title: Per- and polyfluoroalkyl substances

text: Professional ski wax technicians are disproportionately exposed to PFASs from the glide wax used to coat the bottom of skis to reduce the friction between the skis and snow. During this process, the wax is heated to 130-220 °C, which releases fumes and airborne fluorinated compounds. Exposure to aerosolized PFASs is associated with alveolic edema, polymer fume fever, severe dyspnea, decreased pulmonary function, and respiratory distress syndrome in those chronically exposed. In a 2010 study, blood serum levels of PFOA were significantly higher in ski wax technicians compared to levels of the general Swedish population. Serum levels of PFOA in ski wax technicians were positively correlated with years spent working, suggesting bioaccumulation of PFOA over time.


title: Per- and polyfluoroalkyl substances

text: People who work at fluorochemical production plants and in manufacturing industries that use PFASs in the industrial process can be exposed to PFASs in the workplace. Much of what we know about PFASs exposure and health effects began with medical surveillance studies of workers exposed to PFASs at fluorochemical production facilities. These studies began in the 1940s and were conducted primarily at U.S. and European manufacturing sites. Between the 1940s and 2000s, thousands of workers exposed to PFASs participated in research studies that advanced scientific understanding of exposure pathways, toxicokinetic properties, and adverse health effects associated with exposure.


title: Per- and polyfluoroalkyl substances

text: The first research study to report elevated organic fluorine levels in the blood of fluorochemical workers was published in 1980. This study established inhalation as a potential route of occupational PFAS exposure by reporting measurable levels of organic fluorine in air samples at the facility. Workers at fluorochemical production facilities have higher levels of PFOA and PFOS in their blood than the general population. Serum PFOA levels in fluorochemical workers are generally below 20,000 ng/mL but have been reported as high as 100,000 ng/mL whereas the mean PFOA concentration among non-occupationally exposed cohorts in the same time frame was 4.9 ng/mL. Among fluorochemical workers, those with direct contact with PFASs have higher PFAS concentrations in their blood than those with intermittent contact and those with no direct PFAS contact. Further, blood PFAS levels decline when direct contact ceases. Levels of PFOA and PFOS have declined in US and European fluorochemical workers due to improved facilities, increased usage of personal protective equipment, and the phase out of these chemicals from production. However, occupational exposure to PFASs in manufacturing continues to be an active area of study in China with numerous investigations linking worker exposure to various PFASs.


title: Per- and polyfluoroalkyl substances

text: PFASs are commonly used in Class B firefighting foams due to their hydrophobic and lipophobic properties as well as the stability of the chemicals when exposed to high heat. Due to firefighters' potential for exposure to PFASs through these aqueous film forming foams (AFFF), studies raise concerns that firefighters are especially prone to high concentrations of serum PFASs.


title: Per- and polyfluoroalkyl substances

text: Research into occupational exposure for firefighters is emergent, though frequently limited by underpowered study designs. A 2011 cross-sectional analysis of the C8 Health Studies found higher levels of PFHxS in firefighters compared to the sample group of the region, with other PFASs at elevated levels, without reaching statistical significance. A 2014 study in Finland studying eight firefighters over three training sessions observed select PFASs (PFHxS and PFNA) increase in blood samples following each training event. Due to this small sample size, a test of significance was not conducted. A 2015 cross-sectional study conducted in Australia found  that accumulation of PFOS and PFHxS was positively associated with years of occupational AFFF exposure through firefighting.


title: Per- and polyfluoroalkyl substances

text: Due to their use in training and testing, recent studies indicate occupational risk for military members and firefighters, as higher levels of PFASs in exposure were indicated in military members and firefighters when compared to the general population. Further, exposure to PFASs is prevalent among firefighters not only due to its use in emergencies but because it is also used in personal protective equipment. In support of these findings, states like Washington and Colorado have moved to restrict and penalize the use of Class B firefighting foam which contains PFASs for firefighter training and testing.


title: Per- and polyfluoroalkyl substances

text: The September 11, 2001 collapse of the World Trade Center buildings in New York City resulted in the release of chemicals from the destruction of construction and electrical material and long-term chemical fires. This collapse caused the release of several toxic chemicals, including fluorinated surfactants used as soil- and stain-resistant coatings on various materials. First responders to this incident were exposed to PFOA, PFNA, and PFHxS, through inhalation of dust and smoke released during and after the collapse of the World Trade Center.


title: Per- and polyfluoroalkyl substances

text: Fire responders who were working at or near ground zero were assessed for respiratory and other health effects from exposure to emissions at the World Trade Center. Early clinical testing showed a high prevalence of respiratory health effects. Early symptoms of exposure often presented with persistent coughing and wheezing. PFOA and PFHxS levels were present in both smoke and dust exposure. Yet, first responders with smoke exposures had higher concentrations of PFOA and PFHxS than those with dust exposures.


title: Per- and polyfluoroalkyl substances

text: Several technologies are currently available for remediating PFASs in liquids. These technologies can be applied to drinking water supplies, groundwater, industrial wastewater, surface water, and other miscellaneous applications (such as landfill leachate). Influent concentrations of PFASs can vary by orders of magnitude for specific media or applications. These influent values, along with other general water quality parameters (for example, pH) can influence the performance and operating costs of the treatment technologies. The technologies are:


title: Per- and polyfluoroalkyl substances

text: Private and public sector applications of one or more of these methodologies above are being applied to remediation sites throughout the United States and other international locations. Most solutions involve on-site treatment systems, while others are leveraging off-site infrastructure and facilities, such as a centralized waste treatment facility, to treat and dispose of the PFAS pool of compounds.


title: Per- and polyfluoroalkyl substances

text: Most recently, a 2022 study published in the "Journal of Environmental Engineering" found that a heat-and pressure-based technique known as "supercritical water oxidation" destroyed 99% of the PFASs present in a water sample. During this process, oxidizing substances are added to PFAS-contaminated water and then the liquid is heated above its critical temperature of 374 degrees Celsius at a pressure of more than 220 bars. The water becomes supercritical (being neither gas nor liquid), and, in this state, water-repellent substances such as PFASs dissolve much more readily.


title: Per- and polyfluoroalkyl substances

text: The Michigan State University-Fraunhofer team has a viable solution to treat PFAS-contaminated wastewater that, in 2018, was reported to be ready for a pilot-scale investigation. The electrochemical oxidation system used boron-doped diamond electrodes, in a process breaking down the contaminants' formidable molecular bonds and cleaning the water while systematically destroying the hazardous compounds.


title: Per- and polyfluoroalkyl substances

text: "EO, or electrochemical oxidation, is a simple, clean, and effective method for destruction of PFASs and other co-contaminants as a complementary procedure to other wastewater treatment processes," said Cory Rusinek, an electrochemist at MSU-Fraunhofer. "If we can remove it from wastewater, we can reduce its occurrence in surface waters."


title: Per- and polyfluoroalkyl substances

text: In September 2019, it was reported "Acidimicrobium" sp. strain A6 could be a potential remediator of PFAS, including saturated ones such as PFOS. PFAS with unsaturated bonds are easier to break down: the commercial dechlorination culture KB1 (contains "Dehalococcoides") is capable of breaking down such substances, but not saturated PFAS. When alternative, easier-to-digest substrates are present, microbes may prefer them over PFAS.


title: Per- and polyfluoroalkyl substances

text: A study published in the journal "Science" in August 2022 indicated that perfluoroalkyl carboxylic acids (PFCAs) are able to be "mineralized" via heating in a polar aprotic solvent such as dimethyl sulfoxide. The study reported that heating PFCAs in an 8 to 1 mixture of dimethyl sulfoxide and water at in the presence of sodium hydroxide, caused the removal of the carboxylic acid group at the end of the carbon chain, creating a perfluoroanion. The perfluoroanion then "mineralizes" into sodium fluoride and other salts such as sodium trifluoroacetate, formate, carbonate, oxalate and glycolate. The process does not work on perfluorosulfonic acids such as PFOS.


title: Merritt Patterson

text: Merritt Patterson is a Canadian actress. She is known for playing Olivia on the short-lived "Pretty Little Liars" spinoff "Ravenswood", and for playing Ophelia on E! network's television series "The Royals".


title: Merritt Patterson

text: In 2013, Patterson was initially cast in a supporting role in the pilot for the ABC Family series, "Ravenswood", but was subsequently recast as Olivia, a main role on the series.


title: Merritt Patterson

text: In 2015, she portrayed Ophelia, one of the main roles in the first season of E! television series, "The Royals". In 2016 Patterson was cast in the second season of the Crackle television drama "The Art of More", playing Olivia Brukner, the daughter of Dennis Quaid's character.


title: Diatonic scale

text: In music theory, a diatonic scale is any heptatonic scale that includes five whole steps (whole tones) and two half steps (semitones) in each octave, in which the two half steps are separated from each other by either two or three whole steps, depending on their position in the scale. This pattern ensures that, in a diatonic scale spanning more than one octave, all the half steps are maximally separated from each other (i.e. separated by at least two whole steps).


title: Diatonic scale

text: The seven pitches of any diatonic scale can also be obtained by using a chain of six perfect fifths. For instance, the seven natural pitch classes that form the C-major scale can be obtained from a stack of perfect fifths starting from F:


title: Diatonic scale

text: Any sequence of seven successive natural notes, such as C–D–E–F–G–A–B, and any transposition thereof, is a diatonic scale. Modern musical keyboards are designed so that the white notes form a diatonic scale, though transpositions of this diatonic scale require one or more black keys. A diatonic scale can be also described as two tetrachords separated by a whole tone. In musical set theory, Allen Forte classifies diatonic scales as set form 7–35.


title: Diatonic scale

text: The term "diatonic" originally referred to the diatonic genus, one of the three genera of the ancient Greeks, and comes from , of uncertain etymology. Most likely, it refers to the intervals being "stretched out" in that tuning, in contrast to the other two genera (chromatic and enharmonic).


title: Diatonic scale

text: This article does not concern alternative seven-note scales such as the harmonic minor or the melodic minor which, although sometimes called "diatonic", do not fulfill the condition of maximal separation of the semitones indicated above.


title: Diatonic scale

text: Western music from the Middle Ages until the late 19th century (see common practice period) is based on the diatonic scale and the unique hierarchical relationships created by this system of organizing seven notes.


title: Diatonic scale

text: There is a claim that the 45,000-year-old Divje Babe flute used a diatonic scale, but there is no proof or consensus of it even being a musical instrument.


title: Diatonic scale

text: There is evidence that the Sumerians and Babylonians used a version of the diatonic scale. This derives from surviving inscriptions that contain a tuning system and musical composition. Despite the conjectural nature of reconstructions of the piece known as the Hurrian songs from the surviving score, the evidence that it used the diatonic scale is much more soundly based. This is because instructions for tuning the scale involve tuning a chain of six fifths, so that the corresponding circle of seven major and minor thirds are all consonant, and this is a recipe for tuning a diatonic scale.


title: Diatonic scale

text: The 9,000-year-old flutes found in Jiahu, China, indicate the evolution over 1,200 years of flutes having 4, 5 and 6 holes to having 7 and 8 holes, the latter exhibiting striking similarity to diatonic hole spacings and sounds.


title: Diatonic scale

text: The scales corresponding to the medieval church modes were diatonic. Depending on which of the seven notes of the diatonic scale you use as the beginning, the positions of the intervals fall at different distances from the starting tone (the "reference note"), producing seven different scales. One of these, the one starting on B, has no pure fifth above its reference note (B–F is a diminished fifth): it is probably for this reason that it was not used. Of the six remaining scales, two were described as corresponding to two others with a B instead of a B:


title: Diatonic scale

text: As a result, medieval theory described the church modes as corresponding to four diatonic scales only (two of which had the variable B/). They were the modern Dorian, Phrygian, Lydian, and Mixolydian modes of C major, plus the Aeolian and Ionian modes of F major when B was substituted into the Dorian and Lydian modes of C major, respectively.


title: Diatonic scale

text: Heinrich Glarean considered that the modal scales including a B had to be the result of a transposition. In his "Dodecachordon", he not only described six "natural" diatonic scales (still neglecting the seventh one with a diminished fifth above the reference note), but also six "transposed" ones, each including a B, resulting in the total of twelve scales that justified the title of his treatise. These were the 6 non-Locrian modes of C major and F major.


title: Diatonic scale

text: By the beginning of the Baroque period, the notion of the musical key was established, describing additional possible transpositions of the diatonic scale. Major and minor scales came to dominate until at least the start of the 20th century, partly because their intervallic patterns are suited to the reinforcement of a central triad. Some church modes survived into the early 18th century, as well as appearing in classical and 20th-century music, and jazz (see chord-scale system).


title: Diatonic scale

text: Of Glarean's six natural scales, three have a major third/first triad: (Ionian, Lydian, and Mixolydian), and three have a minor one: Dorian, Phrygian, and Aeolian). To these may be added the seventh diatonic scale, with a diminished fifth above the reference note, the Locrian scale. These could be transposed not only to include one flat in the signature (as described by Glarean), but to all twelve notes of the chromatic scale, resulting in a total of eighty-four diatonic scales.


title: Diatonic scale

text: The modern musical keyboard originated as a diatonic keyboard with only white keys. The black keys were progressively added for several purposes:


title: Diatonic scale

text: The pattern of elementary intervals forming the diatonic scale can be represented either by the letters T (Tone) and S (Semitone) respectively. With this abbreviation, major scale, for instance, can be represented as


title: Diatonic scale

text: The major scale or Ionian mode is one of the diatonic scales. It is made up of seven distinct notes, plus an eighth that duplicates the first an octave higher. The pattern of seven intervals separating the eight notes is T–T–S–T–T–T–S. In solfège, the syllables used to name each degree of the scale are "Do–Re–Mi–Fa–Sol–La–Ti–Do". A sequence of successive natural notes starting from C is an example of major scale, called C-major scale.


title: Diatonic scale

text: The eight degrees of the scale are also known by traditional names, especially when used in a tonal context:


title: Diatonic scale

text: For each major scale, there is a corresponding natural minor scale, sometimes called its relative minor. It uses the same sequence of notes as the corresponding major scale but starts from a different note. That is, it begins on the sixth degree of the major scale and proceeds step-by-step to the first octave of the sixth degree. A sequence of successive natural notes starting from A is an example of a natural minor scale, called the A natural minor scale.


title: Diatonic scale

text: The degrees of the natural minor scale, especially in a tonal context, have the same names as those of the major scale, except the seventh degree, which is known as the subtonic because it is a whole step below the tonic. The term leading tone is generally reserved for seventh degrees that are a "half step" (semitone) below the tonic, as is the case in the major scale.


title: Diatonic scale

text: Besides the natural minor scale, five other kinds of scales can be obtained from the notes of a major scale, by simply choosing a different note as the starting note. All these scales meet the definition of diatonic scale.


title: Diatonic scale

text: As explained above, all major scales use the same interval sequence T–T–S–T–T–T–S. This interval sequence was called the "Ionian mode" by Glarean. It is one of the seven modern modes. From any major scale, a new scale is obtained by taking a different degree as the tonic. With this method it is possible to generate six other scales or modes from each major scale. Another way to describe the same result would be to consider that, behind the diatonic scales, there exists an underlying diatonic system which is the series of diatonic notes without a reference note; assigning the reference note in turn to each of the seven notes in each octave of the system produces seven diatonic scales, each characterized by a different interval sequence:


title: Diatonic scale

text: For the sake of simplicity, the examples shown above are formed by natural notes (i.e. neither sharps nor flats, also called "white-notes", as they can be played using the white keys of a piano keyboard). However, any transposition of each of these scales (or of the system underlying them) is a valid example of the corresponding mode. In other words, transposition preserves mode.


title: Diatonic scale

text: The whole set of diatonic scales is commonly defined as the set composed of these seven natural-note scales, together with all of their possible transpositions. As discussed elsewhere, different definitions of this set are sometimes adopted in the literature.


title: Diatonic scale

text: A diatonic scale can be also described as two tetrachords separated by a whole tone. For example, under this view the two tetrachord structures of C major would be:


title: Diatonic scale

text: formed two different tetrachords, the first consisting in a semitone between two tones, T–S–T, and the second of a semitone and two tones, S–T–T.


title: Diatonic scale

text: The medieval conception of the tetrachordal structure, however, was based on one single tetrachord, that of the D scale,


title: Diatonic scale

text: each formed of a semitone between tones, T–S–T. It viewed other diatonic scales as differently overlapping disjunct and conjunct tetrachords:


title: Diatonic scale

text: (where G | A indicates the disjunction of tetrachords, always between G and A, and D = D indicates their conjunction, always on the common note D).


title: Diatonic scale

text: Diatonic scales can be tuned variously, either by iteration of a perfect or tempered fifth, or by a combination of perfect fifths and perfect thirds (Just intonation), or possibly by a combination of fifths and thirds of various sizes, as in well temperament.


title: Diatonic scale

text: If the scale is produced by the iteration of six perfect fifths, for instance F–C–G–D–A–E–B, the result is Pythagorean tuning:


title: Diatonic scale

text: This tuning dates to Ancient Mesopotamia (see ), and was done by alternating ascending fifths with descending fourths (equal to an ascending fifth followed by a descending octave), resulting in the notes of a pentatonic or heptatonic scale falling within an octave.


title: Diatonic scale

text: Six of the "fifth" intervals (C–G, D–A, E–B, F–C', G–D', A–E') are all = 1.5 (701.955 cents), but B–F' is the discordant tritone, here = 1.423828125 (611.73 cents). Tones are each = 1.125 (203.91 cents) and diatonic semitones are ≈ 1.0535 (90.225 cents).


title: Diatonic scale

text: Equal temperament is the division of the octave in twelve equal semitones. The frequency ratio of the semitone then becomes the twelfth root of two ( ≈ 1.059463, 100 cents). The tone is the sum of two semitone. Its ratio is the sixth root of two ( ≈ 1.122462, 200 cents). Equal temperament can be produced by a succession of tempered fifths, each of them with the ratio of 2 ≈ 1.498307, 700 cents.


title: Diatonic scale

text: The fifths could be tempered more than in equal temperament, in order to produce better thirds. See quarter-comma meantone for a meantone temperament commonly used in the sixteenth and seventeenth centuries and sometimes after, which produces perfect major thirds.


title: Diatonic scale

text: Just intonation often is represented using Leonhard Euler's Tonnetz, with the horizontal axis showing the perfect fifths and the vertical axis the perfect major thirds. In the Tonnetz, the diatonic scale in just intonation appears as follows:


title: Diatonic scale

text: F–A, C–E and G–B, aligned vertically, are perfect major thirds; A–E–B and F–C–G–D are two series of perfect fifths. The notes of the top line, A, E and B, are lowered by the syntonic comma, , and the "wolf" fifth D–A is too narrow by the same amount. The tritone F–B is ≈ 1.40625.


title: Diatonic scale

text: This tuning has been first described by Ptolemy and is known as Ptolemy's intense diatonic scale. It was also mentioned by Zarlino in the 16th century and has been described by theorists in the 17th and 18th centuries as the "natural" scale.


title: Diatonic scale

text: Since the frequency ratios are based on simple powers of the prime numbers 2, 3, and 5, this is also known as five-limit tuning.


title: Torsades de pointes

text: Torsades de pointes, torsade de pointes or torsades des pointes (TdP) (, , translated as "twisting of peaks") is a specific type of abnormal heart rhythm that can lead to sudden cardiac death. It is a polymorphic ventricular tachycardia that exhibits distinct characteristics on the electrocardiogram (ECG). It was described by French physician François Dessertenne in 1966. Prolongation of the QT interval can increase a person's risk of developing this abnormal heart rhythm, occurring in between 1% and 10% of patients who receive QT-prolonging antiarrhythmic drugs.


title: Torsades de pointes

text: Most episodes will revert spontaneously to a normal sinus rhythm. Symptoms and consequences include palpitations, dizziness, lightheadedness (during shorter episodes), fainting (during longer episodes), and sudden cardiac death.


title: Torsades de pointes

text: Torsades occurs as both an inherited (linked to at least 17 genes) and as an acquired form caused most often by drugs and/or electrolyte disorders that cause excessive lengthening of the QT interval.


title: Torsades de pointes

text: Common causes for torsades de pointes include drug-induced QT prolongation and less often diarrhea, low serum magnesium, and low serum potassium or congenital long QT syndrome. It can be seen in malnourished individuals and chronic alcoholics, due to a deficiency in potassium and/or magnesium. Certain drugs and combinations of drugs resulting in drug interactions are common contributors to torsades de pointes risk. QT-prolonging medications such as clarithromycin, levofloxacin, or haloperidol, when taken concurrently with cytochrome P450 inhibitors, such as fluoxetine, cimetidine, or particular foods including grapefruit, can result in higher-than-normal levels of medications that prolong the QT interval in the bloodstream and therefore increase a person's risk of developing torsades de pointes. At least one mention of the common over-the-counter medication loperamide causing TdP has been made in the literature, although the dose preceding this particular cardiac event was well beyond the therapeutic range of the medication. In addition, patients with inherited long QT syndrome have a very high risk of episodes of TdP and that risk can be further increased by drugs and electrolyte disorders that further prolong QT.


title: Torsades de pointes

text: Knowledge that TdP may occur in patients taking certain prescription drugs has been both a major liability and reason for removal of 14 medications from the marketplace. Forty-nine drugs known to cause TdP and another 170 that are known to prolong QT remain on the market because the drugs provide medical benefit and the risk of TdP can be managed and mitigated by instructions in the drug label. Examples of compounds linked to clinical observations of TdP include amiodarone, most fluoroquinolones, methadone, lithium, chloroquine, erythromycin, azithromycin, pimozide, and phenothiazines. The anti-emetic agent ondansetron may also increase the risk of developing TdP. It has also been shown as a side effect of certain anti-arrhythmic medications, such as sotalol, procainamide, quinidine, ibutilide, and dofetilide. In one example, the gastrokinetic drug cisapride (Propulsid) was withdrawn from the US market in 2000 after it was linked to deaths caused by long QT syndrome-induced torsades de pointes. This effect can be directly linked to QT prolongation mediated predominantly by inhibition of the hERG channel and, in some cases, augmentation of the late sodium channel.


title: Torsades de pointes

text: The following is a partial list of factors associated with an increased tendency towards developing torsades de pointes:


title: Torsades de pointes

text: Repolarization of the cardiomyocytes occurs in phases 1–3, and is caused predominantly by the outward movement of potassium ions. In Torsades de pointes, however, the repolarization is prolonged; this can be due to electrolyte disturbances (hypokalemia, hypomagnesemia, hypocalcemia), bradycardia, certain drugs (disopyramide, sotalol, amiodarone, amitriptyline, chlorpromazine, erythromycin) and/or congenital syndromes.


title: Torsades de pointes

text: The prolongation of repolarisation may result in subsequent activation of an inward depolarisation current, known as an early after-depolarisation, which may promote triggered activity. Re-entry, due to a dispersion of refractory periods, is also possible; this is because M Cells (found in the mid myocardial layer) show a more prolonged repolarization phase in response to potassium blockage than other cells. In turn, this produces a zone of functional refractoriness (inability to depolarize) in the mid myocardial layer. When new action potential is generated, the mid myocardial layer will remain in a refractory period, but the surrounding tissue will depolarize. As soon as the mid myocardial layer is no longer in a refractory period, excitation from nearby tissue will cause a retrograde current and a reentry circuit that will result in a positive chronotropic cycle, leading to tachycardia.


title: Torsades de pointes

text: The ECG tracing in torsades demonstrates a "polymorphic ventricular tachycardia" with a characteristic illusion of a twisting of the QRS complex around the isoelectric baseline (peaks, which are at first pointing up, appear to be pointing down for subsequent "beats" when looking at ECG traces of the "heartbeat"). It is hemodynamically unstable and causes a sudden drop in arterial blood pressure, leading to dizziness and fainting. Depending on their cause, most individual episodes of torsades de pointes revert to normal sinus rhythm within a few seconds; however, episodes may also persist and possibly degenerate into ventricular fibrillation, leading to sudden death in the absence of prompt medical intervention. Torsades de pointes is associated with long QT syndrome, a condition whereby prolonged QT intervals are visible on an ECG. Long QT intervals predispose the patient to an , wherein the R-wave, representing ventricular depolarization, occurs during the relative refractory period at the end of repolarization (represented by the latter half of the T-wave). An R-on-T can initiate torsades. Sometimes, pathologic T-U waves may be seen in the ECG before the initiation of torsades.


title: Torsades de pointes

text: A "short-coupled variant of torsade de pointes", which presents without long QT syndrome, was also described in 1994 as having the following characteristics:


title: Torsades de pointes

text: The R-on-T phenomenon is the superimposition of a premature ventricular contraction on the T wave of a preceding heart beat. Studies suggest that R-on-T phenomenon is likely to start a sustained ventricular tachycardia and ventricular fibrillation. It's considered a cardiac arrhythmia in which the ventricles of the heart become again excited during the repolarization of the previous heart action. Because part of the heart muscle cannot be excited at this early point in time, a premature chamber action can trigger life-threatening cardiac arrhythmias (e.g. ventricular fibrillation or Torsades de pointes).


title: Torsades de pointes

text: On the ECG, this phenomenon is showing when a ventricular extrasystole (R) (T-wave) is superimposed during the repolarization phase of the previous action of the heart. Not all premature chamber actions can trigger these dangerous arrhythmias; the risk is increased with ischemia of the heart muscle or with prolonged repolarization time (long QT syndrome). The arrhythmia can also be triggered when an external stimulus such as cardioversion falls in the vulnerable phase of the cardiac cycle.


title: Torsades de pointes

text: In the Lown grading system of ventricular arrhythmias, the R-on-T phenomenon is the fifth, most threatening class.


title: Torsades de pointes

text: The treatment of torsades de pointes aims to restore a normal rhythm and to prevent the arrhythmia recurring. While torsades may spontaneously revert to a normal sinus rhythm, sustained torsades requires emergency treatment to prevent cardiac arrest. The most effective treatment to terminate torsades is an electrical cardioversion - a procedure in which an electrical current is applied across the heart to temporarily stop and then resynchronise the heart's cells. Treatment to prevent recurrent torsades includes infusion of magnesium sulphate, correction of electrolyte imbalances such as low blood potassium levels (hypokalaemia), and withdrawal of any medications that prolong the QT interval. Treatments used to prevent torsades in specific circumstances include beta blockers or mexiletine in long QT syndrome. Occasionally a pacemaker may be used to accelerate the heart's own sinus rhythm, and those at risk of further torsades may be offered an implantable defibrillator to automatically detect and defibrillate further episodes of the arrhythmia.


title: Torsades de pointes

text: The phenomenon was originally described in a French medical journal by Dessertenne in 1966, when he observed this cardiac rhythm disorder in an 80-year-old female patient with complete intermittent atrioventricular block. In coining the term, he referred his colleagues to the "Dictionnaire Le Robert", a bilingual French English dictionary, of which his wife had just given him a copy. Here, "torsade" is defined as:


title: Torsades de pointes

text: The singular and plural forms ("torsade de pointes", "torsades de pointes" and "torsades des pointes") have all often been used. The question of whether each one is grammatically "correct" and the others "incorrect" has repeatedly arisen. This is seen among major medical dictionaries, where one enters only the plural form, another enters the plural form as the headword but lists the singular as a variant, and yet another enters the singular form as the headword and gives a usage comment saying that the plural is not preferred. One group of physicians has suggested that it would make the most sense to use the singular form to refer to the arrhythmia entity (where an arrhythmia may involve one or multiple episodes), and that one might best reserve the plural form for describing repeated twisting during a single episode. Other authors have suggested all three words should be plural. Regarding the natural language variation, they concluded, in good nature, "Wasn't it the French who coined the term "vive la difference"?"


title: Caliban

text: Caliban ( ), son of the witch Sycorax, is an important character in William Shakespeare's play "The Tempest".


title: Caliban

text: His character is one of the few Shakespearean figures to take on a life of its own "outside" Shakespeare's own work: as Russell Hoban put it, "Caliban is one of the hungry ideas, he's always looking for someone to word him into being ... Caliban is a necessary idea".


title: Caliban

text: Caliban is half human, half monster. After his island becomes occupied by Prospero and his daughter Miranda, Caliban is forced into slavery. While he is referred to as a calvaluna or mooncalf, a freckled monster, he is the only human inhabitant of the island that is otherwise "not honour'd with a human shape" (Prospero, I.2.283). In some traditions, he is depicted as a wild man, or a deformed man, or a beast man, or sometimes a mix of fish and man, a dwarf or even a tortoise.


title: Caliban

text: Banished from Algiers, Sycorax was left on the isle, pregnant with Caliban, and died before Prospero's arrival. Caliban, despite his inhuman nature, clearly loved and worshipped his mother, referring to Setebos as his mother's god, and appealing to her powers against Prospero. Prospero explains his harsh treatment of Caliban by claiming that after initially befriending him, Caliban attempted to rape Miranda. Caliban confirms this gleefully, saying that if he had not been stopped, he would have peopled the island with a race of Calibans – "Thou didst prevent me, I had peopled else this isle with Calibans" (Act I:ii). Prospero then entraps Caliban and torments him with harmful magic if Caliban does not obey his orders. Resentful of Prospero, Caliban takes Stephano, one of the shipwrecked servants, as a god and as his new master. Caliban learns that Stephano is neither a god nor Prospero's equal in the conclusion of the play, however, and Caliban agrees to obey Prospero again.


title: Caliban

text: One of the most prominent suggestions concerns Caliban being an anagram of the Spanish word (Carib people), the source of "cannibal" in English. The character may be seen as a satire on "Noble cannibal" from Montaigne's "Essays" (A.30, "Of Cannibals").


title: Caliban

text: Since 1889, it has been suggested that Shakespeare may have named Caliban after the Tunisian city Calibia (now called Kelibia) that is seen on maps of the Mediterranean dating to 1529.


title: Caliban

text: Many other, though less notable, suggestions have been made, primarily in the 19th century, including an Arabic word for "vile dog", a Hindu "satyr of Kalee, the Hindu Proserpine", German ("codfish"), etc.


title: Caliban

text: In the 1844 preface to his main work, "World as Will and Representation", the philosopher Schopenhauer refers to Hegel as a "spiritual Caliban".


title: Caliban

text: Robert Browning's 1864 poem "Caliban upon Setebos" portrays Caliban speculating on the nature of Setebos, the god he believes in.


title: Caliban

text: In the film "Clash of the Titans", the main antagonist is a character based on Caliban named Kalibos, the evil son of the sea goddess Thetis, transformed by Zeus from a handsome man into a monster as punishment for his malevolence.


title: Caliban

text: In the 1956 science fiction film "Forbidden Planet", Caliban is re-imagined as "the Monster from the Id", a wild and violent monster that is invisible to the naked eye. The monster later turns out to be born of the subconscious of the film's Prospero character, Dr. Morbius, using the advanced technology of the Krell. Like Caliban, the monster ultimately rebels and attempts to kill its master. Captain Adams confronts Dr. Morbius with the fact that he is giving form to his subconscious, and his guilty conscience, from having brought it into existence, finally ends the monster's destructive rampage.


title: Caliban

text: In the 1965 movie "Doctor Zhivago", during the scene where Victor Komarovsky convinces Zhivago to allow him to rescue Lara by taking her to Vladivostok, Komarovsky refers to himself as a Caliban: "Do you accept the protection of this ignoble Caliban on any terms that Caliban cares to make?"


title: Caliban

text: Caliban was the central character in James Clouser's rock ballet "Caliban", a 90-minute adaptation of "The Tempest" that was scored with live performances by St. Elmo's Fire. The rock ballet was performed in Houston, Dallas, and Chicago in 1976 and 1977.


title: Caliban

text: Caliban is the name of a character from Marvel comics. He is an albino mutant who lives underground with the Morlocks.


title: Caliban

text: In the Swedish 1989 film "The Journey to Melonia", an animated film loosely inspired by "The Tempest", there is a character named Caliban, a creature whose face consists of mainly vegetables. Unlike Caliban in "The Tempest", this Caliban is kind at heart, and even becomes a hero later in the film.


title: Caliban

text: Caliban is the central character in two works of fiction that act as both re-tellings of and sequels to "The Tempest": "Caliban's Hour" by Tad Williams (HarperCollins, 1994, ) and "Rough Magic" by Caryl Cude Mullin (Second City Press, 2009, ). In both works, Caliban is a more noble character and presented more as Prospero's victim rather than the villain in Shakespeare's play.


title: Caliban

text: Rob Thurman's "Cal Leandros" series (first published 2006) centres around Caliban "Cal" Leandros, a half-human, half-Auphe (a nightmarish monster) hybrid who kills monsters for fun and cash in NYC with his human brother and their sleazy cohort, car-salesman Robin Goodfellow. This Cal struggles for control every day against his monster half, dealing with sarcasm and dark humor.


title: Caliban

text: "Caliban's War" is the title of the second novel of "The Expanse" series, a space opera by James S. A. Corey.


title: Caliban

text: The 2012 Summer Olympics opening ceremony (directed by Danny Boyle) titled "Isles of Wonder" (a name inspired by "The Tempest") was heavily influenced by "The Tempest". The musical piece played during the was entitled "Caliban's Dream", and Caliban's monologue from Act 3, Scene ii was quoted by Kenneth Branagh in character as Isambard Kingdom Brunel at the start of the Industrial Revolution set piece. "And I Will Kiss", the title of another specially commissioned track from the ceremony, is also a quote from "The Tempest" (2:2:148-149). These two songs also appeared on the ceremony's official soundtrack. The 2012 Summer Olympics closing ceremony also featured a recitation of the same monologue, this time by Timothy Spall playing Winston Churchill.


title: Caliban

text: In the preface of "The Picture of Dorian Gray", Oscar Wilde muses: "The nineteenth century dislike of Realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of Romanticism is the rage of Caliban not seeing his own face in a glass."


title: Caliban

text: In "The Chilling Adventures of Sabrina", Caliban is a prince of Hell competing for Sabrina's throne, portrayed by Sam Corlett.


title: Caliban

text: In the setting of the tabletop game "Warhammer 40,000", Caliban is the name of a planet full of grand forests prowled by man-eating monsters. It is the homeworld of Lion El'Jonson, a wild child who is found and civilized by a knight named Luther, and is later revealed to be the Primarch of the Dark Angels Space Marine Chapter. Several hundred years later, Caliban is destroyed in a battle between Lion and Luther.


title: Caliban

text: In the book "Ilium", Caliban is a destructive, powerful humanlike entity who vacillates who he serves; at one point he served Prospero (the noosphere's personification), later works only for himself, but also sometimes aligned with the malevolent destroyer of worlds Setebos.


title: Caliban

text: In the videogame Destiny 2, "Caliban's Hand" is an exotic armor related to solar energy, added the 23rd of May 2022.


title: Beverly Hills High School

text: Beverly Hills High School (usually abbreviated as Beverly or as BHHS) is the only major public high school in Beverly Hills, California. The other public high school in Beverly Hills, Moreno High School, is a small alternative school located on Beverly's campus.


title: Beverly Hills High School

text: Beverly Hills High School is part of the Beverly Hills Unified School District and located on on the west side of Beverly Hills, at the border of the Century City area of Los Angeles. The land was previously part of the Beverly Hills Speedway board track, which was torn down in 1924. Beverly, which serves all of Beverly Hills, was founded in 1927. The original buildings were designed by Robert D. Farquhar in the French Normandy style. The school previously received income from its on-campus oil tower.


title: Beverly Hills High School

text: Beverly Hills High School was originally in the Los Angeles City High School District. On March 23, 1936, the Beverly Hills Elementary School District left the Los Angeles City High School District and formed the Beverly Hills High School District; by operation of law this became the Beverly Hills Unified School District.


title: Beverly Hills High School

text: During the 1999–2000 and 2004–05 school years, Beverly Hills High School was recognized with the Blue Ribbon School Award of Excellence by the United States Department of Education, the highest award an American school can receive. "Newsweek" ranked Beverly Hills High School as the 267th best public high school in the country.


title: Beverly Hills High School

text: Most students are residents of Beverly Hills. As of 1991, the only non-resident students allowed to enroll in Beverly Hills High were employees of BHUSD, children of employees of the City of Beverly Hills, and a small number of students in the "multicultural program". Students in that program, which was financed by state funds tied to student enrollment, were required to supply their own transportation. The program accepted 30 students each year.


title: Beverly Hills High School

text: The program began in the 1970s in order to expose the predominately Caucasian students to other cultures. Originally, the program only admitted students who graduated from Emerson Middle School in Westwood; however, due to complaints it was taking away the best students from University High School, which Emerson feeds into, it was expanded to 11 LAUSD middle schools in 1991.


title: Beverly Hills High School

text: Beginning in the early 2000s, a series of governing boards began to restrict the admission of non-residents of Beverly Hills. Currently (2020), inter-district enrollment is permitted only for children of employees of the City and the School District.


title: Beverly Hills High School

text: As of 1991, 19% of the students were Iranian, and almost 20% of the students were either Asian, Black, and/or Latino. In 2008, Beverly Hills High School had 2,412 students: 70% White, 17% Asian, 5% Black, 4% Latino.


title: Beverly Hills High School

text: Beginning in 2010, when the Beverly Hills Unified School District adopted a basic-aid funding formula and ended its Diversity Permit program, the demographics of Beverly's student body started shifting considerably. In 2014, the student body was 72% white, 16% Asian, 6% black, and 5% Hispanic. By 2017, the high school total population had dropped to 1,482, and the demographics of enrolled students were: 73% Caucasian, 13% Asian, 8% Latino, and 3% African-American.


title: Beverly Hills High School

text: The student body is, as of 2008, predominantly Jewish. Many students are Iranian Americans, many of whom at the school are Persian Jewish. Due to the large number of students of Iranian origin, the school has historically scheduled a staff development day on or around Nowruz.


title: Beverly Hills High School

text: As of 2012, about 35% of Beverly's current student body was born outside the United States, and 41% of its students speak a first language other than English. As of 1991 home languages other than English included Mandarin Chinese, French, Hebrew, Korean, and Russian.


title: Beverly Hills High School

text: Some television shows, like "Beverly Hills, 90210", have been criticized for not accurately portraying the student body.


title: Beverly Hills High School

text: The 1988 non-fiction book "Hard Lessons" by Michael Leahy documents the life of six Beverly seniors for a full school year. In 1984, Beverly had a 100% graduation rate but three students committed suicide. These suicides piqued Leahy's interest in Beverly, and in 1985 he began writing "Hard Lessons".


title: Beverly Hills High School

text: Leahy had heard many stories about Beverly having intense academic pressure, substance abuse, and being a "den of hedonism." However, after speaking to Beverly students he concluded that sex and drug abuse were neither higher nor lower than at other local high schools. Beverly's social attitudes and morals were also nearly identical to these schools. Leahy did note that Beverly's academic pressure was unusually high which led to cheating and high anxiety amongst students.


title: Beverly Hills High School

text: Beverly has been featured in many films and TV shows, either as part of the plot or as a filming location. Many movies, including "Clueless", "Real Women Have Curves", "Whatever It Takes", "The Bachelor and the Bobby-Soxer", and "It's a Wonderful Life", featured a scene in Beverly's unique "Swim Gym," perhaps the only gymnasium that has a basketball court that can split open to reveal a recreational-sized, swimming pool. The gym in Beverly Hills High was used in the video for boy band NLT's "That Girl".


title: Beverly Hills High School

text: The front of Beverly High was shown in a short clip of Nickelback's music video for their song "Rockstar", although it only shows the part that reads "Hills High School" (the "Beverly" portion was cut off). The school was also in the cartoon show "Totally Spies!", and it was often called "Bev High" for short.


title: Beverly Hills High School

text: The book series "The A-List" follows a group of privileged teenagers and young adults from Beverly Hills, many of them who attend Beverly Hills High School and come from entertainment families and are known for their pro-activity.


title: Beverly Hills High School

text: Initially, the producers of the 1990s television drama "Beverly Hills, 90210" wanted the show to be set at Beverly Hills High School, and the show to be filmed on Beverly's campus. The Beverly Hills school board declined both requests. So, the TV producers created the fictional "West Beverly Hills High School" (or "West Beverly") and the show was filmed at Torrance High School, in Torrance, California. "West Beverly" is a clear reference to Beverly, because Beverly's campus is located on the western border of Beverly Hills. However, the real Beverly is mentioned throughout the first three seasons of the show.


title: Beverly Hills High School

text: In a 2010 episode of the reality competition cooking show "Hell's Kitchen", the titular restaurant hosts Beverly's prom.


title: Beverly Hills High School

text: The Beverly Hills Unified School District has faced controversies in student enrollment, mainly regarding diversity, and more recently, legacy enrollment (alumni preference).


title: Beverly Hills High School

text: For many years Beverly has selected high-achieving students from twelve LAUSD middle schools on diversity permits in an attempt to increase the number of minorities enrolled. Selections have been made based on test scores, grades and writing samples. According to enrollment data for the 2006–2007 school year, however, seven out of ten students who entered the school this way were of Asian ethnicity. In April 2007, due to pressure from parents and activist Earl Ofari Hutchinson, who criticized the school for not recruiting more African-American and Latino students, Superintendent Kari McVeigh agreed to extend the application deadline until April 27, as reported in the "Los Angeles Times" and "The Beverly Hills Courier", hoping that more students from these minority groups would seek to enroll. According to the "Beverly Hills Courier" (May 25, 2007), "civil rights leaders hailed the final student selections" as "an honest effort to obtain ethnic diversity."


title: Beverly Hills High School

text: The school board voted 3–2 in the spring of 2008 to offer the children of alumni, who live outside the district's boundaries, preference in enrollment. The intended purpose is to influence these alumni to support the school district regarding bond measure or tax issues and fund-raising. Critics protest that, while legacy preferences are long established and constitutional for institutions of higher education (colleges and universities), legacy enrollment in public schools is anti-democratic and constitutionally questionable, and subverts public education to the benefit of the wealthy.


title: Beverly Hills High School

text: In 2012, the school board voted not to issue new inter-district permits for the upcoming school year, which effectively shut out students who could apply for special permission to attend BHHS.


title: Beverly Hills High School

text: In 2008, voters approved a half-cent increase in the sales tax in order to expand the L.A. subway system. The so-called Purple Line extension would build out the subway through Beverly Hills at an estimated cost of $2.5 billion, adding 7 new subway stations. Ultimately, the new extension – called the “Subway to the Sea” – would connect downtown’s Union Station to the Pacific Ocean in Santa Monica.


title: Beverly Hills High School

text: The next year, Beverly Hills voters elected Lisa Korbatov to the school board, where she served as president. For 9 years, until she left office in 2018, Korbatov led the school board and Beverly Hills city officials to oppose the expansion of the subway tunnel beneath BHHS, citing worries about explosions, carcinogens from seeping fumes, and even a possible terrorist attack.


title: Beverly Hills High School

text: In October 2018, BHHS students protested against the plans to build the Metro Purple Line extension beneath the high school. In addition to its 2,200 students, BHHS also serves as the emergency preparedness center for the city of Beverly Hills. The city of Beverly Hills also sued the subway project in court in an effort to prevent it from building a tunnel underneath BHHS. The high school is built over an oil field (which is still active) and is located near an earthquake fault, so the city and school contended that the tunnel would pose a safety threat to students.


title: Beverly Hills High School

text: Despite over $15 million expended on the litigation, much of it funded from school improvement bonds, the use of which was questioned by a citizen's oversight committee, the District was ultimately unsuccessful and on May 18, 2020, Judge George H. Wu ruled in favor of the Metro that it had satisfied the requirements of the National Environmental Policy Act in documenting its choice of route.


title: Beverly Hills High School

text: KBEV Channel 6 is a student-run television channel at BHHS that began in 1974 on Theta Cable as part of the public, educational, and government access (PEG) channels requirements for cable companies (free access by public-access television, education-access television and government-access television (GATV) entities in the community). KBEV airs a variety of programs, including the longest-running high school news program in the country, "The Norman Newservice" (now "The Norman News"). KBEV has hosted many important guests, such as Ronald Reagan, in the past.


title: Beverly Hills High School

text: "Highlights," the school's newspaper, has also won numerous awards for its reporting and writing. In October 2007, "Highlights" won first place in the 13th annual California State University Northridge Journalism Skills Competition, with a total of seven out of twelve possible awards in news writing, feature writing, opinion writing, sports writing and photojournalism. The "Highlights" staff recently took home awards from the national JEA conference in St. Louis, Missouri. In April 2009, the "Highlights" staff ranked 3rd place among the nation in Phoenix, Arizona. In addition to regularly winning individual awards at the JEA/NSPA fall and spring conferences, "Highlights" placed seventh in the nation at the Minneapolis conference in November 2011.


title: Beverly Hills High School

text: The Beverly Hills High School "Swim Gym" was designed by Stiles O. Clements and built in 1939 as a New Deal project. It features a basketball court that opens to reveal a -long swimming pool underneath. It is featured in Frank Capra's famous movie "It's A Wonderful Life" as the location of the dance. Sports including volleyball, basketball, wrestling, swimming and water polo can all be played in this facility. Beverly offers the following sports:


title: Beverly Hills High School

text: BHHS's stadium is a multipurpose facility that is used for football, soccer, baseball, lacrosse, and track and field.


title: Beverly Hills High School

text: Of the ninety football teams throughout the course of Beverly Hills High School's history, BHHS varsity football has won 12 Southern Section championships.


title: Beverly Hills High School

text: Beverly Hills High School has a Performing Arts Department that attracts casting directors, writers and producers to attend performances and to visit classes to speak with the students.


title: Beverly Hills High School

text: Each year around late March to early April, the school holds its annual musical performance by performing arts students. Many of these musicals are based on Broadway award-winning musicals. BHHS is also famous for its Theater Acting Workshop, where only juniors and seniors who audition get in. Nicolas Cage once enrolled in this class.


title: Beverly Hills High School

text: The BHHS marching band has been selected to perform at Disneyland several times in its history. The marching band has also been invited to The London New Year’s Day Parade twice in its history, the last time being 2016.


title: Beverly Hills High School

text: BHHS has a very successful competitive Winter Drumline, which as of June 2012 was in its second competitive season. They compete in the SCPA and WGI circuits. The BHHS Drumline has performed such shows as "A Tour of Technology: The Inner-Workings of a Computer" and "Censor State: The State, The Conceded, The Resistance".


title: Beverly Hills High School

text: Beverly Hills High School also has two award-winning groups, the Madrigal Singers (a chamber choir) and Minnesingers (currently an all-women's choir). Both groups have won a wide range of awards for their performances, usually at Heritage Festivals. They have traveled across the United States to well-known locales such as San Francisco, Las Vegas, New York, Chicago, Orlando, Washington, D.C. and even internationally to Mexico, France and New Zealand. Additionally, in December, both groups go Christmas caroling to raise money for their festival trips. The groups were founded by Robert Holmes, who also helped found the Idyllwild School of Music and the Arts Summer Music Festival see Idyllwild Arts Summer Program.


title: Beverly Hills High School

text: BHHS's Dance Company is renowned for their success in dance. They hold annual shows in January, which they practice for immediately when the school year starts. A few years ago, the Dance Company traveled to its sister school in Cannes, France, where they were invited to perform. BHHS also has a hip-hop group, AP Posse, which performs in between Dance Company numbers.


title: Beverly Hills High School

text: The Beverly Hills High School FIRST Robotics Competition team, MorTorq - Team 1515 was founded in 2004. MorTorq won the Chairman’s Award (the most prestigious award the business team can receive) in 2010, 2013, and 2019 at the Los Angeles Regional competition, and in 2014 at the Las Vegas Regional competition. The team has won two Regional events: the Oregon Regional in 2010, and the Los Angeles Regional in 2015. MorTorq has attended the FIRST Championship in 2004, 2010, 2013, 2014, 2015, 2018, and 2019. 2019 was the first time the team was selected as a member of an alliance in Championship playoffs.


title: Beverly Hills High School

text: A cluster of nineteen oil wells in a single "drilling island" on Beverly's campus can easily be seen by drivers heading west on Olympic Boulevard toward Century City. The oil wells have pumped much of the oil from under Beverly's campus, and many have been slant drilling into productive regions of the western part of the Beverly Hills Oil Field under many homes and apartment buildings in Beverly Hills for decades.


title: Beverly Hills High School

text: As of May 2006, the Beverly Hills High School wells were pumping out to a day, earning the school approximately $300,000 a year in royalties.


title: Beverly Hills High School

text: In the late-1990s an art studio run by two Beverly High graduates volunteered to cover the well enclosure, which at that time was solid gray in color, with individual tiles that had been painted by kids with cancer. The studio created the design and drew the lines on the tiles, but children painted the tiles in between the lines. The studio made the design rather abstract: the design consists of random shapes on different-colored backgrounds. A ceremony inaugurating the design was held in 2001.


title: Beverly Hills High School

text: Beverly gained more notoriety when Erin Brockovich and Ed Masry announced having filed three lawsuits in 2003 and 2004 on behalf of 25, 400, and 300 (respectively) former students who attended Beverly from the 1970s until the 1990s. In April 2003, the Texas-based lawfirm of Baron & Budd partnered with the law office of Masry & Vititoe to lend its expertise in lawsuits related to health risks of volatile chemicals. The number of actual cancer claims filed in Santa Monica was ninety-four.


title: Beverly Hills High School

text: The lawsuits claimed that toxic fumes from the oil wells caused the former students to develop cancer. The oil wells are very close to all of Beverly's sports facilities, including the soccer field, the football field, and the racetrack. Beverly students—not just athletes but students taking required physical education classes from the 1970s until the 1990s—were required to run near the oil wells.


title: Beverly Hills High School

text: The city, the school district, and the oil companies named as defendants disputed this assertion, claiming that they had conducted air quality tests with results showing that air quality is normal at the high school. In 2003, the University of Southern California Keck School of Medicine published a "Community Cancer Assessment Regarding Beverly Hills, California" which failed to support Masry's claims.


title: Beverly Hills High School

text: After receiving complaints about Beverly's oil installation, the region's air-quality agency investigated Venoco and in 2003 issued three Notices of Violation regarding the operation of the drilling island. The penalty settlement included requirements that Venoco maintain continuous air quality monitoring at the high school, and prevent any oilfield gas (which is primarily methane gas) from being released into the atmosphere.


title: Beverly Hills High School

text: On December 12, 2006, the first 12 plaintiffs (of over 1000 total) were dismissed on summary judgment because there was no indication that the contaminant (benzene) caused the diseases involved and the concentrations were hundreds to thousands of times lower than levels associated with any risk. In the fall of 2007, the plaintiffs agreed to pay the School District and the City up to $450,000 for expenses from the lawsuits. This payment of expenses is without prejudice to any of the plaintiffs in the case, which is on appeal.


title: Beverly Hills High School

text: In June 2004 "Beverly Hills Courier" Editor Norma Zager was named "Journalist of the Year" in the Los Angeles Press Club's Southern California Journalism Awards competition for her coverage of the Erin Brockovich-Ed Masry lawsuit. Two books about the oil wells and lawsuit have been published, "Parts Per Million: The Poisoning of Beverly Hills High School" by Joy Horowitz was published in July 2007 and "Erin Brockovich and the Beverly Hills: Greenscam" by Norma Zager was published in October 2010.


title: Beverly Hills High School

text: In 2017, Venoco filed bankruptcy and was liquidated. By January 2021 the oil wells were plugged and capped, and the derricks had been demolished.


title: Beverly Hills High School

text: BHHS has a number of famous alumni, many of whom are entertainers, the children of entertainers or other prominent people. In addition, many notable people have taught at the school; soap opera actor John Ingle taught the drama and acting program at the school from 1964 to 1985. While Beverly Hills High School alumni are known predominantly for their connections with the entertainment industry, BHHS has also produced well-known scholars in many scientific disciplines.


title: Meshach Taylor

text: Meshach Taylor (; April 11, 1947 – June 28, 2014) was an American actor. He was best known for his role as Anthony Bouvier on the CBS sitcom "Designing Women" (1986–93), for which he was nominated for the Primetime Emmy Award for Outstanding Supporting Actor in a Comedy Series. He was also known for his portrayal of Hollywood Montrose, a flamboyant window dresser in the 1987 film "Mannequin" and its 1991 . He played Sheldon Baylor on the CBS sitcom "Dave's World" (1993–97), appeared as Tony on the NBC sitcom "Buffalo Bill" opposite Dabney Coleman, and appeared as the recurring character Alastair Wright, the social studies teacher (and later school principal) on the Nickelodeon sitcom "Ned's Declassified School Survival Guide".


title: Meshach Taylor

text: Taylor was born in Boston, Massachusetts, the son of Hertha Mae (née Ward) and Joseph T. Taylor, former dean of students at Dillard University in New Orleans, who was also the first dean of arts and sciences at Indiana University – Purdue University Indianapolis.


title: Meshach Taylor

text: After the family moved from New Orleans to Indianapolis, Taylor graduated from Crispus Attucks High School in 1964, where he took an interest in acting, and went on to study in the dramatic arts programs at Wilmington College (Ohio) and Florida A&M University. Leaving Florida A&M a few credits shy of graduation, he worked in Indianapolis as a State House reporter for AM radio station WIFE (now WTLC), where he used the on-air name Bruce Thomas, and as the host of a community-affairs program on television station WLWI (now WTHR), as Bruce Taylor. In May 1993, he received his bachelor's degree in theatre arts from Florida A&M.


title: Meshach Taylor

text: Taylor's first professional acting gig was in a national tour of "Hair". He honed his craft in repertory theater as a member of Chicago's Goodman Theatre, and the Organic Theater Company alongside Joe Mantegna, André DeShields, Dennis Franz, Keith Szarabajka, Jack Wallace, and director Stuart Gordon. While in Chicago, he appeared in David Rabe's "Streamers", "Native Son" (1979 Joseph Jefferson Award Nomination for Actor in a Principal Role in a Play), "The Island" and Athol Fugard’s "Sizwe Banzi Is Dead", for which he garnered the 1977 Joseph Jefferson Award for Actor in a Principal Role in a Play. He received an Emmy Award for his role as Jim in the WTTW production of "Huckleberry Finn" and hosted the Chicago television show "Black Life". In 1998, Taylor made his Broadway debut as Lumiere in "Beauty and the Beast", where he starred alongside Toni Braxton. In September 2012, he appeared in "Year of the Rabbit" at Ensemble Studio Theater-LA as Vietnam veteran JC Bridges.


title: Meshach Taylor

text: In 1977, Taylor moved to Los Angeles, where he crafted a gallery of memorable characters in film and on television, including his Emmy-nominated turn in the CBS sitcom "Designing Women". Taylor played Anthony Bouvier, the deliveryman at the fictitious Sugarbaker interior design firm in Atlanta, Georgia. In 1989, he received an Emmy nomination for Outstanding Supporting Actor in a Comedy Series. In May 1981, the ninth season of "M*A*S*H", he was seen as a corpsman in the final episode, "The Life You Save".


title: Meshach Taylor

text: From 1993–97, he was a series regular as plastic surgeon Sheldon Baylor on "Dave's World" (CBS), and had a recurring role as Alastair Wright, the history teacher turned school principal, on Nickelodeon's sitcom, "Ned's Declassified School Survival Guide" (2004–07) and "Buffalo Bill" on NBC with Dabney Coleman.


title: Meshach Taylor

text: Other appearances include: "The Unit", "Jessie", "Hannah Montana" as a fashion designer, "All of Us" as Neesee's father, "The Drew Carey Show", "Static Shock", "Caroline in the City", "Aaahh!!! Real Monsters", "Women of the House", "In the Heat of the Night", "Punky Brewster", "What's Happening Now!!", "Hill Street Blues", "ALF", "Melba", "The Golden Girls", "Cagney & Lacey", "Barney Miller", "Lou Grant", "The White Shadow", "The Incredible Hulk", "", and "Barnaby Jones".


title: Meshach Taylor

text: In 1996, Taylor hosted his own series on HGTV, "The Urban Gardener with Meshach Taylor", and in 1998, he hosted "Meshach Taylor's Hidden Caribbean" on The Travel Channel. He was a regular panelist on the 2000 revival of the television game show "To Tell the Truth". He co-hosted "Living Live!" with Florence Henderson on Retirement Living TV in 2008 until the program was revamped as "The Florence Henderson Show".


title: Meshach Taylor

text: Taylor had been friends with actor Joe Mantegna since they appeared together in 1969 in the musical "Hair". Taylor guest-starred in 2012 on "Criminal Minds"' eighth season in the episode "The Fallen", opposite Mantegna as Harrison Scott, Rossi's former Marine sergeant with whom he served in Vietnam. In January 2014, he reprised this role in "The Road Home" which aired January 22, 2014, just five months before his death. Mantegna led a "Criminal Minds" tenth season episode "Anonymous", to honor Taylor on January 21, 2015.


title: Meshach Taylor

text: Taylor married actress Bianca Ferguson in 1983. He had four children, three with Bianca and one from a previous marriage. His children are daughters Tamar, Esme and Yasmine and son Tariq; he had four grandchildren.


title: Meshach Taylor

text: Taylor died of colorectal cancer on June 28, 2014, at his home in Altadena, California. Taylor was survived by his wife, his four children, his mother Hertha Ward Taylor, two siblings, and four grandchildren. A memorial service to celebrate his life was held at Forest Lawn Memorial Park (Hollywood Hills) on July 6, 2014.


title: Don't Cry for Me Argentina

text: "Don't Cry for Me Argentina" is a song recorded by Julie Covington for the 1976 concept album "Evita", later included in the 1978 musical of the same name. The song was written and composed by Andrew Lloyd Webber and Tim Rice while they were researching the life of Argentine leader Eva Perón. It appears at the opening of the first and second acts, as well as near the end of the show, initially as the spirit of the dead Eva exhorting the people of Argentina not to mourn her, during Eva's speech from the balcony of the Casa Rosada, and during her final broadcast.


title: Don't Cry for Me Argentina

text: The "Evita" album had taken 3–4 months to record, since Rice was not satisfied with the intensity of the initial recordings. The song had a number of different titles before "Don't Cry for Me Argentina" was chosen as the final one. The song shares its melody with "Oh What a Circus" from the same show and lyrically consists of platitudes where Eva tries to win the favour of the people of Argentina. It was released in the United Kingdom on 12 November 1976 as the first single from the album, accompanied by national and trade advertising, full-colour posters, display sleeves as well as radio interviews.


title: Don't Cry for Me Argentina

text: The song reached number one on the UK Singles Chart and earned a gold certification from the British Phonographic Industry (BPI), with over a million copies sold. It also reached the top of the charts in Australia, Belgium, Ireland, New Zealand and the Netherlands. "Don't Cry for Me Argentina" was critically appreciated, with Rice and Lloyd Webber winning the 1977 Ivor Novello award in the category of Best Song Musically and Lyrically. When "Evita" moved to a London theatre, Covington—who had become disenchanted with the whole project—refused to reprise the part of Eva, and the role went to Elaine Paige. "Don't Cry for Me Argentina" has been covered by multiple artists, including The Carpenters, Olivia Newton-John, and Sinéad O'Connor as well as actors Lea Michele and Chris Colfer from the TV series "Glee".


title: Don't Cry for Me Argentina

text: In 1996, American singer Madonna played the title role in the film adaptation of the musical and recorded her rendition of "Don't Cry for Me Argentina". Released as the second single from the film soundtrack on 16 December 1996, her version received positive reviews from music critics who praised her vocal performance. A separate version called the "Miami Mix", which included re-recorded vocals in English and Spanish and an Argentinian bandoneon, was promoted to radio. Madonna's version reached number one on the European Hot 100 Singles chart and the national charts of the Czech Republic, France, Hungary, and Spain. It also became a top-ten hit on the US "Billboard" Hot 100 and many other charts worldwide, while attaining gold or platinum in six countries.


title: Don't Cry for Me Argentina

text: "Don't Cry for Me Argentina" was written by Andrew Lloyd Webber and Tim Rice while they were developing "Evita" in 1976. Both were extremely intrigued by the stories surrounding the life of Eva Perón while researching her during the mid-1970s. "Evita" was initially produced as an album, before being adapted for the stage, following a formula that Lloyd Webber and Rice had employed during the production of "Jesus Christ Superstar", their previous musical. The duo had written the songs for a female singer with good vocals.


title: Don't Cry for Me Argentina

text: Rice and Lloyd Webber's research showed that Eva had not in reality delivered any major oration on the day of her husband Juan Perón's inauguration ceremony, but not long after becoming Argentina's new First Lady she started making highly emotional speeches, the intensity of which they wanted to capture with "Don't Cry for Me Argentina". The song was composed to appear at the opening and near the end of the show, initially as the spirit of the dead Eva exhorting the people of Argentina not to mourn her, and finally during Eva's speech from the balcony of Casa Rosada. Its melody is similar to the opening song of the musical, "Oh What a Circus", which puts emphasis on Eva's funeral. As "Oh What a Circus" ended with the character Che's sarcastic questioning of the mourning behind Eva's death, "Don't Cry for Me Argentina" started with only few lines being sung, while the rest of the song was reserved for the finale.


title: Don't Cry for Me Argentina

text: After the song was composed, Lloyd Webber and Rice were struggling to find a suitable musical actress for the songs and the titular role, since the only one they knew, Yvonne Elliman, had moved to the United States. One day they were watching the British musical television show, "Rock Follies", where they noticed actress and singer Julie Covington, who played an aspiring rock musician. Covington had played in London musicals like "Godspell", and her acting abilities in "Rock Follies" convinced Rice and Lloyd Webber to sign her for "Evita".


title: Don't Cry for Me Argentina

text: Covington was extremely intrigued by their proposal, considering Eva Perón to be a non-commercial idea for a musical. Nevertheless, she thought that the songs were great compositions and signed on for recording them. Lloyd Webber and Rice immediately started recording, and the first demos were those of "Don't Cry for Me Argentina", "I'd Be Surprisingly Good for You" and "Buenos Aires", with just piano as an accompaniment. They moved on to sign a deal with MCA Records, to release an album based on the songs, however with extremely poor royalty rates since the record company executives did not expect the album to be a success. In the meantime, singers for all the other roles of the musical were also signed, and the cast moved to Olympic Studios in 1975 to start recording.


title: Don't Cry for Me Argentina

text: Personnel working on the "Evita" album included recording engineer David Hamilton-Smith, Simon Philips on drums, Mo Foster on bass, Joe Moretti and Ray Russell on guitars and Anne Odell on keyboards. David Snell played the harp while Anthony Bowles conducted the London Philharmonic Orchestra, while another choir called the London Boy Singles was directed by Alan Doggett. Members of The Grease Band, including bassist Alan Spenner and rhythm guitarist Neil Hubbard, also played on the album. It took a total of 3–4 months to finish the recording.


title: Don't Cry for Me Argentina

text: The intensity which Rice looked for in the track was not immediately achieved during recording, because it is a sentimental ballad and because of its lyrics. As the delivery date of the recording approached, they got more tense since most of the album was put together. Only this song was left as they could not decide on the final title, and Rice tried out names which did not make sense within the political and dramatic atmosphere of the story. They had initially tried out various lyrics as the main hook and title of the song including "It's Only Your Lover Returning" and "All Through My Crazy and Wild Days" amid fears that mentioning Argentina would reduce the commercial appeal. Rice recalled, "What a crass decision! It was probably the only time (honest) that I had made the mistake of caring more about a lyric's potential outside the show than its importance within it, and as a result both song and show suffered." Covington had already recorded the phrase "Don't Cry for Me Argentina" for using it in the beginning of the show. Shortly before the album was finally mixed, Lloyd Webber suggested to Rice that the line also worked as the title of Eva's speech. As soon as Covington recorded with the new name, the song fit "perfectly" in the mood of the sequence and was included in the album.


title: Don't Cry for Me Argentina

text: The title of the song comes from an epitaph on a plaque at Eva Perón's grave in the La Recoleta Cemetery in Buenos Aires. The plaque was presented by the city's taxi drivers' union and roughly translates as: "Don't cry for me Argentina, I remain quite near to you." Roger Ebert of the "Chicago Sun-Times" wrote "For years I have wondered, during 'Don't Cry for Me, Argentina,' why we were not to cry. Now I understand: We need not cry because (a) Evita got everything out of life she dreamed of, and (b) Argentina should cry for itself. Even poor Juan Peron should shed a tear or two; he is relegated...to the status of a 'walker,' a presentable man who adorns the arm of a rich and powerful woman as a human fashion accessory." The song's lyrics are a "string of meaningless platitudes" according to Rice, who felt that it worked as an emotionally intense but empty speech by a "megalomaniac woman" trying to win the favor of the Argentines. It features the lyrics "And as for fortune, and as for fame / I never invited them in / Though it seemed to the world they were all I desired / They are illusions".


title: Don't Cry for Me Argentina

text: Lloyd Webber's orchestral accompaniment added a different level to the track, with its composition consisting of pizzicato strings, and its flowing tempo introducing Covington's opening vocals. The song jumps from being light to heavy and extravagant, with one section of it being hummed by choral voices. As the final lyrics goes, "But all you have to do is look at me to know / That every word is true" is sung, the London Philharmonic Orchestra comes into play with a huge climax and ends. According to the sheet music published by Music Sales Group, the song starts with a sequence of G/D–A/D–D–Bm/D, changes to E–E/D–A/C–E–A–D, with the chorus featuring a chord progression of A–Bm–Dmaj–Gmaj–G–Fm. The song is composed in the key of C major with Covington's vocals spanning from the nodes of E to G. According to Snelson the song is not only based on J.S.Bach's Prelude in C Major but also on Gounod's Ave Maria adaptation.


title: Don't Cry for Me Argentina

text: Following the completion of the recording of the album, the "Evita" team switched on to full promotion of the release, with photographer Tony Snowdon shooting the promotional pictures. The single version of "Don't Cry for Me Argentina" was released in the United Kingdom on 12 November 1976, accompanied by national and trade advertising, full-colour posters, display sleeves as well as radio interviews. Another song from the musical, "Rainbow High", was listed as its B-side. MCA marketing manager Stuart Watson explained to "Billboard" that their chief goal was to "get an explanation of the story of Eva Perón over to the public". The song received critical appreciation, with "The Sunday Times" calling it a "masterpiece". However, Rice and Lloyd Webber felt that they needed more promotion to reach the general audience who would buy the record. They had initially decided for a number of television show appearances and performances, but Covington was uninterested in the project altogether and refused to promote it further. Her reasons included wanting to perform the song with the same studio orchestra and accompaniments, and she was also against a single release from the album.


title: Don't Cry for Me Argentina

text: The song was never performed live on British music show, "Top of the Pops", since Covington refused and whenever it was featured on the show, a montage of images of the real Eva was shown in the backdrops. However, during the week it was number one, she appeared in the audience. Rice and Lloyd Webber then targeted BBC Radio 1, which was in its infancy, but still popular among the general crowd. They had a fairly tight selection of songs they aired on their channels, and Radio 1 completely refused to add "Don't Cry for Me Argentina" in their playlists. Rice and Lloyd Webber panicked and were almost on the verge of releasing another track from "Evita" called "Another Suitcase in Another Hall", recorded by Barbara Dickson, as the second single. But Radio 1 finally relented and started playing the song due to positive response from audiences.


title: Don't Cry for Me Argentina

text: "Don't Cry for Me Argentina" debuted at number 37 on the UK Singles Chart on the week ending 25 December 1976. It started climbing up the chart but for 3 weeks it was kept from reaching the top spot by David Soul's "Don't Give Up on Us". On the week ending 12 February 1977, the song reached the top of the charts. It was first certified silver in January 1977, and then certified gold a month later by the British Phonographic Industry (BPI), selling almost one million physical copies in the United Kingdom. Together with digital sales since it has sold about 1.01 million copies according to the Official Charts Company. The single also reached the top of the charts in Australia, Belgium, Ireland, New Zealand and Netherlands; in the latter country it sold around 100,000 copies. Seeing the success of the single, Rice and Lloyd Webber proceeded with promoting the song in the United States. However, the personnel at MCA Records' US office were not able to come to terms regarding how to promote the adult contemporary oriented track; it was ultimately never sent to Top 40/CHR radio, and did not appear on any US charts.


title: Don't Cry for Me Argentina

text: When the cast of the London musical version of "Evita" was being decided, Rice and Lloyd Webber naturally approached Covington to play the titular role. However, she chose not to reprise the role. Producer Hal Prince wanted to cast a relatively unknown actress to play Eva, and thus Elaine Paige was signed for the part. In 1977, Rice and Lloyd Webber received the Ivor Novello award in the category of Best Song Musically and Lyrically. During the 1982 Falklands War between the United Kingdom and Argentina, the song was sometimes played sarcastically by British regimental bands as they deployed to the Falklands. They changed the lyrics, singing it as "You don't frighten me Argentina / The truth is we will defeat you / We'll sink your carrier, with our Sea Harrier / And with our Sea Kings subs'll be sinking". At the same time the Covington recording was banned from play on the BBC. In the Philippines, the presentation of the musical was repressed during the dictatorship (1972–86) of President Ferdinand Marcos, due to the perceived similarities between the First Lady Imelda Marcos and Eva Perón. In the United States, the song is also closely linked with Patti LuPone, who performed the role of Eva in the original Broadway production of the show.


title: Don't Cry for Me Argentina

text: In 1996, Madonna starred in the film "Evita", playing the titular role. For a long time, Madonna had desired to play Eva and even wrote a letter to director Alan Parker, explaining how she would be perfect for the part. After securing the role, she underwent vocal training with coach Joan Lader since "Evita" required the actors to sing their own parts. Lader noted that the singer "had to use her voice in a way she's never used it before. "Evita" is real musical theater — it's operatic, in a sense. Madonna developed an upper register that she didn't know she had." From the moment she was signed in the film, Madonna had expressed interest in recording a dance version of "Don't Cry for Me Argentina". According to her publicist Liz Rosenberg, "since [Madonna] didn't write the music and lyrics, she wanted her signature on that song... I think on her mind, the best way to do it was go in the studio and work up a remix".


title: Don't Cry for Me Argentina

text: For this, in August 1996, while still mixing the film's soundtrack, Madonna hired remixers Pablo Flores and Javier Garza. According to Flores, the singer wanted something that "would be dance but faithful to the movie and to Argentina with a latin feel". Madonna herself said she wanted the remix to have a "Latin flavor and elements of Tango music". The mix was completed in two weeks at Miami and Los Angeles. Madonna had to re-record the vocals of the track in English and Spanish, while an Argentinian bandoneon was added to the song's intro. Named the "Miami Mix", it was sent to radio stations and DJs on late December 1996. The song was officially released as the soundtrack's second single on 16 December 1996 in the United Kingdom, while in the United States, the track was released on 11 February 1997. Barney Kilpatrick, VP of promotion for Warner Bros. Records, said that "the only reason this mix is being done was to accommodate Top 40 radio [...] since we have a two-disc soundtrack, we're interested in selling albums, not singles". Warner Bros wanted to create buzz for the film with the song, not the single remix. There were also talks of releasing an "Evita" EP, containing remixes of "Buenos Aires", "Don't Cry for Me Argentina" and "Another Suitcase in Another Hall", but it never materialized.


title: Don't Cry for Me Argentina

text: Recording sessions for the film's songs and soundtrack began in September 1995, and took place at the CTS Studios in London with Madonna accompanied by co-actors Antonio Banderas and Jonathan Pryce. However, trouble arose as Madonna was not completely comfortable with laying down a "guide vocal" simultaneously with an 84 piece orchestra inside the studio. She was used to singing over a pre-recorded track and not have musicians listen to her. Also, unlike her previous soundtrack releases, she had little to no control over the project; "I'm used to writing my own songs and I go into a studio, choose the musicians and say what sounds good or doesn't [...] To work on 46 songs with everyone involved and not have a big say was a big adjustment", she recalled. An emergency meeting was held between Parker, Lloyd Webber and Madonna where it was decided that the singer would record her part in a more contemporary studio while the orchestration would take place somewhere else. She also had alternate days off from the recording.


title: Don't Cry for Me Argentina

text: According to the singer, she was very nervous during the first day of recording. She allegedly found herself "petrified" when it came to doing the song; "I had to sing 'Don't Cry For Me Argentina' in front of Andrew Lloyd Webber [...] I was a complete mess and was sobbing afterward. I thought I had done a terrible job", she recalled. The final version recorded had many similarities to the original version by Covington, although it had a much faster pace and was created as an orchestral pop to cater to the contemporary music scene. According to the sheet music published by Musicnotes.com, Madonna's version of the song is set in common time, with a slow groove tempo of 90 beats per minute. Madonna's vocals on the song span from G to C. The song follows a basic sequence of C–F–C when Madonna sings "It won't be easy, you'll think it strange", and changes to G–C on the second verse.


title: Don't Cry for Me Argentina

text: Upon release, the song generally received positive feedback. J. D. Considine, from "The Baltimore Sun", said it was one of the "big songs" from the soundtrack. Peter Keough, from the "Boston Phoenix", praised Madonna's "stunning delivery" of the track. He wrote: "[Madonna] sings a softly lush soprano that captures Evita's quiet vulnerability. Her full-lipped, precise notes stride across the song's grandiose orchestrations. Webber's songs allow her all the room she needs to be many things; she succeeds at them all". Greg Kot from the "Chicago Tribune", opined that "her interpretation of the show-stopper 'Don't Cry for Me Argentina' doesn't try to outreach the many previous versions, but instead brings it back to earth with a low-key dignity". Robert Christgau called it a "dismal track" and criticized its mixing. Writing for "Entertainment Weekly", Chuck Arnold opined that "while credible, [Madonna's rendition] was not going to make anybody forget Patti Lupone". "The Guardian"s Jude Rogers wrote: "Sorry Andrew Lloyd Webber, but it's no 'Live to Tell'"; nonetheless, she praised the singer's vocal capacities. A very positive review came from the "Hartford Courant"s Greg Morago, who called the song "a calculated, theatrical triumph of shameless pandering and steely determination that parallels the pop diva's own rise to the top. Madonna makes this song her own; she was born to play the chignon-coiffed, diamond-studded Santa Evita". "The Huffington Post"s Matthew Jacobs considered it as one of Madonna's most important songs, a "stand-in for the transition from Sexy Madonna to Adult Madonna". Writing for the "Los Angeles Times", David Gritten opined that "show-stoppers like 'Don't Cry for Me Argentina', which need to be belted out, sound comfortable for her".


title: Don't Cry for Me Argentina

text: A reviewer from "Music Week" rated it five out of five, calling it "a strong and fairly faithful rendition". In her review of "Evita", Janet Maslin from "The New York Times" commented that the track was "tinglingly sung". A negative review came from "NME"s Alex Needham, who wrote; "by 1996 Madonna was fast turning into the pop equivalent of "Sunset Boulevard"s Norma Desmond, croaking, 'I'm still big! It's just the Top 40 that got small!", and that "Don't Cry For Me Argentina' stank then, stinks now". Author Lucy O'Brien wrote in the book, "", that although Madonna's vocals lacked emotional complexity in the tune, she nevertheless created a "compelling" version, "right up to its grand orchestral finale". George Hatza from "The Reading Eagle", said that "[Madonna] sings 'Don't Cry For Me Argentina' in a beautiful, soaring, goosebump-inducing contralto". Peter Travers from "Rolling Stone", wrote: "Madonna, to her credit, puts on quite a show. She sings. She tangos [...] She even belts out 'Don't Cry for Me Argentina' to prove she's just folks". Sal Cinquemani from "Slant Magazine" commented: "Easily one of Madonna's greatest vocal performances to date, the singer's dramatic interpretation of Evita's unofficial theme song was both loyal and bizarrely autobiographical". "Spin"s Annie Zaleski wrote that the "nuanced but proud" rendition of the song "marked the start of Madonna’s Serious Phase, one where she balanced youthful coquettishness with a more mature, introspective outlook". J. Randy Taraborrelli, author of "", wrote that "As Evita Perón [...] she is supple and strong, and doesn't sound at all out of place".


title: Don't Cry for Me Argentina

text: AllMusic's Jose F. Promis praised the "Miami Mix" version of the song; "['Don't Cry For Me Argentina'] was transformed into a passionate, flowing dance number", highlighting Madonna's "truly impassioned performance which infuriated musical purists but delighted her fans and public alike". In 2017, "Billboard" ranked the "Miami Mix" as the 95th greatest pop song of 1997; Andrew Unterberger wrote that the remix "is just as responsible for the song's chart success as Madonna's Celine Dion vocal ambitions, taking the song from the balcony to the dance floor and giving it back to the people". In 2018, the same magazine called the remix "a weirdly enjoyable menage à trois between Broadway, Latin and club music, with a pounding beat and lively tango that flourishes with Madonna’s earnest delivery". Similarly, Medium's Richard LaBeau deemed the remix "bizarre in theory but works terrifically in execution".


title: Don't Cry for Me Argentina

text: In the United States, the popularity of the "Miami Mix" version of the song enabled it to become the song with the most radio adds, and jumped to number 18 on the Hot 100 Airplay chart. Demand for the song continued to increase forcing Warner Bros. to release the CD single, and the song becoming eligible to chart. It debuted on the "Billboard" Hot 100 at number 17 the week of 22 February 1997, selling 46,000 units in its first-week. The single ultimately peaked at number 8 the week of 1 March 1997. "Don't Cry for Me Argentina" reached number 1 on the European Hot 100 Singles, the week of 8 February 1997. The track also ranked within the top 20 of "Billboard"s Adult Contemporary and Adult Top 40 charts while the "Miami Mix" reached the top of the "Billboard" Hot Dance Club Songs chart. It ranked at number 87 on the year end chart for 1997. In Canada, the song debuted on the "RPM" Top Singles chart at number 34, the week of 10 March 1997. It ultimately reached a peak of number 11, the week of 7 April 1997. In the United Kingdom, the song reached number 3 on the week of 28 December 1996, and was present on the top 100 for a total of 13 weeks. The song was certified gold by the British Phonographic Industry (BPI) on 19 November 2021 for sales and streams exceeding 400,000. In Italy, it reached the second position on the "Musica e dischi" chart. In Australia, "Don't Cry for Me Argentina" peaked at number 9 on the ARIA Singles Chart, staying on this position for one week and a total of 13 weeks on the chart. On the year-end ARIA charts, the song ranked at number 56. In France, it topped the SNEP Singles Chart for one month. In Ireland, the song peaked at number 8, the week of 19 December 1996. The single also proved to be a commercial success in other countries such as Belgium, Germany, Spain and the Netherlands, where it managed to have top 5 placement.


title: Don't Cry for Me Argentina

text: No official video was shot for the song. Instead, the scene from the movie, where Eva performs the song at the balcony of the Casa Rosada, was used. In 1993, two years before being cast in "Evita", Madonna performed an impromptu version of the song during her first visit to Argentina with The Girlie Show World Tour. Eight years later, on her 2001 Drowned World Tour, an instrumental version of the song was used as an interlude, featuring several dancers doing a Tango number. The performance on 26 August 2001, at The Palace of Auburn Hills, outside of Madonna's hometown of Detroit was recorded and released in the live video album, "Drowned World Tour 2001". On the Buenos Aires stop of her Sticky & Sweet Tour in December 2008, after performing "You Must Love Me", Madonna also performed "Don't Cry for Me Argentina" as scenes from "Evita" played on the backdrop screens. The performances of both songs in the city were recorded in the live DVD titled, "Sticky & Sweet Tour" (2010). The singer once again performed the song in Argentina during The MDNA Tour in December 2012. For the performance, she had the word "Eva" painted across her back. Madonna also did a "passionate rendition" of "Don't Cry for Me Argentina" during the Miami stop of her Rebel Heart Tour on 23 January 2016, accompanied by acoustic guitar. On 6 December, Madonna performed "Don't Cry for Me Argentina" during the Carpool Karaoke segment of "The Late Late Show with James Corden".


title: Don't Cry for Me Argentina

text: "Don't Cry for Me Argentina" has been recorded by a number of actors portraying Eva Peron in subsequent productions of "Evita" including Elaine Paige (1978 Original London Cast Recording), Patti LuPone (1979 Original Broadway Cast Recording) and Elena Roger (2006 London Cast and 2014 Broadway Cast Recordings). Marti Webb, who succeeded Elaine Paige in the original London production of "Evita", covered the song on her album "Won't Change Places", produced by Andrew Lloyd Webber in 1981, and also included it in 1995 on the album, "Music and Songs from Evita". AllMusic's Joe Francis complimented the recording.


title: Don't Cry for Me Argentina

text: The Carpenters recorded the song for their 1977 album, "Passage", coupled with "On the Balcony of the Casa Rosada" which precedes it in the musical's score. The same year, Olivia Newton-John released the song as a single from her tenth studio album, "Making a Good Thing Better". In 1978, the Shadows recorded an instrumental version that reached number five on the UK Singles Chart. Also in 1978 Shirley Bassey recorded the song for her album, "The Magic Is You". Simon Gage from the "Daily Express" praised the rendition, saying that Bassey "more than covers the ground" with it. She recorded it again in 1993 for her album "Sings the Songs of Andrew Lloyd Webber". Singer Tom Jones' interpretation of the song on his 1979 album, "Rescue Me", received negative reviews, with biographer Lucy Ellis describing it as "the most ludicrous massacre on the LP". American disco group Festival (produced by Boris Midney) released a version in 1979, the single from an entire LP of disco covers of songs from "Evita"; it reached 72 on the "Billboard" Hot 100. Paloma San Basilio performed the song when she played the titular role on the Spanish adaptation of the musical in 1980. Nacha Guevara, who also starred in the musical in 1986, has performed the song live several times.


title: Don't Cry for Me Argentina

text: Singer Sinéad O'Connor recorded "Don't Cry for Me Argentina" on her album "Am I Not Your Girl" (1992). Her version received mixed response, with Joy Press from "Spin" who described the rendition as "a melodramatic, sweeping 'Je ne regrette rien'—style apologia. O’Connor had a calling. Obsessed with purity and truth, she pitched herself somewhere between Christ and the Virgin Mary, as an asexual visionary whose suffering was Inextricably Intertwined with the pain of Ireland and of the world." Released as a CD maxi single, the song reached number 31 in Belgium Flanders and number 44 in Netherlands. An easy listening cover version of the song by The Mike Flowers Pops reached number 30 in the UK singles charts in 1996. A punk rock version was recorded by alternative band Me First and the Gimme Gimmes in 1999 for their second studio album, "Are a Drag". Angus Cargill, author of "Hang the DJ: An alternative book of music lists" was shocked by the complete revamp of the song as punk rock, saying that "there's a dark appeal in here, like the thought of taking a cattle prod to your grandma's".