" score, orchestrated mainly by Conrad Salinger, and the performance of Van Johnson as Jeff Douglas.


title: Brigadoon (film)

text: According to MGM records the film earned $1,982,000 in the US and Canada and $1,293,000 and resulted in a loss of $1,555,000.


title: Zoie Palmer

text: Zoie Palmer is a Canadian actress best known for her roles as Dr. Lauren Lewis in the Showcase supernatural drama "Lost Girl" and as the Android in the SyFy science fiction series "Dark Matter".


title: Zoie Palmer

text: Palmer was born in Camborne in Cornwall, England, and emigrated to Canada when she was ten. She attended Sacred Heart Catholic High School in Newmarket, Ontario, and received a Bachelor of Fine Arts from York University in Toronto in 2001. She had her first professional acting role as a teenager, in summer stock at the Red Barn Theatre in Jackson's Point, Ontario.


title: Zoie Palmer

text: Palmer's best-known role is that of Dr. Lauren Lewis, a major character in the Canadian series "Lost Girl" (2010–2015). Her television work includes made-for-TV movies "The Reagans" (2003) as Patti Reagan, "Out of the Ashes" (2003) as Didi Goldstein, and "Devil's Perch" (2005) as Abby. She had a recurring role in the CTV teen drama/comedy series "Instant Star" as rock singer Patsy Sewer (2006–2007), and was a co-lead in the Global drama "The Guard" as Coast Guard rescue specialist Carly Greig (2008–2009) (for which she had to conquer her fear of water). Her guest appearances include the "Girl's Best Friend" episode (2011) of The CW espionage drama "Nikita" as Anya Vimer, a terrorist who tries to sabotage a peace summit; the "Don of the Differently Abled" episode (2011) of the HBO Canada comedy "Call Me Fitz" as Laura, an unhinged amputee with plans for an escort service for disabled people; and "The Shooting" (2012), the third-season finale of the CTV fantasy drama "The Listener" as Staff Sgt. McCoy, an investigator for Internal Affairs. She appeared as Rebecca in the "1.1: Single Lesbian Psychos" episode (2009) of the online dating web series comedy "Seeking Simone". After "Lost Girl", she joined the main cast of science-fiction series "Dark Matter" as The Android (2015–2017) and hosted "After Dark", the series' online aftershow for third-season episodes.


title: Zoie Palmer

text: Her film roles include Annabelle in the short drama "Terminal Venus" (2003), Haley in the romantic comedy "The Untitled Work of Paul Shepard" (2010), Cheryl in the supernatural horror "Devil" (2010), Officer Frances Jane in the crime thriller "Cold Blooded" (2012), Lou in the comedy "Sex After Kids" (2013), and Bethany in the fantasy adventure "Patch Town" (2014).


title: Zoie Palmer

text: Palmer received the Best Actor award for "Terminal Venus" by the 2004 Baja Film Festival (Mexico); and the Gold Medallion Acting Award for Best Actress in a Feature Film for "Cold Blooded" by the 2012 Bare Bones International Film Festival. She was nominated in 2011 for the ACTRA Award for Outstanding Performance – Female for "The Untitled Work of Paul Shepard," and in 2014 by the Canadian Comedy Awards for Multimedia / Best Female Performance in a Feature for "Sex After Kids."


title: Zoie Palmer

text: In 2013 she won "Favorite TV Actress" and "Best Tweeter" in the annual "AfterEllen Visibility Awards" for popularity, and "Best Sci-Fi or Fantasy Actress" by "Canadagraphs" in its annual "Best Of TV Awards". She was chosen "Girl on Top 2013" by "E! Entertainment Television" in its popularity contest of "Favorite TV Leading Ladies". She was named #1 in "Hello! Canada"'s annual "50 Most Beautiful Stars" issue celebrating homegrown talent in 2014. She received the Fan Choice Award for Favourite Canadian Screen Star by the 2014 Canadian Screen Awards.


title: Zoie Palmer

text: Her character of Lauren and Anna Silk's character of Bo, a same-sex couple on "Lost Girl," were named one of CNN's all-time "Favorite TV Couples" in 2013, and declared "Top TV Couple of 2013" in "E! Entertainment Television"'s annual online contest.


title: Zoie Palmer

text: In 2018, Palmer was a campaign ambassador for the Women in Film & Television Toronto’s annual WIFT Stars fundraiser.


title: Sharon Carr

text: Sharon Louise Carr (born 1981), also known as "The Devil's Daughter", is a British woman who is Britain's youngest female murderer. In June 1992, aged only 12, she murdered 18-year-old Katie Rackliff after picking her out at random as she walked home from a nightclub in Camberley. The murder initially went unsolved until June 1994, when Carr attacked and stabbed another pupil at Collingwood College Comprehensive School for no apparent reason, and then repeatedly boasted about the murder of Rackliff to friends and family and in her diary entries made in prison. She was convicted of the murder in 1997, attracting much media interest due to her young age and the brutality of the killing. She was ordered to serve at least 14 years imprisonment but remains imprisoned long after this minimum tariff expired due to her disruptive behaviour in prison. A Restricted Status prisoner, she has continued to regularly attack and attempt to kill staff members and fellow inmates and has regularly expressed her desire to kill others.


title: Sharon Carr

text: Carr's case has been noted for being particularly unusual. Whilst female murderers are themselves uncommon, females who kill strangers are even less so, and the case of a 12-year-old girl killing an adult stranger has been described as unique.


title: Sharon Carr

text: Carr was born in Belize in 1981, and was brought up by her mother and stepfather. She was one of four children by three fathers, and grew up in great poverty. She never knew her biological father. After moving to England in 1986, the family settled in Camberley, Surrey. Her parents' marriage ended shortly after this when there was a serious domestic violence incident in which Sharon's mother poured boiling fat over her partner. The incident caused the couple to be hospitalised with burns and Sharon's mother charged with assault.


title: Sharon Carr

text: At school, Sharon was initially described as polite and helpful by teachers. Friends said that she was a sociable girl who preferred the company of older boys, and also said that she occasionally showed flashes of aggression. Later, she became much more badly behaved, becoming disruptive and attention-seeking, and she had problems relating to authority. In 1990, her headteacher at Cordwallis Junior School in Camberley contacted social services over her behaviour. Sharon was briefly put into foster care, but she returned home after only one month away. By the time she started secondary school, her mother had a new partner, who already had two daughters.


title: Sharon Carr

text: On 7 June 1992, Carr randomly stabbed 18-year-old apprentice hairdresser Katie Rackliff to death as she walked home in the early hours from Ragamuffins nightclub in Camberley. In total, Carr stabbed Rackliff, who was a stranger to her, 32 times with a 6 and a half inch knife through her ribs, in her heart and in her vagina and anus. Some of her jewellery was then stolen. Following the attack, Rackliff's body was taken by Carr and some associates and driven to Farnborough, where she was dragged along a road and then dumped by a cemetery wall. The body was found later that morning by a group of boys.


title: Sharon Carr

text: When police investigated the killing, they noted the brutality of the attack. Some of the knife blows that Rackliff had suffered had gone straight through her body. Her sexual organs had been mutilated, and officers found that her clothes had been pulled up, but there was no sign of sexual assault. Due to the nature and severity of the injuries inflicted, and the fact that the attack appeared to be sexually motivated, police believed the attacker to be a fully grown male. In part because of this, the real killer went unidentified and the case went initially unsolved.


title: Sharon Carr

text: With Carr not apprehended, she returned to school, but was excluded twice in early 1994. Two years to the day after Rackliff's murder, on 7 June 1994, Carr attacked 13-year-old fellow pupil Ann-Marie Clifford with a knife for no apparent reason in the toilets at Collingwood College Comprehensive School, Surrey. Clifford was stabbed in the back, which punctured her lung, and she nearly died as a result of her injuries. The attack was only stopped when five students entered the toilets and intervened, which likely saved the victim's life. Clifford said that Carr was smiling and appeared happy during the attack on her.


title: Sharon Carr

text: After arrest, Carr was sent to a medical assessment centre, where she tried to strangle two members of staff. She was charged with two counts of actual bodily harm for this in addition to the charges for her attack on Clifford. She was convicted in December 1994 and sentenced to be detained at Her Majesty's pleasure. She was initially held in various psychiatric units but continued to regularly seriously assault other females, and so was transferred to an all-boys unit at Aycliffe Secure Centre. In September 1995, she was transferred to Bullwood Hall young offenders' institution, where it was thought her aggressive and sexualised behaviour could be better managed.


title: Sharon Carr

text: Soon after her transfer to Bullwood Hall, staff discovered that Carr was talking about the killing of Katie Rackliff to friends and family on the telephone and in her diary. She also admitted to attacking a prison officer who she said she had a 'crush' on, and talked about it to a probation officer. Staff alerted police and they seized her writings and drawings. Her diaries were found to contain detail of her sexual excitement at the thought of Rackliff's death, and she also commented that she felt "jealous" of her victim and remarked about the devil and the forces which motivated her. One passage read "'If only I could kill you again. I promise I would make you suffer more this time, you fucking slag. Your terrified screams turned me on." The sexual element of the killing had previously been indicated by the mutilation on Rackliff's body. Carr had also written "I swear I was born to be a murderer", and in a letter to a friend wrote "I'm a killer. Killing is my business. And business is good." She had also drawn pictures of the knife involved. Detectives questioned her on the murder and she confessed to the killing, admitting that she had repeatedly stabbed Rackliff. She graphically described one particular injury and provided details of which the police had deliberately withheld, meaning that she had knowledge that only the killer would have. She also knew that a bracelet had been stolen from Rackliff, which police had not revealed. Carr helped police film a reconstruction of the murder in which she acted out the murder, and when questioned about the attack repeatedly laughed about the details.


title: Sharon Carr

text: Police found that Carr had a long history of cruelty to animals, having once decapitated a dog with a spade, and concluded that she was probably suffering from a form of psychopathic disorder. Carr continued to write her boasts about the murder even after being questioned by the police, and in January 1996 gave a further series of confessions to prison officers that she had a 'crush' on. On the four-year anniversary of the murder on 7 June 1996, she wrote in her diary: "Respect to Katie Rackliff. Four years ago today."


title: Sharon Carr

text: Carr was charged with the murder of Rackliff in May 1996. On 25 March 1997, after a month-long trial at Winchester Crown Court, Carr was convicted of murder. The jury had deliberated for five hours before reaching a unanimous guilty verdict, choosing to convict her for murder and not manslaughter. The conviction meant that Carr was officially Britain's youngest ever female murderer, having been only 12 at the time of the killing (Mary Bell was infamously convicted at age 11 of killing two boys in 1968, but she was convicted of manslaughter, not murder). When sentencing Carr, Judge Scott Baker remarked: "What is clear is that you had a sexual motive for this killing and it is apparent both from the brutal manner in which you mutilated her body and chilling entries in your diary, that killing, as you put it, turns you on. You are in my view an extremely dangerous young woman." Carr was smiling as she left the dock after the conviction. She received a minimum tariff of 14 years imprisonment after her trial.


title: Sharon Carr

text: Criminal psychologist Gordon Tressler noted the extremely unusual nature of the case, saying: "This is a difficult case to understand. One can find precedents of young children killing other young children, but in this case it was a child killing someone who was almost an adult."


title: Sharon Carr

text: Carr was branded 'The Devil's Daughter' in the press. The media reported extensively on the historical conviction of such a young murderer, highlighting her obsession with death and violence.


title: Sharon Carr

text: Following her murder conviction, Carr was held in HM Prison Holloway, Britain's most notorious prison for women. She was later transferred to Broadmoor Hospital in 1998. Whilst in Broadmoor, she continued to assault staff and other residents, and admitted wanting to kill a fellow inmate by slitting her throat. On occasions, she also began believing that she was a lizard and tried to cut herself to attempt to find out whether she was still human.


title: Sharon Carr

text: In 2004, it was reported that Carr's defence team were challenging her 14-year minimum tariff as well as her conviction, with Carr wanting her murder conviction to be replaced with one of manslaughter on the grounds on diminished responsibility. However, the appeals were dismissed.


title: Sharon Carr

text: In 2007, Carr was moved again to the medium-secure Orchard Unit, but was sent to HM Prison Bronzefield in 2015 as a Restricted Status prisoner as she was presenting a risk to patients and staff. Her warrant stated that she no longer required treatment or that no effective treatment could be given. In December 2018, she was moved to HM Prison Low Newton, but was quickly moved back to Bronzefield after a violent incident with another inmate in August 2019. In the same year, her application for her Restricted Status to be downgraded was denied. She appealed against this decision in 2020, but this was also denied on the grounds that she had yet to provide any significant evidence in a reduction in risk. Category A prison supervisors at Bronzefield reported that Carr was still evidencing incidents of volatile relationships and was continuing to have paranoid thoughts. She had also disclosed the desire to murder another prisoner.


title: Sharon Carr

text: Carr's case has been noted for being particularly unusual. Whilst female murderers are themselves uncommon, females who kill strangers are even more unusual, and the case of a 12-year-old girl killing an adult stranger has been described as unique. Carr remains Britain's youngest female murderer.


title: Sharon Carr

text: In 2005, there was another stabbing incident at Collingwood College, in which a 14-year-old stabbed a fellow pupil. This led to renewed media interest in the school and the Carr case, with allegations being made that there was a culture of problems at Collingwood. However, local MP Michael Gove defended the school. In 2010, Carr's case was again discussed in the press when another British child, 15-year-old Lorraine Thorpe, became Britain's youngest convicted female double murderer. Her case also returned to the news in 2016, when two female children were convicted of the murder of a vulnerable woman named Angela Wrightson, which led to comparisons with Carr's case.


title: Françoise Pascal

text: Françoise Pascal (born 14 October 1949) is a British actress, singer, dancer, fashion model, and producer born in Mauritius to French parents. She appeared in numerous film and television productions in her peak throughout the late 1960s to early 1980s. Film roles include two films with Peter Sellers, "There’s A Girl In My Soup" (1970) and "Soft Beds, Hard Battles" (1973). Her career further advanced with appearances in "Burke & Hare" (1972), "La Rose De Fer" (1973), and "Keep It Up Downstairs" (1976). Her greatest success was on the hit British sitcom "Mind Your Language" as Danielle Favre. She also became established as a sex symbol as Penthouse Pet of the Month for August 1970, and appearing on the first cover of Club International in 1972.


title: Françoise Pascal

text: Pascal was born in Mauritius, then a colony of the United Kingdom, to Marcel and Claire Pascal. She grew up with her parents and four siblings in Mauritius, until age 6 when her family moved to London. She also lived in Paris for some time where she attended La Sorbonne. Her father died when she was 14.


title: Françoise Pascal

text: Represented by Hazel Malone Management, her earliest films were Norman J. Warren's "Loving Feeling" and Pete Walker's "School for Sex" (both 1969), and she also appeared briefly in a scene in the troubled cult horror film "Incense for the Damned" (1970). However her breakthrough role was playing Paola in "There's a Girl in My Soup" (1970) with Peter Sellers. She went on to do the black comedy "Burke & Hare" (1972), playing Marie, and another Sellers film, "Soft Beds, Hard Battles" (1974).


title: Françoise Pascal

text: After that appearance, she moved to France where she starred in such films as "Et si tu n'en Veux Pas" (1974) and "Les Raisins de la Mort" (1978), directed by Jean Rollin. The producer of Rollin's "La Rose de Fer", then gave her the lead in the film but it was not a success. Later she returned to England to appear in "Keep It Up Downstairs" (1976) alongside Diana Dors, Jack Wild and Mary Millington.


title: Françoise Pascal

text: Her first television work came in October 1971 with a role in "Coronation Street", playing Ray Langton's friend. Then came guest starring roles in an episode of "Play of the Month" for the BBC in "Don Quixote" (1973) with Rex Harrison and for ITV's "Sunday Night Theatre" "Giants & Ogres" (1971). She was cast in numerous guest starring appearances in many television comedy series such as "Happy Ever After" (1976) with Terry Scott and June Whitfield, as well as "My Honourable Mrs" (1975) with Derek Nimmo for the BBC. She co-starred in an episode of the thriller "You're on Your Own" starring Denis Quilley, for the BBC.


title: Françoise Pascal

text: She played seductive French au-pair Danielle Favre in the first three series of the ITV sitcom "Mind Your Language" (1977–79); she then took on her stage roles in "Happy Birthday" (reuniting with Frazer Hines), and starring in a pantomime of "Aladdin". Pascal left for the United States in 1980, where she acted in Hollywood with a two-year contract in "The Young and the Restless", "Gavillan", "My Man Adam", "Lightning", "The White Stallion". She returned to England in 1987.


title: Françoise Pascal

text: In 2015, Pascal joined the cast for a new comedy series called "For the Love of Ella". The series also stars Ewen Macintosh, Lucy Drive, Bobby Ball, Alex Reid, Daniel Peacock, Melanie Sykes, Darren Day and Billy Pearce.


title: Françoise Pascal

text: Since work had been scarce as an actress for some years, Pascal has turned her talent to producing her first film "Cold Sun" starring Patrick Bergin and Ian Ogilvy. The film is produced by Pascal's own company MFC Productions Ltd and Pascal Productions Ltd. She is also to make an appearance in the film.


title: Françoise Pascal

text: Pascal made her music debut in August 1968 with the UK release of her promo double single "When It Comes to Love / Got It Badly". Released on SNB Records UK, the ballad-driven songs received good reviews from critics, but failed to make a commercial impact. With her acting career taking off, Pascal pursued acting full time and didn’t return to the music scene for over a decade.


title: Françoise Pascal

text: In 1979, Pascal returned to the music industry with record executives hoping to cash in on her burgeoning success from "Mind Your Language". Signed to RCA Victor UK, she released her biggest music hit to date, "Woman Is Free," as a promo single along with "Symphony Just For Me". Released only in the United Kingdom, "Woman Is Free" achieved modest success and was a bop hit in disco clubs. The popularity of the song continued when it was covered by Grace Kennedy for her debut album "Desires" the following year.


title: Françoise Pascal

text: The moderate success of "Woman Is Free" propelled RCA UK to release Pascal’s next single "I Can’t Get Enough" in 1981. The synth pop/soul inspired song, along with the singles second track "Make Love To Me", failed to find success on the music charts. Subsequently Pascal was dropped from the label without releasing a full length studio album.


title: Françoise Pascal

text: Since 1981, Pascal has remained mostly inactive in the music industry. As of 2020, her catalogue of music is out of print, and physical copies of the vinyl singles are hard to find. Although her music has yet to be remastered and released on music streaming platforms, Pascal does feature her entire collection of songs on her official website.


title: Françoise Pascal

text: On 4 December 2010, she joined Rolling Stones guitarist Ronnie Wood at Claygate Village to turn on the village Christmas lights and singing a solo of Silent Night.


title: Françoise Pascal

text: In December 2012, Pascal took part in the ITV1 programme "Storage Hoarders", in which she sorted and sold at auction some of her more valuable possessions which she had kept in storage for months.


title: Françoise Pascal

text: One of Pascal’s closest friends was British actress, Lynne Frederick. She first became acquainted with Frederick in 1972, when they co-starred on an episode of the television anthology series, "BBC Play of the Month". The two actresses quickly became “firm friends” and frequently saw each other during the height of their careers in the 1970s. Pascal recalled that they regretfully lost contact in 1977 after Frederick married Peter Sellers. Frederick later died in 1994. In April 2020, a few weeks before the 26th anniversary of Frederick’s death, Pascal tweeted a photo of herself and Frederick, with the caption “I think of her very often! Always had that fresh baby face! RIP Lynne! Xxx”.


title: Sweden in the Eurovision Song Contest

text: Sweden has participated in the Eurovision Song Contest 61 times since making its debut in 1958, missing only three contests since then (1964, 1970 and 1976). Since 1959, the Swedish entry has been chosen through an annual televised competition, known since 1967 as Melodifestivalen. At the contest, Sweden was one of the first five countries to adopt televoting. Sweden hosted the contest six times: three times in Stockholm (, , ), twice in Malmö (, ) and once in Gothenburg ().


title: Sweden in the Eurovision Song Contest

text: Sweden is one of the most successful competing participants at the Eurovision Song Contest, with a total of six victories, second only to 's seven wins. Sweden also has the most top five results of the 21st century, with 12; in total, Sweden has achieved 26 top five results in the contest. After finishing second with Lill Lindfors and Svante Thuresson in , Sweden went on to achieve its six victories with ABBA (), Herreys (), Carola (), Charlotte Nilsson (), Loreen () and Måns Zelmerlöw ().


title: Sweden in the Eurovision Song Contest

text: Sweden's first entrant in the contest was Alice Babs in , who was placed fourth. This remained the country's best result until , when Lill Lindfors and Svante Thuresson were second.


title: Sweden in the Eurovision Song Contest

text: Sweden's first Eurovision victory was in with the song "Waterloo", performed by ABBA. Thanks to their victory in Brighton, ABBA went on to gain worldwide success and become one of the best-selling pop groups of all time. In the 1980s, Sweden achieved three successive top three results. After Carola finished third in , the Herreys gave Sweden its second victory in with "Diggi-Loo Diggi-Ley". Kikki Danielsson then finished third in . Carola returned to the contest in , eventually giving Sweden its third win with "Fångad av en stormvind", defeating in a tie-break. Charlotte Nilsson gave the country a second win of the decade in , with "Take Me to Your Heaven". The 1990s also saw two third-place results, for Jan Johansen in and One More Time in . In the 2000s, the best Swedish result was fifth place, which they achieved four times, with Friends in , Fame in , Lena Philipsson in and Carola, who in , became the only Swedish performer to achieve three top five results. Together with Croatia and Malta, Sweden was one of only three countries to have never been relegated under the pre-2004 rules of the contest.


title: Sweden in the Eurovision Song Contest

text: In , Anna Bergendahl became the first Swedish entrant to fail to qualify for the final, finishing 11th in the semi-final, only five points from qualification (in , Charlotte Perrelli finished 12th in the semi-final but qualified through the back-up jury selection). Since then, the country has been very successful, finishing in the top seven in all subsequent editions except two (Robin Stjernberg in and Tusse in , both of whom came 14th). This includes a fifth victory courtesy of Loreen's "Euphoria" in , making Sweden one of only two countries (along with the ) to have Eurovision victories in four different decades, and a sixth victory courtesy of Måns Zelmerlöw's "Heroes" in . Sweden is one of only two countries – along with in and (as well as ) – to win twice since the introduction of the semi-finals in 2004, performing the feat in both 2012 and 2015 with 372 and 365 points respectively, making Sweden additionally the first country to have scored 300 points or more twice. Additional top-five placements during this period are third places in and , a fourth place in , and fifth places in , and .


title: Sweden in the Eurovision Song Contest

text: Melodifestivalen is an annual music competition organised by Swedish public broadcasters Sveriges Television (SVT) and Sveriges Radio (SR). It has chosen the country's representative for the Eurovision Song Contest since 1959. It is one of Sweden's most popular television shows, and it has been estimated that more than 4 million Swedes watch the show annually.


title: Sweden in the Eurovision Song Contest

text: Almost every Swedish entry for Eurovision has been selected through Melodifestivalen. Only Sweden's first entry in 1958 was not selected through Melodifestivalen, having been selected internally by the Swedish broadcaster at the time, Sveriges Radio.


title: Sweden in the Eurovision Song Contest

text: Over the years SVT commentary has been provided by several experienced radio and television presenters, including Jacob Dahlin, Ulf Elfving, Harald Treutiger, Pekka Heino, Kristian Luuk and Fredrik Belfrage. From (except 2013 and 2016), Edward af Sillén provided the SVT commentary alongside various dual commentators.


title: Vulvar cancer

text: Vulvar cancer is a cancer of the vulva, the outer portion of the female genitals. It most commonly affects the labia majora. Less often, the labia minora, clitoris, or vaginal glands are affected. Symptoms include a lump, itchiness, changes in the skin, or bleeding from the vulva.


title: Vulvar cancer

text: Risk factors include vulvar intraepithelial neoplasia (VIN), HPV infection, genital warts, smoking, and many sexual partners. Most vulvar cancers are squamous cell cancers. Other types include adenocarcinoma, melanoma, sarcoma, and basal cell carcinoma. Diagnosis is suspected based on physical examination and confirmed by tissue biopsy. Routine screening is not recommended.


title: Vulvar cancer

text: Prevention may include HPV vaccination. Standard treatments may include surgery, radiation therapy, chemotherapy, and biologic therapy. Vulvar cancer newly affected about 44,200 people and resulted in 15,200 deaths globally in 2018. In the United States, it newly occurred in about 6,070 people with 1,280 deaths a year. Onset is typically after the age of 45. The five-year survival rate for vulvar cancer is around 71% as of 2015. Outcomes, however, are affected by whether spread has occurred to lymph nodes.


title: Vulvar cancer

text: Typically, a lesion presents in the form of a lump or ulcer on the labia majora and may be associated with itching, irritation, local bleeding or discharge, in addition to pain with urination or pain during sexual intercourse. The labia minora, clitoris, perineum and mons are less commonly involved. Due to modesty or embarrassment, people may put off seeing a doctor.


title: Vulvar cancer

text: Melanomas tend to display the typical asymmetry, uneven borders and dark discoloration as do melanomas in other parts of the body.


title: Vulvar cancer

text: Two main pathophysiological pathways are currently understood to contribute to development of vulvar cancer—human papillomavirus (HPV) infection and chronic inflammation or autoimmunity affecting the vulvar area.


title: Vulvar cancer

text: HPV DNA can be found in up to 87% of vulvar intraepithelial neoplasia (VIN) and 29% of invasive vulvar cancers; HPV 16 is the most commonly detected subtype in VIN and vulvar cancer, followed by HPV 33 and HPV 18. VIN is a superficial lesion of the skin that has not invaded the basement membrane—or a pre-cancer. VIN may progress to carcinoma in situ and, eventually, squamous cell cancer.


title: Vulvar cancer

text: Chronic inflammatory conditions of the vulva that may be precursors to vulvar cancer include lichen sclerosus, which can predispose to differentiated VIN.


title: Vulvar cancer

text: Risk factors for vulvar cancer are largely related to the causal pathways above, involving exposure or infection with the HPV virus and/or acquired or innate auto-immunity.


title: Vulvar cancer

text: Examination of the vulva is part of the gynecologic evaluation and should include a thorough inspection of the perineum, including areas around the clitoris and urethra, and palpation of the Bartholin's glands.


title: Vulvar cancer

text: The exam may reveal an ulceration, lump or mass in the vulvar region. Any suspicious lesions need to be sampled, or biopsied. This can generally be done in an office setting under local anesthesia. Small lesions can be removed under local anesthesia as well.


title: Vulvar cancer

text: Additional evaluation may include a chest X-ray, an intravenous pyelogram, cystoscopy or proctoscopy, as well as blood counts and metabolic assessment.


title: Vulvar cancer

text: Depending on the cellular origin, different histologic cancer subtypes may arise in vulvar structures.


title: Vulvar cancer

text: A recent analysis of the Surveillance, Epidemiology and End Results (SEER) registry of the US National Cancer Institute has shown that squamous cell carcinoma accounts for approximately 75% of all vulvar cancers. These lesions originate from epidermal squamous cells, the most common type of skin cell. Carcinoma-in-situ is a precursor lesion of squamous cell cancer that does not invade through the basement membrane. There are two types of precursor lesions:


title: Vulvar cancer

text: Squamous lesions tend to arise in a single site and occur most commonly in the vestibule. They grow by local extension and spread via the local lymph system. The lymphatics of the labia drain to the upper vulva and mons pubis, then to both superficial and deep inguinal and femoral lymph nodes. The last deep femoral node is called the Cloquet's node. Spread beyond this node reaches the lymph nodes of the pelvis. The tumor may also invade nearby organs such as the vagina, urethra, and rectum and spread via their lymphatics.


title: Vulvar cancer

text: A verrucous carcinoma of the vulva is a rare subtype of squamous cell cancer and tends to appear as a slowly growing wart. Verrucous vulvar cancers tend to have a good overall prognosis, as these lesions hardly ever spread to regional lymph nodes or metastasize.


title: Vulvar cancer

text: Basal cell carcinoma account for approximately 8% of all vulvar cancers. It typically affects women in the 7th and 8th decade of life. These tend to be slow-growing lesions on the labia majora but can occur anywhere on the vulva. Their behavior is similar to basal cell cancers in other locations. They often grow locally and have low risk for deep invasion or metastasis.


title: Vulvar cancer

text: Treatment involves local excision, but these lesions have a tendency to recur if not completely removed.


title: Vulvar cancer

text: Melanoma is the third most common type and accounts for 6% of all vulvar cancers. These lesions arise from melanocytes, the cells that give skin color. The median age at diagnosis is 68 years; however, an analysis of the Surveillance, Epidemiology and End Results (SEER) registry of the US National Cancer Institute has shown that it has been diagnosed in girls as young as 10 years and women up to 107 years.


title: Vulvar cancer

text: The underlying biology of vulvar melanoma differs significantly from skin melanomas and mutational analyses have shown only 8% harbor a BRAF mutation compared to 70% of skin melanomas. KIT mutations, however are significantly more common in vulvar melanoma. This has a direct impact on the medical treatment of vulvar melanomas: BRAF-inhibitors that are commonly used in the treatment of skin melanomas, play a minor role in vulvar melanomas. However, vulvar melanomas frequently express PD-L1 and checkpoint inhibitors (including CTLA-4 inhibitors and PD-1 inhibitors) are effective in the treatment of advanced-stage vulvar melanoma. In recurrent melanoma, tyrosine kinase inhibitors may be used in those patients with a KIT mutation.


title: Vulvar cancer

text: Based on histology, there are different subtypes of vulvar melanoma: superficial spreading, nodular, acral lentigous and amelanotic melanoma. Vulvar melanomas are unique in that they are staged using the AJCC cancer staging for melanoma instead of the FIGO staging system.


title: Vulvar cancer

text: Diagnosis of vulvar melanoma is often delayed and approximately 32% of women already have regional lymph node involvement or distant metastases at the time of diagnosis. Lymph node metastases and high mitotic count are indicators of poor outcome. The overall prognosis is poor and significantly worse than in skin melanomas: The median overall survival is 53 months.


title: Vulvar cancer

text: Other forms of vulvar cancer include invasive Extramammary Paget's disease, adenocarcinoma (of the Bartholin glands, for example) and sarcoma.


title: Vulvar cancer

text: Anatomical staging supplemented preclinical staging starting in 1988. FIGO's revised TNM classification system uses tumor size (T), lymph node involvement (N) and presence or absence of metastasis (M) as criteria for staging. Stages I and II describe the early stages of vulvar cancer that still appear to be confined to the site of origin. Stage III cancers include greater disease extension to neighboring tissues and inguinal lymph nodes on one side. Stage IV indicates metastatic disease to inguinal nodes on both sides or distant metastases.


title: Vulvar cancer

text: Other cancerous lesions in the differential diagnosis include Paget's disease of the vulva and vulvar intraepithelial neoplasia (VIN). Non-cancerous vulvar diseases include lichen sclerosus, squamous cell hyperplasia, and vulvar vestibulitis. A number of diseases cause infectious lesions including herpes genitalis, human papillomavirus, syphilis, chancroid, granuloma inguinale, and lymphogranuloma venereum.


title: Vulvar cancer

text: Surgery is a mainstay of therapy depending on anatomical staging and is usually reserved for cancers that have not spread beyond the vulva. Surgery may involve a wide local excision (excision of the tumor with a safety-margin of healthy tissue, that ensures complete removal of the tumor), radical partial vulvectomy, or radical complete vulvectomy with removal of vulvar tissue, inguinal and femoral lymph nodes. In cases of early vulvar cancer, the surgery may be less extensive and consist of wide excision or a simple vulvectomy. Surgery is significantly more extensive when the cancer has spread to nearby organs such as the urethra, vagina, or rectum. Complications of surgery include wound infection, sexual dysfunction, edema and thrombosis, as well as lymphedema secondary to dissected lymph nodes.


title: Vulvar cancer

text: Sentinel lymph node (SLN) dissection is the identification of the main lymph node(s) draining the tumor, with the aim of removing as few nodes as possible, decreasing the risk of adverse effects. Location of the sentinel node(s) may require the use of technetium(99m)-labeled nano-colloid, or a combination of technetium and 1% isosulfan blue dye, wherein the combination may reduce the number of women with "'missed"' groin node metastases compared with technetium only.


title: Vulvar cancer

text: Radiation therapy may be used in more advanced vulvar cancer cases when disease has spread to the lymph nodes and/or pelvis. It may be performed before or after surgery. In early vulvar cancer, primary radiotherapy to the groin results in less morbidity but may be linked with a higher risk of groin recurrence and reduced survival compared to surgery. Chemotherapy is not usually used as primary treatment but may be used in advanced cases with spread to the bones, liver or lungs. It may also be given at a lower dose together with radiation therapy. Checkpoint inhibitors may be given in melanoma of the vulva.


title: Vulvar cancer

text: There is no significant difference in overall survival or treatment‐related adverse effects in women with locally advanced vulval cancer when comparing primary chemoradiation or neoadjuvant chemoradiation with primary surgery. There is a need for good quality studies comparing various primary treatments.


title: Vulvar cancer

text: Women with vulvar cancer should have routine follow-up and exams with their oncologist, often every three months for the first 2–3 years after treatment. They should not have routine surveillance imaging to monitor the cancer unless new symptoms appear or tumor markers begin rising. Imaging without these indications is discouraged because it is unlikely to detect a recurrence or improve survival and is associated with its own side effects and financial costs.


title: Vulvar cancer

text: Overall, five-year survival rates for vulvar cancer are around 78% but may be affected by individual factors including cancer stage, cancer type, patient age and general medical health. Five-year survival is greater than 90% for patients with stage I lesions but decreases to 20% when pelvic lymph nodes are involved. Lymph node involvement is the most important predictor of prognosis.


title: Vulvar cancer

text: Prognosis depends on the stage of cancer, which refers the amount and spread of cancer in the body. The stages are broken into four categories. Stage one also called "localized" and is when the cancer is limited to one part of the body. This has the highest survival rate of 59%. When the cancer starts to spread this is referred to "distant" or "regional", this stage usually involves the cancer being spread to the lymph nodes. This survival rate is 29%. The third stage is when the cancer has metastasized and spread throughout the body, this is the lowest survival rate of 6%. When vulvar cancer is caught early that is when the survival rate is at its highest.


title: Vulvar cancer

text: Vulvar cancer can be split up into two types. One starts as an infection by human papillomavirus, which leads to vulvar intraepithelial neoplasia (VIN) and potentially on to vulvar cancer. This is most common in younger women, predominantly under the age of 40. The second type is vulvar non-neoplastic epithelial disorders (VNED). This is most common in older women, due to the increased risk for developing cellular atypia which in turn leads to cancer.


title: Vulvar cancer

text: Vulvar cancer causes less than 1% of all cancer cases and deaths but around 6% of all gynecologic cancers diagnosed in the UK. Around 1,200 women were diagnosed with the disease in 2011, and 400 women died in 2012. In the United Kingdom 7 out of 10 vulval cancer patients have major surgical resection as part of their cancer treatment. 22% of patients use radiotherapy and only 7% use chemotherapy as a treatment plan. There are very high survival rates, patients diagnosed with vulvar cancer have an 82% of living more than one year, a 64% chance of living at least 5 years and a 53% chance of living ten or more years. The rate of survival increases dependent on age of patient and the stage the cancer was found in.


title: Vulvar cancer

text: In the United States, it newly occurred in about 6,070 people with 1,280 deaths a year. It makes up about 0.3% of new cancer cases, and 5% of gynecologic cancers in the United States. Vulvar cancer cases have been rising in the United States at an increase of 0.6% each year for the past ten years.


title: London Beer Flood

text: The London Beer Flood was an accident at Meux & Co's Horse Shoe Brewery, London, on 17 October 1814. It took place when one of the wooden vats of fermenting porter burst. The escaping liquid dislodged the valve of another vessel and destroyed several large barrels: between 128,000 and 323,000 imperial gallons (580,000–1,470,000 L; 154,000–388,000 US gal) of beer were released in total.


title: London Beer Flood

text: The resulting wave of porter destroyed the back wall of the brewery and swept into an area of slum dwellings known as the St Giles rookery. Eight people were killed, five of them mourners at the wake being held by an Irish family for a two-year-old boy. The coroner's inquest returned a verdict that the eight had lost their lives "casually, accidentally and by misfortune". The brewery was nearly bankrupted by the event; it avoided collapse after a rebate from HM Excise on the lost beer. The brewing industry gradually stopped using large wooden vats after the accident. The brewery moved in 1921, and the Dominion Theatre is now where the brewery used to stand. Meux & Co went into liquidation in 1961.


title: London Beer Flood

text: In the early nineteenth century the Meux Brewery was one of the two largest in London, along with Whitbread. In 1809 Sir Henry Meux purchased the Horse Shoe Brewery, at the junction of Tottenham Court Road and Oxford Street. Meux's father, Sir Richard Meux, had previously co-owned the Griffin Brewery in Liquor-Pond Street (now Clerkenwell Road), in which he had constructed the largest vat in London, capable of holding 20,000 imperial barrels.


title: London Beer Flood

text: Henry Meux emulated his father's large vat, and constructed a wooden vessel tall and capable of holding 18,000 imperial barrels. of iron hoops were used to strengthen the vat. Meux brewed only porter, a dark beer that was first brewed in London and was the most popular alcoholic drink in the capital. Meux & Co brewed 102,493 imperial barrels in the twelve months up to July 1812. Porter was left in the large vessels to mature for several months, or up to a year for the best quality versions.


title: London Beer Flood

text: At the rear of the brewery ran New Street, a small cul-de-sac that joined on to Dyott Street; this was within the St Giles rookery. The rookery, which covered an area of , "was a perpetually decaying slum seemingly always on the verge of social and economic collapse", according to Richard Kirkland, the professor of Irish literature. Thomas Beames, the preacher of Westminster St James, and author of the 1852 work "The Rookeries of London: Past, Present and Prospective", described the St Giles rookery as "a rendezvous of the scum of society"; the area had been the inspiration for William Hogarth's 1751 print "Gin Lane".


title: London Beer Flood

text: At around 4:30 in the afternoon of 17 October 1814, George Crick, Meux's storehouse clerk, saw that one of the iron bands around a vat had slipped. The tall vessel was filled to within of the top with 3,555 imperial barrels of ten-month-old porter. As the bands slipped off the vats two or three times a year, Crick was unconcerned. He told his supervisor about the problem, but was told "that no harm whatever would ensue". Crick was told to write a note to Mr Young, one of the partners of the brewery, to have it fixed later.


title: London Beer Flood

text: An hour after the hoop fell off, Crick was standing on a platform from the vat, holding the note to Mr Young, when the vessel, with no indication, burst. The force of the liquid's release knocked the stopcock from a neighbouring vat, which also began discharging its contents; several hogsheads of porter were destroyed, and their contents added to the flood. Between 128,000 and 323,000 imperial gallons were released. The force of the liquid destroyed the rear wall of the brewery; it was high and two and a half bricks thick. Some of the bricks from the back wall were knocked upwards, and fell onto the roofs of the houses in the nearby Great Russell Street.


title: London Beer Flood

text: A wave of porter some high swept into New Street, where it destroyed two houses and badly damaged two others. In one of the houses a four-year-old girl, Hannah Bamfield, was having tea with her mother and another child. The wave of beer swept the mother and the second child into the street; Hannah was killed. In the second destroyed house, a wake was being held by an Irish family for a two-year-old boy; Anne Saville, the boy's mother, and four other mourners (Mary Mulvey and her three-year-old son, Elizabeth Smith and Catherine Butler) were killed. Eleanor Cooper, a 14-year-old servant of the publican of the Tavistock Arms in Great Russell Street, died when she was buried under the brewery's collapsed wall while washing pots in the pub's yard. Another child, Sarah Bates, was found dead in another house in New Street. The land around the building was low-lying and flat. With insufficient drainage, the beer flowed into cellars, many of which were inhabited, and people were forced to climb on furniture to avoid drowning.


title: London Beer Flood

text: All those in the brewery survived, although three workmen had to be rescued from the rubble; the superintendent and one of the workers were taken to Middlesex Hospital, along with three others.


title: London Beer Flood

text: Stories later arose of hundreds of people collecting the beer, mass drunkenness and a death from alcohol poisoning a few days later. The brewing historian Martyn Cornell states that newspapers of the time made no reference to the revelry, or of the later death; instead, the newspapers reported that the crowds were well-behaved. Cornell points out that the popular press of the time did not like the immigrant Irish population that lived in St Giles, so if there had been any misbehaviour, it would have been reported.


title: London Beer Flood

text: The area surrounding the rear of the brewery showed a "scene of desolation [that] presents a most awful and terrific appearance, equal to that which fire or earthquake may be supposed to occasion". Watchmen at the brewery charged people to view the remains of the destroyed beer vats, and several hundred spectators came to view the scene. The mourners killed in the cellar were given their own wake at The Ship public house in Bainbridge Street. The other bodies were laid out in a nearby yard by their families; the public came to see them and donated money for their funerals. Collections were taken up more widely for the families.


title: London Beer Flood

text: The coroner's inquest was held at the Workhouse of the St Giles parish on 19 October 1814; George Hodgson, the coroner for Middlesex, oversaw proceedings. The details of the victims were read out as:


title: London Beer Flood

text: Hodgson took the jurors to the scene of the events, and they viewed the brewery and bodies before evidence was taken from witnesses. The first witness was George Crick, who had seen the event happen in full; his brother was one of the men who had been injured at the brewery. Crick said that hoops on the vats failed three or four times a year, but without any previous problems. Accounts were also heard from Richard Hawse—the landlord of the Tavistock Arms, whose barmaid had been killed in the accident—and several others. The jury returned a verdict that the eight had lost their lives "casually, accidentally and by misfortune".


title: London Beer Flood

text: As the coroner's inquest reached a verdict of an act of God, Meux & Co did not have to pay compensation. Nevertheless, the disaster—the lost porter, the damage to the buildings and the replacement of the vat—cost the company £23,000. After a private petition to Parliament they recovered about £7,250 from HM Excise, saving them from bankruptcy.


title: London Beer Flood

text: The Horse Shoe Brewery went back into business soon afterwards, but closed in 1921 when Meux moved their production to the Nine Elms brewery in Wandsworth, which they had purchased in 1914. At the time of its closure the site covered . The brewery was demolished the following year and the Dominion Theatre was later built on the site. Meux & Co went into liquidation in 1961. As a result of the accident, large wooden tanks were phased out across the brewing industry and replaced with lined concrete vessels.


title: Richard Chaves

text: Chaves helped write the critically acclaimed stage drama "Tracers". In the early 1980s, he began work as an actor taking on various soap opera roles until he gained a role in 1987 as Poncho in the science fiction film "Predator". Soon afterward, his career received another boost with the role of Lt. Colonel Ironhorse in the television series "War of the Worlds". Chaves once calculated that the volume of fan mail he received outnumbered the rest of the cast members by a four or five to one ratio.


title: Richard Chaves

text: However, his career hit a bump when "War of the Worlds" was given new creative management for its second season. The new executives did not think that the Ironhorse character worked with the format they wanted for the show, so his character and that of Norton Drake were killed off.


title: Richard Chaves

text: His most recent acting appearances were in the films "Lost Warrior: Left Behind", "Dark House" and "Beyond the Game".


title: Richard Chaves

text: In the late 1990s, Chaves became the target of a stalker. To protect himself, his family and friends, he followed the advice of police by refraining from attending conventions and closing his official website.


title: Richard Chaves

text: Chaves has made few public appearances over the years since being stalked. He appeared at the Las Vegas Comic-Con in October 2003; in late 2006 he was photographed with Frances Fisher at the premiere of "Flags of our Fathers"; he was a guest at the Chicagoland Entertainment Collectors Expo in October 2007; he appeared at the Gallifrey One convention in February 2007, and was scheduled to attend again in February 2008. In June 2009 he was present as a guest star at "Collectormania", a film and comic convention which was hosted at the Stadium MK in Milton Keynes, UK.


title: American Beauty/American Psycho

text: American Beauty/American Psycho (sometimes abbreviated as AB/AP) is the sixth studio album by American rock band Fall Out Boy, released on January 16, 2015 through Island Records as the follow-up to the band's comeback album "Save Rock and Roll" (2013). The band wrote music while on tour with Paramore mid-2014 and it developed into a new album.


title: American Beauty/American Psycho

text: The album's release was preceded by the 4× Platinum top 10 lead single "Centuries", released September 9, 2014 while the album was still being completed. The album's title track was released as the second single in the UK on December 15, 2014, receiving a radio premiere a month before on November 24, 2014. "American Beauty/American Psycho" debuted at No. 1 on the US "Billboard" 200 album chart, with 218,000 album-equivalent units in its first week alone and becoming the band's third No. 1 album, later being certified gold in the UK and Canada. On March 1, 2016, the album was certified platinum in the US for 1 million units.


title: American Beauty/American Psycho

text: In support of the record, Fall Out Boy played at Soundwave in Australia, made TV appearances, and have embarked on three concert tours: the American Beauty/American Psycho Tour, the Boys of Zummer Tour, and the Wintour. On October 30, a remix album entitled "Make America Psycho Again" was released with a different rapper on each song, which drew in over 13,000 equivalent copies in its debut week.


title: American Beauty/American Psycho

text: Fall Out Boy began writing for their sixth studio album in the summer of 2014 while still promoting their previous release "Save Rock and Roll" (2013) on the Monumentour concert tour with fellow American band Paramore. Recording began soon after, with the track "Centuries" being the first of the songs to be written and recorded. By late November, all the songs were written and the album was 80% complete but still needed finishing. While making their previous album, the band was just beginning to realise that music recording methods have differed since their hiatus, but have fully embraced the changes for recording "American Beauty/American Psycho". Producer Jake Sinclair made the band realise that parts recorded as demos on laptops are able to make it to the final product.


title: American Beauty/American Psycho

text: Since the release of "Centuries", the band stated that the album could be released as early as "early 2015". Regarding its sound, bassist Pete Wentz described the new material as "David versus Goliath", as Wentz stated: "[Brian Hiatt] tweeted[,] "[The] problem with modern rock is it [isn't modern,]" something [I] and we had been feeling in general. [Rock] should not be relegated to a quaint little corner of Guitar Center for dads to find. [In] reaching out to SebastiAn we wanted to make something that was a throwback instead futuristic." According to Patrick Stump, "All I can say is, some people will love it. Some people will hate it. The four of us like it a lot, so we're happy".


title: American Beauty/American Psycho

text: The album's sound has been described as pop, pop punk, and pop rock. The band felt influences from playing with different artists and expanded on boundaries further than "Save Rock and Roll" did. Stump's goal was to make a more stylistically cohesive album than "Save Rock and Roll", "where you pick any track and it sounds like it's from the same album". He wanted an album that "understood what it was the whole time". Meanwhile, Wentz was focused on making rock music relevant to pop culture (and thus requiring radio play) that could also be played in big venues; maintaining their legacy as a "big currently relevant rock band." Wentz said, "Rock 'n' roll is this progressive idea, [with] room to be dangerous and futuristic. To think it's this idea that has to be set in stone is just, like, making it not only not dangerous but this quaint little thing. It's not what it is to me. To fence yourself into this little area and chain yourself to the doghouse has never been what I thought rock music was." Guitarist Joe Trohman said of the album, "Musically, it has hip hop grooves with guitars on it," with "more in your face guitar than "Save Rock and Roll"". In an industry increasingly focused on singles, Stump still regards the music album as an important form of art—"I put a ton of thought into this new record, making sure it was an experience where the running order matters and the keys and tempo and everything. It all matters to me because records still matter to me."


title: American Beauty/American Psycho

text: "Centuries" contains a sample of the song "Tom's Diner" by Suzanne Vega re-recorded by American singer Lolo for the track, which Stump described as "a tip of the hat" to, as the band wanted to "re-inject" it into pop culture. The song "American Beauty/American Psycho" samples Mötley Crüe's song "Too Fast for Love". Annie Zaleski of "Alternative Press" described it as a "mix of fluid grooves, punky riffs and outré pop sensibilities." The title track is Patrick Stump's favorite track from the album; he stated, "It's the right level of artistically interesting, but also just fun." The track "Uma Thurman" is named after the American actress, and samples "The Munsters"'s theme song. Thurman heard the song and allowed the band to legally use her name. "Irresistible" is an "arena-rocking" horn-driven song about deadly love, with lyricist Pete Wentz drawing inspiration from the fatal attraction between Sex Pistols bassist Sid Vicious and Nancy Spungen. The track "Fourth of July" includes a heavy sample of the song "Lost It To Trying" by Son Lux from the 2013 album "Lanterns". "Twin Skeleton's (Hotel in NYC)" contains a psychedelic bridge.


title: American Beauty/American Psycho

text: As the band's primary lyricist, Wentz felt that he had "more perspective" on his personal life to write more about it. "The idea behind some of the songs is addressing modern love or what's going on with my head and my life [more] than "Save Rock and Roll" did. I think "Save Rock and Roll" was a little more broader when it came to that." "Centuries" was written with the aim to inspire. Some topical issues including the 2014 Ferguson unrest are addressed. Wentz stated, "as an artist that has a platform, there's certain things that if you believe, you should say." However, he restated that Fall Out Boy is not a political band.


title: American Beauty/American Psycho

text: The "American Beauty" half of the album's title comes from the album by the Grateful Dead and the 1999 film. The "American Psycho" half references the book by Bret Easton Ellis and the subsequent 2000 film. The album artwork features a teenage boy (Jake Karlen) with stars and stripes painted on half of his face, standing in front of a white house. Karlen auditioned to model for the cover; the photoshoot took place in Los Angeles. Karlen said, " They wanted to see something very dark and angry, very angry. I think I pulled it off. I think I did pretty good."


title: American Beauty/American Psycho

text: On November 24, 2014, the band announced the album's title and release details for January 20, 2015. They next played it on "The Ellen DeGeneres Show" with Suzanne Vega as a special guest on October 29, 2014. The band performed "Centuries" on "The Voice"s season finale with contestant Matt McAndrew in December 2014. The band also performed "Centuries" at the People's Choice Awards on January 7, 2015, which "Billboard" called the "most memorable" performance of the night. To begin their album release week television blitz, the band played "Centuries" on the morning "The Today Show" and again on the late night talk show "The Tonight Show Starring Jimmy Fallon" on 21 January. A guest appearance on the morning talk show "Live! with Kelly and Michael" was televised on January 23. On January 25, 2015 the band performed at the National Hockey League All-Star Game exhibition event. A performance for troops at Luke Air Force Base as a pre-Super Bowl event was set for January 30 to air live on VH1. Fall Out Boy starred in a Pepsi TV ad which aired during the 57th Grammy Awards, performing "Uma Thurman" in record-pressing plant. Fall Out Boy performed "Centuries" and "My Songs Know What You Did in the Dark (Light Em Up)" on CBS's "The Talk" on March 12 and it aired in Australia on March 29. In early April the band performed "Immortals" on Japanese TV show "Sukkiri!!" (" スッキリ!!"). Fall Out Boy will be the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and will also perform. They had won the Streaming Woodie award for "Grand Theft Autumn" at the first ceremony in 2004.


title: American Beauty/American Psycho

text: The band played several shows in support of the record, such as at the Soundwave in Australia and a headlining performance in a stadium at RodeoHouston. Moreover, the band planned a world tour, consisting of more than 50 dates across North America and Europe. The American leg will be co-headlining with American rapper Wiz Khalifa under the name The Boys of Zummer. The second American leg of the tour was announced October 2015, for Wintour. It began February 25th 2016, in Puerto Rico and ended on March 27 in San Francisco, California. Wintour was co-headlined with PVRIS and AWOLNATION, with a few other special guests during different dates.


title: American Beauty/American Psycho

text: The American Beauty / American Psycho touring cycle ended August 28, 2016 at the Reading and Leeds Festival. The show had a special clip of an upcoming short film called 'Bloom'. The show was performed with pyromaniacs and acrobatics.


title: American Beauty/American Psycho

text: "Centuries" was released as the album's lead single on September 8, 2014 and peaked at No. 10 on the Billboard Hot 100 chart in its 20th week. It reached No. 13 on Mainstream Top 40 and No. 4 on Alternative Songs as a crossover success. A gladiator-style music video directed by Syndrome was later released on October 14, 2014 and features a cameo from American rapper Rick Ross.


title: American Beauty/American Psycho

text: The title track premiered on BBC Radio 1 on November 24, 2014 and released a month later on December 15, 2014 as the album's second UK single. Its music video also premiered the same day.


title: American Beauty/American Psycho

text: "Uma Thurman" was released to United States modern rock radio as the album's third single week ending February 10, 2015. On January 12, it was released for digital download as the third promotional song and overall the fifth preceding "American Beauty/American Psycho", and reached the top position on iTunes. "Irresistible" was released as the third UK single, and its music video was released on February 19, 2015.


title: American Beauty/American Psycho

text: "Immortals" was released on October 14, 2014 and is featured in the 2014 Walt Disney Animation Studios film "Big Hero 6". Disney asked the band to write and perform the song for the film's sequence in which the Big Hero 6 team is transformed from a group of super smart individuals to a band of high-tech heroes. An alternative version is featured on the album.


title: American Beauty/American Psycho

text: As part of a pre-order deal on iTunes, the song "The Kids Aren't Alright" was additionally released as a promotional single on December 15, 2014. The full album track listing and artwork was also revealed with the preorder. Two additional digital songs were announced for January 5 and January 12 respectively. The first, "Irresistible", immediately debuted at No. 1 on iTunes. It has been described as a "booming, brass-backed anthem."


title: American Beauty/American Psycho

text: On January 13, 2015, all the unreleased songs from the album were streamed onto the band's Vevo channel.


title: American Beauty/American Psycho

text: "American Beauty/American Psycho" debuted at No. 1 on the US "Billboard" 200 with 192,000 first week sales and 218,000 equivalent album units. It became Fall Out Boy's third No. 1 album and second highest sales week behind "Infinity on High"'s 260,000 debut. 204,000 individual song sales and almost 9 million streams made up "AB/AP"s 26,000 non-album equivalent units.


title: American Beauty/American Psycho

text: A week before the album's release, forecasters predicted that it would sell 150,000 copies in its opening week, before being upgraded to 175,000-200,000 days later due to estimates that the album would strongly reach 100,000 digital preorders at the time of release. After 1.5 days of sales, "Billboard" predicted that first week album sales could reach 190,000, with over 220,000 in equivalent album units. In its second week, it fell to No. 6 with 55,000 equivalent album units, a 75% decline. It dropped to No. 13 in its third week and has spent twenty-four weeks in the top 20. The album was certified Gold by the RIAA on September 18, 2015, and Platinum on February 24, 2016. As of October 2015, the album has sold 572,000 copies in the US.


title: American Beauty/American Psycho

text: In Canada, "American Beauty/American Psycho" also debuted at No. 1 with 14,000 first week sales, becoming the band's second Canadian No. 1 and fourth Canadian top 10. On March 24, 2015, it was certified Gold in Canada for 40,000 shipments. The album debuted at No. 4 on the Official New Zealand Music Chart. In Australia, it debuted at No. 3 behind Mark Ronson, whose "Uptown Special" debuted at No. 2, while Taylor Swift's "1989" reigned at No. 1. The record became the band's fourth consecutive top 10 in Australia. "American Beauty/American Psycho" was also in a close sales race to the top position against Mark Ronson on the UK Albums Chart and led by 1500 copies mid-week, but fell short by the end of the tracking week to debut at No. 2 with 31,497 first week sales (1883 units behind No. 1). However, it made No. 1 on the UK Albums Download Chart. On June 8, 2015, it was certified Gold by the British Phonographic Industry for 100,000 copies shipped. The album saw a No. 6 debut in Ireland.


title: American Beauty/American Psycho

text: "American Beauty/American Psycho" received mostly positive reviews upon its release. The aggregate review site Metacritic gave the album a 72 out of 100 based on 15 reviews. Kyle Anderson of "Entertainment Weekly" gave it an A, commending the band for being able to make "big-venue sing-alongs that also reward deep headphone analysis." He appreciated the tracks "Favorite Record" and "Fourth of July," stating that they are "thrillingly layered." Evan Lucy of "Alternative Press" gave the album 4 stars out of 5, mentioning the heavy sampling in some of the album's songs: "The more interesting aspect of "American Beauty/American Psycho" is the band's newfound emphasis on samples," calling the band as a whole "newly reinvented." He went on to praise Stump's vocals, Wentz's lyrics, and stated that "Fall Out Boy are currently producing some of the most interesting music of their career." Caroline Sullivan of "The Guardian" gave an equally positive review, awarding the album 4 stars out of 5. She praised the band's "nervy ambition" on the album and called it "one of their better releases."


title: American Beauty/American Psycho

text: Annie Zaleski of "The A.V. Club" also gave the album a positive review. She wrote that "American Beauty/American Psycho's playful musical vibe masks lyrics plagued by flashbulb memories of failed relationships and ill-fated romantic dalliances. Thankfully, there's no self-pity in sight on these songs, only heightened self-awareness." The "Los Angeles Times" was also highly positive while commenting negatively on the second half of the album. "The result, at least for the first half, is almost comically exciting, one fist-pump adrenaline rush after another...Alas, Stump and his bandmates run out of steam by the end of American Beauty/American Psycho." "AllMusic" was also fairly positive. "Fall Out Boy have taken great efforts to incorporate whatever was happening on the charts, an inclination that isn't quite as necessary in the great digital disassociation of the 2010s, yet this inclination does give American Beauty/American Psycho a bit of a kinetic kick." "Uma Thurman" has often been identified as the centrepiece of the album.


title: American Beauty/American Psycho

text: On the other hand, Collin Brennan of Consequence of Sound gave a more mixed review. He felt that the album lacked direction, stating that "Fall Out Boy loses its way more often than not in its latest stab at rock radio dominance." He furthermore opined that the songwriting was lacking as a result of the album's heavy use of samples. Caryn Ganz of "Rolling Stone" also gave a mixed review. "Joe Trohman and drummer Andy Hurley's most virtuosic playing is buried under blaring production, reducing what might be Metallica-heavy riffage into background buzz." However, the reviewer had some positive comments as well: "When everything connects – like on the single "Centuries" – FOB are a glorious nexus of Seventies glitter rock, Eighties radio pop, Nineties R&B and Aughts electro stomp." The album was ranked at number 5 in "Alternative Press"s "10 Essential Records of 2015" list. Cassie Whitt of "Alternative Press" wrote that the band pushed their fan base with "rock songs structured like hip-hop tracks". The album was ranked at number 26 on AbsolutePunk's top albums of 2015 list.


title: American Beauty/American Psycho

text: On January 13, 2015, Fall Out Boy streamed the album on their website and YouTube channel after the album was leaked online fifteen days early.


title: How We Roll (TV series)

text: How We Roll is an American sitcom that premiered on March 31, 2022 and ended on May 19, 2022 on CBS. The series is inspired by the life of professional bowler Tom Smallwood. In May 2022, the series was canceled after one season.


title: How We Roll (TV series)

text: A 35-year old Midwestern husband and father gets laid off from his auto plant job, and makes the bold decision to provide for his family by following his dream of becoming a professional bowler.


title: How We Roll (TV series)

text: On March 1, 2021, a sitcom titled "The Tom Smallwood Project" was given a pilot order with Mark Gross writing the pilot. In May 2021, the sitcom titled "Smallwood" was given a series order with Mark Cendrowski directing the pilot, and was scheduled for a mid-season premiere in the 2021–22 television season. On November 24, 2021, it was announced that the series title had been changed to "How We Roll" with an 11-episode count. On May 12, 2022, CBS canceled the series after one season.


title: How We Roll (TV series)

text: On March 29, 2021, Pete Holmes was cast as the lead role for the pilot. In April 2021, Chi McBride and Katie Lowes were cast in main roles for the pilot. On November 1, 2021, Julie White was cast in a main role for the pilot. On December 10, 2021, Mason Wells was cast in a main role. On December 17, 2021, Tahj Mowry, Rondi Reed, Judy Kain, Amanda Perez and Matt McCarthy were cast in recurring roles.


title: How We Roll (TV series)

text: On review aggregator website Rotten Tomatoes, the series holds a 67% approval rating based on 6 critic reviews, with an average rating of 6.8/10. On Metacritic, the series has a score of 57 out of 100, based on 5 critics, indicating "mixed or average reviews".


title: Zero waste

text: Zero waste is a set of principles focused on waste prevention that encourages redesigning resource life cycles so that all products are reused. The goal of this movement is to avoid sending trash to landfills, incinerators, or the ocean. Currently, only 9% of global plastic is recycled. In a zero waste system, the material will be reused until the optimum level of consumption is reached. The definition adopted by the "Zero Waste International Alliance" (ZWIA) is:


title: Zero waste

text: Zero Waste: The conservation of all resources by means of responsible production, consumption, reuse and, recovery of all products, packaging, and materials, without burning them and without discharges to land, water, or air that threaten the environment or human health.


title: Zero waste

text: Zero waste refers to waste prevention as opposed to end-of-pipe waste management. It is a whole systems approach that aims for a massive change in the way materials flow through society, resulting in no waste. Zero waste encompasses more than eliminating waste through reducing, reusing, and recycling. It focuses on restructuring distribution and production systems to reduce waste. Zero waste provides guidelines for continually working towards eliminating waste.


title: Zero waste

text: Advocates expect that government regulation is needed to influence industrial choices over product and packaging design, manufacturing processes, and material selection.


title: Zero waste

text: Advocates say eliminating waste decreases pollution, and can also reduce costs due to the reduced need for raw materials.


title: Zero waste

text: The cradle-to-grave is a linear material model that begins with resource extraction, moves to product manufacturing, and ends with a "grave" or landfill where the product is disposed of. Cradle-to-grave is in direct contrast to cradle-to-cradle materials or products, which are recycled into new products at the end of their lives so that ultimately there is no waste.


title: Zero waste

text: Cradle-to-cradle focuses on designing industrial systems so that materials flow in closed-loop cycles, which means that waste is minimized and waste products can be recycled and reused. Cradle-to-cradle goes beyond dealing with waste issues after it has been created by addressing problems at the source and redefining problems by focusing on design. The cradle-to-cradle model is sustainable and considerate of life and future generations.


title: Zero waste

text: The cradle-to-cradle framework has evolved steadily from theory to practice. In the industrial sector, it is creating a new notion of materials and material flows. Just as in the natural world, in which one organism's "waste" cycles through an ecosystem to provide nourishment for other living things, cradle-to-cradle materials circulate in closed-loop cycles, providing nutrients for nature or industry.


title: Zero waste

text: The spread of industrialization worldwide has been accompanied by a large increase in waste production. In 2012 the World Bank stated that 1.3 billion tons of municipal waste was produced by urban populations and estimates that the number will reach 2.2 billion tons by 2025 (Global Solid Waste Management Market - Analysis and Forecast). The increase in solid waste production increases the need for landfills. With the increase in urbanization, these landfills are being placed closer to communities. These landfills are disproportionately located in areas of low socioeconomic status with primarily non-white populations. Findings indicated these areas are often targeted as waste sites because permits are more easily acquired and there was generally less community resistance. Additionally, within the last five years, more than 400 hazardous waste facilities have received formal enforcement actions for unspecified violations that were considered to be a risk to human health.


title: Zero waste

text: There is a growing global population that is faced with limited resources from the environment. To relieve the pressures placed on the finite resources available it has become more important to prevent waste. To achieve zero waste, waste management has to move from a linear system to be more cyclical so that materials, products, and substances are used as efficiently as possible. Materials must be chosen so that they may either return safely to a cycle within the environment or remain viable in the industrial cycle.


title: Zero waste

text: Zero waste promotes not only reuse and recycling but, more importantly, it promotes prevention and product designs that consider the entire product life cycle. Zero-waste designs strive for reduced material use, use of recycled materials, use of more benign materials, longer product lives, repairability, and ease of disassembly at end of life. Zero waste strongly supports sustainability by protecting the environment, reducing costs and producing additional jobs in the management and handling of wastes back into the industrial cycle. A Zero waste strategy may be applied to businesses, communities, industrial sectors, schools, and homes.


title: Zero waste

text: A major issue with landfills is hydrogen sulfide, which is released from the natural decay of waste. Studies have shown a positive association between increased lung cancer mortality rates and increased morbidity and mortality related to respiratory disease and hydrogen sulfide exposure. These studies also showed that the hydrogen sulfide exposure increased with proximity to the landfill.


title: Zero waste

text: Household chemicals and prescription drugs are increasingly being found in large quantities in the leachate from landfills. This is causing concern about the ability of landfills to contain these materials and the possibility of these chemicals and drugs making their way into the groundwater and the surrounding environment.


title: Zero waste

text: Zero waste promotes a circular material flow that allows materials to be used over and over, reducing the need for landfill space. Through zero waste the number of toxins released into the air and water would be decreased and products examined to determine what chemicals are used in the production process.


title: Zero waste

text: Zero waste promotion of a cyclical product life can help reduce the need to create and fill landfills. This can help reduce incidents of respiratory diseases and birth defects that are associated with the toxins released from landfills. Zero waste can also help preserve local environments and potable water sources by preventing pollutants from entering the ecosystem.


title: Zero waste

text: The movement gained publicity and reached a peak in 1998–2002, and since then has been moving from "theory into action" by focusing on how a "zero waste community" is structured and behaves. The website of the Zero Waste International Alliance has a listing of communities across the globe that have created public policies to promote zero-waste practices. There is a zero-waste organization named the GrassRoots Recycling Network that puts on workshops and conferences about zero-waste activities.


title: Zero waste

text: The California Integrated Waste Management Board established a zero waste goal in 2001. The City and County of San Francisco’s Department of the Environment established a goal of zero waste in 2002, which led to the City's Mandatory Recycling and Composting Ordinance in 2009. With its ambitious goal of zero waste and policies, San Francisco reached a record-breaking 80% diversion rate in 2010, the highest diversion rate in any North American city. San Francisco received a perfect score in the waste category in the Siemens US and Canada Green City Index, which named San Francisco the greenest city in North America.


title: Zero waste

text: In 2008, Zero Waste was a term used to describe manufacturing and municipal waste management practices. Bea Johnson, a French American woman living in California, decided to apply it to her household of 4. In 2009, she started sharing her journey through her blog, Zero Waste Home, and in 2010, was featured in "The New York Times". The article, which introduced the mainstream to the concept of waste-free living, received much criticism from people confusing it for a bohemian lifestyle. These critical reviews began to shift after images of the family and their interior was widely broadcast in worldwide media. In 2013, Johnson published "Zero Waste Home: The Ultimate Guide to Simplifying your Life by Reducing your Waste". Dubbed "Bible for the zero waste pursuer" by Book Riot, it provides a simple to follow the methodology of 5R's with in-depth practical tips on how to eliminate waste in a household. Translated into 27 languages (as of 2019), the international bestseller helped spread the concept to a wide audience. Some of Bea's followers and readers went on to start their own blogs, such as Lauren Singer, an eco-activist living in New York, whose Social Media channels spread the concept to millennials, open package-free stores, such as Marie Delapierre, who opened the first unpackaged store in Germany (based on the model of Unpackaged, the first package-free concept in our modern era), launch non-profit organizations, such as Natalie Bino, founding member of Zero Waste Switzerland. Over the years, the Zero Waste lifestyle experienced a significant increase in followers. Thousands of social media channels, blogs, unpackaged stores, lines of reusables, and organizations have emerged worldwide. And in turn, the fast-evolving grass-root movement created a demand for large corporations, such as Unilever and Procter and Gamble, to conceive reusable alternatives to disposables.


title: Zero waste

text: Behavior change is a central factor, necessary for shifting to more sustainable waste management but there is a lack of research with regards to behavior change intervention. Critics of Zero Waste point out that a material could be reusable, organic, non-toxic, and renewable but still be ethically inferior to single use products. Bags made of baby seal pelts or tiger skin, for example, theoretically meet the definitions of "zero waste", but are hardly superior to single use plastic bags. Similarly, a toxic material, such as lead in solder, may be replaced by less toxic materials like tin and silver. But if the mining of silver and tin releases more mercury or damages sensitive coral islands, the protection of landfills in developed nations is hardly paramount. While zero waste advocates have sophisticated answers as to why these examples do not meet the definition of Zero Waste (e.g., that the bodies of seals and tigers, or mining waste, are of equal concern), critics say that Life Cycle Analysis, habitat protection, carbon neutralization, or "Zero Extinction" are more environmentally astute philosophies than waste-centric measures. The simple accounting of measurable waste diversion, reuse, recycling rates, etc. is an attractive and useful tool, but a campaign based on a goal of literally stopping the last 5% of waste might come at the expense of other environmental and sustainability goals.


title: Zero waste

text: Within the waste industry itself, other tensions exist between those who view zero waste as post-discard total recycling of materials only and those who view zero waste as the reuse of all high-level functions. It is probably the defining difference between established recyclers and emerging zero-wasters. A signature example is a difference between smashing a glass bottle (recovering cheap glass) and refilling the bottle (recovering the entire function of the container).


title: Zero waste

text: The tension between the literal application of natural processes and the creation of industry-specific more efficient reuse modalities is another tension. Many observers look to nature as an ultimate model for production and innovative materials. Others point out that industrial products are inherently non-natural (such as chemicals and plastics that are mono-molecular) and benefit greatly from industrial methods of reuse, while natural methods requiring degradation and reconstitution are wasteful in that context..


title: Zero waste

text: Whether made of starch or petroleum, the manufacturing process expends all the same materials and energy costs. Factories are built, raw materials are procured, investments are made, machinery is built and used, and humans labor and make use of all normal human inputs for education, housing, food etc. Even if the plastic is biodegraded after a single use, all of those costs are lost so it is much more important to design plastic parts for multiple reuse or perpetual lives. The other side argues that keeping plastic out of a dump or the sea is the sole benefit of interest.


title: Zero waste

text: This movement continues to grow among the youth around the world under the organization Zero Waste Youth, which originated in Brazil and has spread to Argentina, Puerto Rico, Mexico, the United States, and Russia. The organization multiplies with local volunteer ambassadors who lead zero waste gatherings and events to spread the zero waste message.


title: Zero waste

text: Milk can be shipped in many forms. One of the traditional forms was reusable returnable glass milk bottles, often home delivered by a milkman. While some of this continues, other options have recently been more common: one-way gable-top paperboard cartons, one-way aseptic cartons, one-way recyclable glass bottles, one-way milk bags, and others. Each system claims some advantages and also has possible disadvantages. From the zero-waste standpoint, the reuse of bottles is beneficial because the material usage per trip can be less than other systems. The primary input (or resource) is silica-sand, which is formed into glass and then into a bottle. The bottle is filled with milk and distributed to the consumer. A reverse logistics system returns the bottles for cleaning, inspection, sanitization, and reuse. Eventually, the heavy-duty bottle would not be suited for further use and would be recycled. Waste and landfill usage would be minimized. The material waste is primarily the wash water, detergent, transportation, heat, bottle caps, etc. While true zero waste is never achieved, a life cycle assessment can be used to calculate the waste at each phase of each cycle.


title: Zero waste

text: Online shopping orders are often placed in an outer box to contain multiple items for easier transport and tracking. This creates waste for every order, especially when there is only a single item. In response, some products are now designed not to require an outer box for safe shipping, a feature known as ships in own container.


title: Zero waste

text: It is important to distinguish recycling from Zero Waste. The most common practice of recycling is simply that of placing bottles, cans, paper, and packaging into curbside recycling bins. The modern version of recycling is more complicated and involves many more elements of financing and government support. For example, a 2007 report by the U.S. Environmental Protection Agency states that the US recycles at a national rate of 33.5% and includes in this figure composted materials. In addition, many multinational commodity companies have been created to handle recycled materials. At the same time, claims of recycling rates have sometimes been exaggerated, for example by the inclusion of soil and organic matter used to cover garbage dumps daily, in the "recycled" column. In US states with recycling incentives, there is constant local pressure to inflate recycling statistics.


title: Zero waste

text: Recycling has been separated from the concept of zero waste. One example of this is the computer industry where worldwide millions of PC's are disposed of as electronic waste each year in 2016 44.7 million metric tons of electronic waste was generated of which only 20% was documented and recycled. Some computer manufacturers refurbish leased computers for resale. Community Organizations have also entered this space by refurbishing old computers from donation campaigns for distribution to undeserved communities.


title: Zero waste

text: A clear example of the difference between zero waste and recycling is discussed in "Getting to Zero Waste", in the software industry. Zero waste design can be applied to intellectual property where the effort to code functionality into software objects is developed by design as opposed to copying code snippets multiple times when needed. The application of zero waste is straightforward as it conserves human effort. Also, software storage mediums have transitioned from consumable diskettes to internal drives which are vastly superior and have a minimal cost per megabyte of storage. This is a physical example where zero waste correctly identifies and avoids wasteful behavior.


title: Zero waste

text: A special feature of zero waste as a design principle is that it can be applied to any product or process, in any situation or at any level. Thus it applies equally to toxic chemicals as to benign plant matter. It applies to the waste of atmospheric purity by coal-burning or the waste of radioactive resources by attempting to designate the excesses of nuclear power plants as "nuclear waste". All processes can be designed to minimize the need for discard, both in their own operations and in the usage or consumption patterns which the design of their products leads to. Recycling, on the other hand, deals only with simple materials.


title: Zero waste

text: Zero waste can even be applied to the waste of human potential by enforced poverty and the denial of educational opportunity. It encompasses redesign for reduced energy wasting in industry or transportation and the wasting of the earth's rainforests. It is a general principle of designing for the efficient use of all resources, however defined.


title: Zero waste

text: The recycling movement may be slowly branching out from its solid waste management base to include issues that are similar to the community sustainability movement.


title: Zero waste

text: Zero waste, on the other hand, is not based in waste management limitations to begin with but requires that we maximize our existing reuse efforts while creating and applying new methods that minimize and eliminate destructive methods like incineration and recycling. Zero waste strives to ensure that products are designed to be repaired, refurbished, re-manufactured and generally reused.


title: Zero waste

text: Many dumps are currently exceeding carrying capacity. This is often used as a justification for moving to Zero Waste. Others counter by pointing out that there are huge tracts of land available throughout the US and other countries which could be used for dumps. Proposals abound to destroy all garbage as a way to solve the garbage problem. These proposals typically claim to convert all or a large portion of existing garbage into oil and sometimes claim to produce so much oil that the world will henceforth have abundant liquid fuels. One such plan, called Anything Into Oil, was promoted by Discover Magazine and Fortune Magazine in 2004 and claimed to be able to convert a refrigerator into "light Texas crude" by the application of high-pressure steam.


title: Zero waste

text: An example of a company that has demonstrated a change in landfill waste policy is General Motors (GM). GM has confirmed their plans to make approximately half of its 181 plants worldwide "landfill-free" by the end of 2010. Companies like Subaru, Toyota, and Xerox are also producing landfill-free plants. Furthermore, The United States Environmental Protection Agency (EPA) has worked with GM and other companies for decades to minimize the waste through its WasteWise program. The goal for General Motors is finding ways to recycle or reuse more than 90% of materials by: selling scrap materials, adopting reusable boxes to replace cardboard, and even recycling used work gloves. The remainder of the scraps might be incinerated to create energy for the plants. Besides being nature-friendly, it also saves money by cutting out waste and producing a more efficient production. Microsoft and Google are two other big companies that have Zero Waste goals. These two companies have goals to keep the majority of their waste out of landfills. Google has six locations that have a Zero Waste to Landfill goal. These locations have a goal to keep 100% of their waste out of landfills. Microsoft has a similar goal, but they are only trying to keep 90% their waste out of landfills. All these organizations push forth to make our world clean and producing zero waste.


title: Zero waste

text: A garden centre in Faversham, UK, has started to prevent plastic plant pots from being passed down to customers. Instead, it reuses the plastic pots only locally in the garden center, but upon selling it to its customers it repots the plants in paper plant pots. It also sells plants wrapped in hessian, and uses a variety of techniques to prevent handing down (single-use) plastics to customers


title: Zero waste

text: The waste sent to landfills may be harvested as useful materials, such as in the production of solar energy or natural fertilizer/de-composted manure for crops.


title: Zero waste

text: It may also be reused and recycled for something that we can actually use. "The success of General Motors in creating zero-landfill facilities shows that zero-waste goals can be a powerful impetus for manufacturers to reduce their waste and carbon footprint," says Latisha Petteway, a spokesperson for the EPA.


title: Zero waste

text: Market-based, legislation-mediated campaigns like extended producer responsibility (EPR) and the precautionary principle are among numerous campaigns that have a Zero Waste slogan hung on them by means of claims they all ineluctably lead to policies of Zero Waste. At the moment, there is no evidence that EPR will increase reuse, rather than merely moving discard and disposal into private-sector dumping contracts. The Precautionary Principle is put forward to shift liability for proving new chemicals are safe from the public (acting as guinea pig) to the company introducing them. As such, its relation to Zero Waste is dubious. Likewise, many organizations, cities and counties have embraced a Zero Waste slogan while pressing for none of the key Zero Waste changes. In fact, it is common for many such to simply state that recycling is their entire goal. Many commercial or industrial companies claim to embrace Zero Waste but usually mean no more than a major materials recycling effort, having no bearing on product redesign. Examples include Staples, Home Depot, Toyota, General Motors and computer take-back campaigns. Earlier social justice campaigns have successfully pressured McDonald's to change their meat purchasing practices and Nike to change its labor practices in Southeast Asia. Those were both based on the idea that organized consumers can be active participants in the economy and not just passive subjects. However, the announced and enforced goal of the public campaign is critical. A goal to reduce waste generation or dumping through greater recycling will not achieve a goal of product redesign and so cannot reasonably be called a Zero Waste campaign. Producers should be made responsible for the packaging of the products rather than the consumers in EPR like campaigns by which the participation of the Producers will increase.


title: Zero waste

text: National and provincial governments often set targets and may provide some funding, but on a practical level, waste management programs (e.g. pickup, drop-off, or containers for recycling and composting) are usually implemented by local governments, possibly with regionally shared facilities.


title: Zero waste

text: Reaching the goal of zero waste requires the products of manufacturers and industrial designers to be easily disassembled for recycling and incorporated back into nature or the industrial system; durability and repairability also reduce unnecessary churn in the product life cycle. Minimizes packaging also solves many problems early in the supply chain. If not mandated by government, choices by retailers and consumers in favor of zero-waste-friendly products can influence production. More and more schools are motivating their students to live a different life and rethink every polluting step they may take. To prevent material from becoming waste, consumers, businesses, and non-profits must be educated in how to reduce waste and recycle successfully.


title: Zero waste

text: In the book "Zero Waste Home: The Ultimate Guide to Simplifying your Life by Reducing your Waste" the author, Bea Johnson, provides a modified version of the 3Rs, the 5Rs: Refuse, Reduce, Reuse, Recycle, Rot to achieve Zero Waste at home. The method, which she developed through years of practicing waste free living and used to reduce her family's annual trash to fit in a pint jar, is now widely used by individuals, businesses and municipalities worldwide.