title: John Herdman

text: Herdman began coaching football at a young age in England, while he was a student and part-time university lecturer at Northumbria University. He was a development coach for Sunderland's youth academy until 2001, when he moved to New Zealand.


title: John Herdman

text: Herdman arrived in New Zealand and joined the national association football programme in 2003, initially acting as Coach Education Manager and later as the Director of Football Development. Herdman was head coach for the New Zealand women's national football team from 2006 to 2011. Working with the national women's teams, he led the U-20 squad to the World Championship in 2006 and the later renamed U-20 World Cup in 2010. He also guided the senior squad to the FIFA Women's World Cups in 2007 and 2011 as well as the 2008 Summer Olympics in Beijing.


title: John Herdman

text: During his time in New Zealand, Herdman played amateur football for NRFL Division 2 club Hibiscus Coast.


title: John Herdman

text: Herdman took over for the Canada women's national soccer team in 2011 from Carolina Morace after Canada finished last in their 2011 FIFA Women's World Cup group. Shortly after, he led them to a gold medal finish at the 2011 Pan American Games in Mexico. He guided the team through the CONCACAF Olympic qualifying tournament in Vancouver, Canada, securing one of two qualifying spots for the 2012 Olympic Games in London that summer, where they won the bronze medal. At the 2015 FIFA Women's World Cup in Canada, Herdman guided Canada to a first place finish in their group, eventually getting eliminated in the quarter-finals, a 2–1 loss to England. The team retained their bronze medal at the 2016 Olympic Games in Rio de Janeiro.


title: John Herdman

text: On 8 January 2018, Herdman was named head coach of the Canada men's national soccer team. He "also becomes men's national director, with responsibility for all age groups from under-14s upward".


title: John Herdman

text: In 2021, he guided the team up the FIFA World Rankings from 72nd to 40th, its highest position to date, to earn the team the honour of "Most Improved Side" of the year. On 10 February 2022, he improved Canada to 33rd in the FIFA World Rankings.


title: John Herdman

text: On 27 March 2022, he led the team to qualify for the 2022 FIFA World Cup, its first World Cup in 36 years, becoming the first manager to have successfully led both the national women's and men's teams of a nation to qualify for a World Cup. Canada's first match of the tournament against Belgium on November 23 ended in a 1–0 loss, despite Canada dictating most of the play, and failing to convert any of their 22 shots, including a penalty shot. Four days later, Canada lost 4–1 to Croatia, despite scoring first, eliminating Canada from the tournament after two matches. Canada were defeated 2–1 by Morocco in their final group match on December 1, finishing in last place with zero points.


title: John Herdman

text: Herdman is originally from Consett, County Durham, England. Herdman is married to his childhood sweetheart, Claire, and has two children, Lilly and Jay who plays in the Vancouver Whitecaps development system, as well as the New Zealand U20 team.


title: Kick (2009 film)

text: "Kick "is a 2009 Indian Telugu-language action comedy film directed by Surender Reddy from a story by Vakkantham Vamsi. The film stars Ravi Teja, Ileana, and Shaam (in his Telugu debut) while Brahmanandam plays a supporting role. The film has music composed by S. Thaman. Released worldwide on 8 May 2009, the film is a commercial success.


title: Kick (2009 film)

text: The film is remade in Tamil as "Thillalangadi" (2010), in Hindi with the same name and in Kannada as "Super Ranga" (2014). A sequel, "Kick 2" also starring Teja and directed by Reddy was released in 2015.


title: Kick (2009 film)

text: Kalyan is a happy-go-lucky youth who excels in every field but always does strange and dangerous things to obtain a certain "kick"– a thrill or excitement that he craves. One such activity is secretly double-crossing his childhood friend Azam while helping him elope. At this point, he meets Naina, who is shocked at his recklessness and writes him off as crazy. Kalyan sets his sights on Naina and woos her in a very unorthodox way; he begs her "not" to fall in love with him. After a host of comical situations. Naina accepts Kalyan's love. However, she sets a condition: Kalyan must stay in a well-paying job (he had resigned from other jobs due to lack of "kick"), and only then will she agree to marry him. Kalyan accepts, but soon resigns again for the same reason and tries to hide it from Naina. When Naina finds out, she breaksup and leaves him for good.


title: Kick (2009 film)

text: Some months later, Naina's parents arrange for her to meet a prospective suitor in Malaysia. Though reluctant, she meets the suitor Kalyan Krishna, a tough but honest policeman. She narrates the story of her affair with Kalyan, and Kalyan Krishna reveals that he is tracking a dangerous thief who has stolen large amounts of money from wealthy (mostly corrupt) politicians. At Malaysia, Nisha, her sister, and Kalyan Krishna's brother-in-law Prakash Raj run into Kalyan again, but learn that he has lost his memory and cannot remember his past life. Naina sees this as an opportunity to start their relationship again from the scratch. However, it is revealed that Kalyan has faked his condition by convincing an amnesiac that he is a doctor, and tricked him into diagnosing his condition falsely. Naina is upset but realizes that it was done due to his love for her, and she has hidden her own feelings from him. They reconcile.


title: Kick (2009 film)

text: Meanwhile, it is revealed that the thief whom Kalyan Krishna has been tracking is Kalyan. His motives are simple; he steals ill-gotten money from politicians to pay for operations of children suffering from cancer. After manipulating various people, such as an MLA, and stealing from them, he is finally caught in the act by Kalyan Krishna. Kalyan is still unfazed, celebrating his failure at a street party. He dares Kalyan Krishna to catch him in his final crime: stealing money worth from the party fund. After many harrowing chases, Kalyan pulls it off successfully. Kalyan Krishna is demoted from his job and is shocked to learn that his replacement is Kalyan, who promises to "guard" the minister's remaining money. Knowing what is in store for the politicians, Kalyan Krishna leaves with a new respect for his foe after learning his true motives for helping the children.


title: Kick (2009 film)

text: In 2009 prior to the release of the film "Agam Puram" (2010), Surender Reddy chose Tamil actor Shaam to play a cop in the film "Kick" upon looking on stills from that film. Shaam learned Telugu for the film.


title: Kick (2009 film)

text: Kick received widely positive reviews. A critic from Sify.com gave a review stating "The film has been made well but it could have better scenes. Overall, since there are no other movies in sight now, "Kick" being a paisa vasool movie will definitely have a good run at the box office". A critic from Indiaglitz.com gave a review stating "The film attempts to provide complete entertainment from start to end and except two scenes where there is a sentiment and melodrama, the rest of the movie runs mostly on comedy and action along with few thrills and twists. But then the movie could have been a lot better if the speed was worked upon and also the fights were not much in the movie which could have pushed in more adrenaline. Good mix of various elements, can be watched."


title: Kick (2009 film)

text: Shaam, a Tamil actor, got his breakthrough in the Telugu film industry through this film and as a result, he earned the name "Kick" Shaam.


title: Kick (2009 film)

text: Sajid Nadiadwala intended to remake this film with A. R. Murugadoss as director. Nadiadwala received an invitation from the Korea Tourism Organization, and after his team visited South Korea in September 2011, he signed an agreement to shoot portions of this project and others in that country. Salman Khan and Jacqueline Fernandez have signed on to act in the film, which was directed by Nadiawala.


title: Kick (2009 film)

text: A sequel was announced, titled as Kick 2, with the same lead actor Ravi Teja, director Surender Reddy. Music was again composed by S. Thaman. The film is produced by actor Nandamuri Kalyan Ram. It was launched on 10 August 2014 and was released worldwide on 21 Aug 2015.


title: Who shot J.R.?

text: "Who shot J.R.?" is an advertising catchphrase that American network CBS created in 1980 to promote the television series "Dallas". It referred to the mystery surrounding a murder attempt against villain J.R. Ewing (Larry Hagman) in the show's third-season finale "A House Divided". The mystery and its catchphrase became a global phenomenon, with international odds-makers setting odds for the culprit. The mystery was not resolved until the fourth episode of the fourth season titled "Who Done It" which aired eight months later, with an estimated 83 million American viewers tuning in, one of the most watched television broadcasts of all time. The catchphrase has a strong legacy in pop culture and the format helped popularize the cliffhanger ending for television series.


title: Who shot J.R.?

text: In the final scene of the 1979–80 season, J.R. Ewing (Larry Hagman) hears a noise outside his office, walks out to the corridor to look, and is shot twice by an unseen assailant. The episode, titled "A House Divided", was broadcast on March 21, 1980, and was written by Rena Down and directed by Leonard Katzman. Viewers had to wait all summer to learn whether J.R. would survive, and which of his many enemies was responsible.


title: Who shot J.R.?

text: J.R. Ewing was a villain on the series who regularly double-crossed business associates, plotted against his own family, called his wife Sue Ellen (Linda Gray) a "slut", and had her committed to a sanatorium so he could take custody of their infant son John Ross. Essentially all the other characters on the show were suspects.


title: Who shot J.R.?

text: Ultimately, in the "Who Done It?" episode which aired on November 21, 1980, the person who pulled the trigger was revealed to be Kristin Shepard (Mary Crosby). Kristin was J.R.'s scheming sister-in-law and mistress who shot him in a fit of anger. J.R. did not press charges, as Kristin claimed she was pregnant with his child as a result of their affair.


title: Who shot J.R.?

text: Hagman had begun "Dallas" as a secondary character, but by 1980 he was the star. Advised by friend Carroll O'Connor that the shooting had made him very valuable, Hagman demanded a raise. While negotiating with the actor, CBS prepared to replace him by having J.R. receive facial reconstructive surgery (despite having received the bullet in his stomach). Production for the 1980–81 season began in June 1980 without Hagman. He returned to work ten days later with a new contract that paid him $100,000 per episode and royalties from J.R. Ewing merchandise. Viewers had to wait an additional two months to find out the answer to the famous question, however, as a strike by the Writers Guild of America began in July that delayed the production of most new network shows by eight weeks. During the delay, CBS showed reruns of early "Dallas" episodes featuring J.R. Ewing, helping the show's many new fans better understand his character.


title: Who shot J.R.?

text: T-shirts printed with such references as "Who Shot J.R.?" and "I Shot J.R." became common over the summer. Several media outlets held "Who shot J.R.?" contests.


title: Who shot J.R.?

text: The media hype over the series was unprecedented and a global phenomenon. The Barron Knights used the melody and background music of the Gary Numan song "Cars" in "We Know Who Done It," their 1980 parody and spoof of 'Who shot J.R.?'. The episode also inspired a novelty record by radio personality Gary Burbank which reached No. 67 on the US "Billboard" Hot 100 in July 1980.


title: Who shot J.R.?

text: During the 1980 United States presidential election, the Republicans distributed campaign buttons that claimed "A Democrat shot J.R.", while Democratic incumbent Jimmy Carter joked that he would have no problem financing his campaign if he knew who shot J.R. When Hagman was offered £100,000 during vacation in the United Kingdom for the identity of the shooter, he admitted that neither he nor anyone in the cast knew the answer. Former president Gerald Ford unsuccessfully asked producer Leonard Katzman who the shooter was; he and Queen Elizabeth, The Queen Mother, were among the millions worldwide intrigued by the mystery. The crowd at the Royal Ascot yelled "J.R.! J.R.!" when Hagman arrived. Betting parlors worldwide took bets as to which one of the 10 or so principal characters had actually pulled the trigger.


title: Who shot J.R.?

text: Every actor and crew member—even Hagman himself—was filmed shooting J.R. to keep secret the identity of the actual shooter. International oddsmakers created a set of odds for the possible culprits:


title: Who shot J.R.?

text: The only characters never considered suspects were Lucy's parents, middle Ewing brother Gary (Ted Shackelford) and his wife Valene (Joan Van Ark), who were featuring prominently in California-based spin-off series "Knots Landing" at the time of J.R.'s shooting, making it impossible for either to be responsible. Similarly, ranch-hand Ray Krebbs (Steve Kanaly) had no established motive for the shooting, and was not considered a suspect by oddsmakers.


title: Who shot J.R.?

text: Oddsmakers in Las Vegas jokingly placed Tom Landry, the then-coach of the Dallas Cowboys football team, at 500-to-1 odds. Similarly, former Cowboys quarterback Roger Staubach was placed at 1000-to-1 odds. British disc jockey Terry Wogan, who famously referred to Lucy Ewing as "the poison dwarf", was placed at 1000-to-1 odds by British bookmakers.


title: Who shot J.R.?

text: Wogan was also put forward as a suspect in the "We Know Who Done It" novelty song, as were several other well-known personalities, including The Incredible Hulk, the Lone Ranger, television host Nicholas Parsons, poetry character Hissing Sid and octogenarian "Coronation Street" character Albert Tatlock (Jack Howarth). Burbank's song also suggested sportscaster Howard Cosell, presidential candidates Ronald Reagan and John B. Anderson, NBC's then-President Fred Silverman, J.R.'s infant son John Ross and even Satan as possible culprits.


title: Who shot J.R.?

text: "Who Done It?" was, at the time, the highest-rated television episode in U.S. history. It had a Nielsen rating of 53.3 and a 76% share, and it was estimated that 83 million people watched the episode, more than the number of voters in that year's presidential election. The previous record for a TV episode had been the 1967 finale for "The Fugitive". "Who Done It?" now sits second on the list, beaten in 1983 by the final episode of "M*A*S*H". In 2011, Ken Tucker of "Entertainment Weekly" named "A House Divided" number one of the seven most "Unforgettable Cliff-Hangers" of prime time dramatic television.


title: Who shot J.R.?

text: The episode was an international event, with more than 350 million people tuning in to find out who shot J.R. A session of the Turkish parliament was suspended to allow legislators a chance to get home in time to view the conclusion of the cliffhanger.


title: Who shot J.R.?

text: The great success of this 1980 stunt helped popularize in the United States the practice of ending a television season with a cliffhanger. In addition, the episode is credited with helping CNN, which began airing in June 1980, to get off the ground.


title: Who shot J.R.?

text: The "Who shot J.R.?" storyline was spoofed in the February 21, 1981, episode of "Saturday Night Live", which was guest-hosted by "Dallas" star Charlene Tilton. The episode, sometimes referred to as "Who Shot C.R.?", provided several cast members with various motivations to hate co-star Charles Rocket, who is shot in the episode. At the end of the episode, Rocket made the notorious ad-libbed comment "I'd like to know who the fuck did it", for which he was subsequently fired.


title: Who shot J.R.?

text: It was spoofed in an episode of "The Jeffersons" ("As Florence Turns"), when Florence writes a soap opera based on characteristics of "The Jeffersons" characters.


title: Who shot J.R.?

text: In 1990, the first season of "Twin Peaks" ended with numerous cliffhangers, the main one being Kyle MacLachlan's character, Agent Dale Cooper, being shot by an unknown assailant in a clear tribute to the earlier soap. The storyline wouldn't be resolved until more than halfway through the second season.


title: Who shot J.R.?

text: "Who shot J.R.?" was later spoofed in a 1995 "The Simpsons" episode entitled "Who Shot Mr. Burns?" which similarly provided many characters with motivation to kill Mr. Burns, and similarly ended on a cliffhanger. In the second part, it was revealed that Maggie Simpson had accidentally shot Mr. Burns in a struggle over a lollipop. Homer Simpson wears a shirt with the phrase written on it in the 1991 episode "I Married Marge".


title: Who shot J.R.?

text: In Larry Hagman's final episode of the 2012 sequel, "Dallas", which aired on March 4, 2013, J.R. was shot again, this time fatally. In the 2013 season 2 finale it was revealed that J.R. asked Steve "Bum" Jones to shoot him so his "masterpiece" could play out, framing Cliff Barnes for his murder. The main reason he had himself killed was because doctors told J.R. that he had only days to live; he was dying from cancer (as was actor Larry Hagman in real life). In his letter to Bobby he reveals all of this and that he wanted to die helping his family end the Ewing–Barnes feud once and for all. As J.R.'s son John Ross said "The only person that could take down J.R.—was J.R."


title: Who shot J.R.?

text: In the season 4 finale of "Jane the Virgin", Jane "J.R." Ramos (Rosario Dawson) shot a mystery person before "#JRShotWho?" appeared on the screen.


title: Who shot J.R.?

text: The character of Tom from the Irish television comedy series "Father Ted" is often pictured wearing an "I shot J.R." T-shirt.


title: Intellivision Amico

text: The Intellivision Amico is an upcoming home video game console that is being developed and marketed by Intellivision Entertainment. It was originally slated to be released in October 2020, but repeated delays followed, leaving the console without a release date.


title: Intellivision Amico

text: The Intellivision, which was a home console in the 1980s that sold 3 million units, was produced by Mattel. Tommy Tallarico, a video game composer, bought a stake in the company that owned the branding for Intellivision, and then in May 2018, announced a planned relaunch of the Intellivision (which would later be named the Amico). The console is planned to target families, and is set up to only allow family-friendly games in its library. Intellivision Entertainment is working with developers (including people who made games for the original Intellivision) to create games for the console. The Amico features touchscreen controllers that dock into the console itself for charging, and can be played using an app downloaded on phones. After facing supply chain issues because of the COVID-19 pandemic the console's release has been repeatedly delayed. Some journalists have criticized Intellivision's presentations and the console itself.


title: Intellivision Amico

text: In 2017, Tommy Tallarico, best known for creating the concert series Video Games Live, bought a stake in Intellivision Productions after the death of its former owner, Keith Robinson. Tallarico announced in May 2018 that he planned to relaunch the Intellivision, a home console from the 1980s that sold 3 million units in the early to mid-1980s, as a new, retro branded console. Tallarico noted to "Venture Beat" that the target audience was "the non-gamer, the family" and that he wanted "simplicity." In December 2018, the new Intellivision Entertainment company that Tallarico had founded announced a planned October 2020 release date, and revealed more proposed details about the console. The console's wireless controllers would have a touchscreen on them, and would allow smartphones to be used as controllers for games. Games would be required to have a maximum rating of E10+ on the ESRB ratings scale, meaning that games would be completely focused on targeting families. The console would have an RFID system in it that allows for payments from credit cards to be easily processed for new game purchases and allows easy sharing of games between consoles and friends. Tallarico announced that the company would be licensing Atari games for the console. An exclusive new "Earthworm Jim" game was also revealed to be in development for the console, and Intellivision Entertainment was paying a number of studios for exclusive games for the console. At this point in the development process, the price was expected to be priced between $149 and $179. At a conference in Dubai in 2019, Tallarico revealed that the company was launching a Dubai office and was planning on releasing the console at the same time in the Middle East as it was going to in the rest of the world.


title: Intellivision Amico

text: Pre-orders were opened in April 2020, and Intellivision Entertainment revealed that it had sold over 10,000 pre-orders of its "VIP edition" of the console; it was priced at $249 for black and white versions and $279 for a woodgrain version. The console received a further $5.5 million from a campaign on crowdfunding site Fig. An October 10, 2020 release date was announced. Tallarico noted that the company had to stop taking retail purchase orders because of supply chain issues caused by the COVID-19 pandemic, and had to make development kits by hand in California instead of the planned manufacture in China. Customers were required to place a refundable $100 deposit in order to reserve the consoles. IGN Middle East's Mufaddal Fakhruddin previewed an alpha version of the console in May 2021 and felt that the games "featured sharp visuals but they would be nothing your mobile phone would not be able to handle." Fakhruddin further noted that the touchscreen software seemed somewhat laggy and unresponsive when playing the game "Shark! Shark!", which according to a local representative of the company, was fixed in firmware updates for the retail builds. Fakhruddin felt that the console and its games were "fun and engaging", but "came away less than impressed with the controller", and questioned the Amico's price point at $250. In an interview with the author, Tallarico noted that he had "never experienced the slight delay issue on the controller screen menu of Shark! Shark! like you showed in your preview article," and emphasized that the console was still a work in progress.


title: Intellivision Amico

text: In May 2020, it was announced former Microsoft executive and Xbox co-founder J Allard had joined Intellivision Entertainment to serve as the company's global managing director, assisting the company in launching the Amico. He left months later and said the role was "not a good fit." Despite this, Tallarico noted the hiring of Allard during an investment call in March 2021 even though Allard had already left. This led to the U.S. Securities and Exchange Commission (SEC) to send a letter for clarification to Intellivision Entertainment to clarify when Allard had left the company.


title: Intellivision Amico

text: The console was delayed in August 2020 to a new release date of April 15, 2021 because of issues caused by the COVID-19 pandemic. In February 2021, Tallarico announced a further delay to October 10, 2021, because of continued supply chain issues. In 2021, it was revealed that Intellivision Entertainment had hired a number of the original creators of the Intellivision to remake their games for the new console. At an appearance at E3 2021, Tallarico announced a number of the games that would be coming to the console, and noted that although the pandemic had forced a delay of the console's launch, it also gave the company a chance to increase the amount of games available for the console. "Ars Technica"'s Sam Machkovech called the reaction to Tallarico's presentation a "resounding thud." The presentation showcased games that were already available as free web games, like a series of "Sesame Street" edutainment games. Eurogamer's Digital Foundry noted that a presentation by Intellivision Entertainment a couple of weeks later at Gamescom was extremely similar to a 2019 console reveal trailer the company had already released.


title: Intellivision Amico

text: In late June 2021, "Ars Technica"'s Sam Machkovech noted a number of issues with the Amico. They noted that older presentations had shown large amounts of lag and that photos of people playing the Amico at Tallarico's E3 presentation had all been photoshopped stock photos. Machkovech accessed the internal development portal for the Amico, and noted that the hardware specs for the console appeared to be especially weak compared to other consoles in the market (and the console itself was as powerful as a budget smartphone). The portal held game-design guidelines called the "Intellivision 10 Commandments of Game-Design" and Machkovech felt that the commandments felt more like a "Game Design 101" manual instead of anything specific to the Amico. Game pricing guidance in the internal portal limited the price point to a maximum of $10 per game, with no downloadable content allowed. After publication of Machkovech's piece, Tallarico attacked him directly on Twitter, alleging that "Ars Technica" and Machkovech had violated copyright law by posting the article based on private development information; Tallarico later deleted the tweets and apologized. Games were later announced as costing up to $20 per game in their physical versions.


title: Intellivision Amico

text: The Amico was further delayed yet again in August 2021 until the "end of the year" 2021, Intellivision said part of the problem was the global chip shortage. In September 2021, "Kotaku"'s Zack Zwiezen noted that a number of the games being released were not exclusive games, but instead iOS and Android game ports for the console. During a 2021 fundraising call, Tallarico announced that the company would take around 50% of revenues from third-party sales, much higher than the 15-30% Apple takes from developers on its App Store.


title: Intellivision Amico

text: In November 2021, it was revealed that the Amico game "Tank Battle" featured assets that were taken from the game "World of Tanks" and other 3rd party sources. A build of the console's operating system was released at the end of 2021, which "Ars Technica"'s Machkovech felt had significant flaws, including combining users' owned games and store options. Machkovech and Zwiezen begun to speculate that the console would not be able to release the necessary number of devices to reach its pre-order capacity; Intellivision reported 6,000 pre-ordered units at the time. Despite the console being unreleased, a pack of four physical games was released at US $79.99 (for the collectors edition US $149.99).


title: Intellivision Amico

text: In February 2022, Tallarico stepped down from his role as CEO of Intellivision, remaining on board as the company's president and largest shareholder. He was replaced by the company's former chief revenue officer Phil Adam. In a statement provided to "IGN", the company said the management shift was to better align its resources to face the new challenges of commencing production of the Amico. That same month, Intellivision began its fourth round of fundraising, acknowledging that the company has had zero revenue since 2018, and would require further investment to operate beyond July 2022. A proposed total of US $10 million would allow for "7 to 9 months" operation. Though it was planned to run for three months, Intellivision Entertainment closed three weeks after its commencement. A total of US $58,001 from 54 investors was raised. Machkovech said that Intellivision's decision to close the campaign early was "... as bright and red a flag as it gets in the world of unreleased tech hardware."


title: Intellivision Amico

text: In April 2022, some pre-orders of the Amico were cancelled, including some ordered via GameStop. In June, Intellivision cut staff and licensed IP, both aimed at keeping the project viable, with the company stating that it still aims to launch the console.


title: Intellivision Amico

text: On July 4, 2022, publications reported that the Intellivision Amico trademark had been abandoned. On July 7, 2022, an update by "Nintendo Life" to its July 4 article stated that the Intellivision Amico trademark was renewed, "rather than request a further extension on the existing trademark, Intellivision has instead opted to file for a brand new one as of June 30th, 2022."


title: Intellivision Amico

text: The console is based on an 8-core 1.8GHz Qualcomm Snapdragon 624 system on a chip with an Adreno 506 GPU. The system supports Bluetooth, Wi-Fi, RFID, HDMI out, a microSD card slot, a charging cradle for two Amico controllers on the top, passive cooling, and one USB-C port on the back for accessories and expansions. The body also features a built-in LED ambient lighting system with 40 independently controlled LEDs that can change pattern and color in response to gameplay, known as Interactive Guidance Lighting. The console will launch with five available colors: Glacier White, Graphite Black, Vintage Woodgrain, Galaxy Purple and GTO Red. The system has 32 GB of internal memory storage, and utilizes a custom Android/Linux operating system developed in-house.


title: Intellivision Amico

text: The system comes with two controllers, designed to be ambidextrous for right or left handed preference. The controllers charge in the cradle on top of the console, or via a wired USB-C connection. They charge in 2 hours, and can run for 4–6 hours on a full charge. They feature Bluetooth, speakers, a microphone, an accelerometer, gyroscope, and haptic force feedback. They also feature a color capacitive touch screen, a home button and a 64-way pressure-sensitive directional disc. Four oversized buttons are placed as two shoulder buttons each for right handed or left handed orientation. Each shoulder button features an LED light, and the disc is surrounded by a ring of eight LEDs. These LEDs, in addition to the LEDs on the console, have brightness settings, or can be turned off. The controllers come with wrist straps to prevent them from flying away during game action if not held securely. Two additional Amico controllers can be connected, and mobile devices emulating Amico controllers, using a free smartphone app, can connect through WiFi for a total of eight connected controllers.


title: Intellivision Amico

text: Developer information obtained by "Ars Technica" showed that the controller's touchscreen would operate at a framerate of "15-30+" frames per second, and any given game's content on the controller would be coded in SparkAce, an HTML/CSS hybrid with support for the PNG8 and Ogg Vorbis formats, and fit within 1 MB, which the document said was intended to reduce transfer times between the controller and console. Published specifications list the controller memory as 8MB RAM and 32 MB flash.


title: Intellivision Amico

text: Announced accessories include a bag to hold the console, a sleeve to protect the controller and ten themed packs of three controller skins.


title: Intellivision Amico

text: According to Tallarico, all games for the Amico will be both single player and multiplayer, with local cooperative play. Six games will come included with the Amico, and more than 20 additional games are expected to be available at launch. Five of the six included games have been announced as "Skiing", "Astrosmash", "Shark! Shark!", "Cornhole", and "Farkle", with the sixth game being a party game. Digitally downloaded games will generally be priced at $9.99 (€8.49) or less, while physical copies of games will be available at retail for US$19.99 (€17.99). In July 2021, the first 50,000 run of physical game products for both Europe and North America were manufactured.


title: Uta Hagen

text: Uta Thyra Hagen (12 June 1919 – 14 January 2004) was a German-American actress and theatre practitioner. She originated the role of Martha in the 1962 Broadway premiere of "Who's Afraid of Virginia Woolf?" by Edward Albee, who called her "a profoundly truthful actress." Because Hagen was on the Hollywood blacklist, in part because of her association with Paul Robeson, her film opportunities dwindled and she focused her career on New York theatre.


title: Uta Hagen

text: She later became a highly influential acting teacher at New York's Herbert Berghof Studio and authored best-selling acting texts, "Respect for Acting", with Haskel Frankel, and "A Challenge for the Actor". Her most substantial contributions to theatre pedagogy were a series of "object exercises" that built on the work of Konstantin Stanislavski and Yevgeny Vakhtangov.


title: Uta Hagen

text: She was elected to the American Theater Hall of Fame in 1981. She twice won the Tony Award for Best Actress in a Play and received a Special Tony Award for Lifetime Achievement in 1999.


title: Uta Hagen

text: Born in Göttingen, Germany, daughter of Thyra A. (née Leisner), a trained opera singer, and Oskar Hagen, an art historian and musician, Hagen and her family emigrated to the United States in 1924. Though shipping records indicate that he took a position at Cornell University, his new position was in fact at the University of Wisconsin–Madison. Uta was raised in Madison, Wisconsin. She appeared in productions of the University of Wisconsin High School and in summer stock productions of the Wisconsin Players. She studied acting briefly at the Royal Academy of Dramatic Art in 1936. After spending one semester at the University of Wisconsin–Madison, where her father was the head of the department of art history, she left for New York City in 1937. Her first professional role was as Ophelia opposite Eva Le Gallienne in the title role of "Hamlet" in Dennis, Massachusetts, in 1936.


title: Uta Hagen

text: Hagen was cast, early on, as Ophelia by the actress-manager Eva Le Gallienne. From there, Hagen went on to play the leading ingénue role of Nina in a Broadway production of Anton Chekhov's "The Seagull" which featured Alfred Lunt and Lynn Fontanne. It was 1938; Hagen was just 18. This experience left an indelible mark on the young actress, as she later reflected, "My next job was Nina in "The Seagull", [her Broadway bow] with the Lunts, on Broadway. That sounds incredible, too. They were an enormous influence on my life." She admired "their passion for the theatre, and their discipline. It was a 24-hour-a-day affair, and I never forgot it—never!" "The New York Times" critic Brooks Atkinson hailed her Nina as "grace and aspiration incarnate."


title: Uta Hagen

text: She played George Bernard Shaw's "Saint Joan" (1951) on Broadway, and Desdemona in a production which toured and played Broadway, featuring Paul Robeson as Shakespeare's Othello and her then-husband José Ferrer as Iago. She took over the role of Blanche DuBois in "A Streetcar Named Desire" for the national tour, which was directed not by Elia Kazan who had directed the Broadway production but by Harold Clurman. Hagen had had a revelatory experience when she first worked with Clurman in 1947. In "Respect for Acting", she credited her discoveries with Clurman as the springboard for what she would later explore with her husband Herbert Berghof: "how to find a true technique of acting, how to make a character flow through me." She played Blanche (on the road and on Broadway) opposite at least four different Stanley Kowalskis, including Anthony Quinn and Marlon Brando. Through interviews with her and contemporary criticism, the report is that Hagen's Blanche refocused the audience's sympathies with Blanche rather than with Stanley (where the Brando/Kazan production had leaned). Primarily noted for stage roles, Hagen won her first Tony Award in 1951 for her performance as the self-sacrificing wife Georgie in Clifford Odets' "The Country Girl". She won again in 1963 for originating the role of Martha in Edward Albee's "Who's Afraid of Virginia Woolf?". In 1981 she was elected to the American Theater Hall of Fame and in 1999 received a "Special Lifetime Achievement Tony Award."


title: Uta Hagen

text: Hagen considered the period between 1938 and 1947 as "the transitional years of my career, during which I lost my way and a love of acting until I finally regained it to begin a true life in the theater."


title: Uta Hagen

text: Although she appeared in some movies, because of the Hollywood blacklist she had more limited output in film and on television, not making her cinematic debut until 1972. She would later comment about being blacklisted, "that fact kept me pure."


title: Uta Hagen

text: She was nominated for a Daytime Emmy Award as "Outstanding Supporting Actress in a Drama Series" for her performance on the television soap opera "One Life to Live".


title: Uta Hagen

text: She taught at HB Studio, a well-known New York City acting school on a cobblestone, tree-shaded street in the West Village. She began there in 1947, and married its co-founder, Herbert Berghof, on 25 January 1957. Later in her life, Hagen undertook a return to the stage, earning accolades for leading roles in "Mrs. Warren's Profession" (1985), "Collected Stories", and "Mrs. Klein". After Berghof's death in 1990, she became the school's chairperson.


title: Uta Hagen

text: Hagen was an influential acting teacher who taught, among others, Matthew Broderick, Christine Lahti, Amanda Peet, Jason Robards, Sigourney Weaver, Katie Finneran, Liza Minnelli, Whoopi Goldberg, Jack Lemmon, Charles Nelson Reilly, Manu Tupou, Debbie Allen, Herschel Savage, George Segal, Jon Stewart, and Al Pacino. She was a voice coach to Judy Garland, teaching a German accent, for the picture "Judgment at Nuremberg". Garland's performance earned her an Academy Award nomination.


title: Uta Hagen

text: She also wrote "Respect for Acting" (1973) and "A Challenge for the Actor" (1991), which advocate realistic acting (as opposed to pre-determined "formalistic" acting). In her mode of realism, the actor puts his own psyche to use in finding identification with the role," trusting that a form will result. In "Respect for Acting", Hagen credited director Harold Clurman with a turn-around in her perspective on acting:


title: Uta Hagen

text: In 1947, I worked in a play under the direction of Harold Clurman. He opened a new world in the professional theatre for me. He took away my 'tricks'. He imposed no line readings, no gestures, no positions on the actors. At first I floundered badly because for many years I had become accustomed to using specific outer directions as the material from which to construct the mask for my character, the mask behind which I would hide throughout the performance. Mr Clurman refused to accept a mask. He demanded ME in the role. My love of acting was slowly reawakened as I began to deal with a strange new technique of evolving in the character. I was not allowed to begin with, or concern myself at any time with, a preconceived form. I was assured that a form would result from the work we were doing.


title: Uta Hagen

text: Hagen later "disassociated" herself from her first book, "Respect for Acting". In "Challenge for the Actor", she redefined a term which she had initially called "substitution", an esoteric technique for alchemizing elements of an actor's life with his/her character work, calling it "transference" instead. Though Hagen wrote that the actor should identify the character he plays with feelings and circumstances from his own life, she also makes clear that:Thoughts and feelings are suspended in a vacuum unless they instigate and feed the selected actions, and it is the characters' actions which reveal the character in the play.


title: Uta Hagen

text: "Respect for Acting" is used as a textbook for many college acting classes. She also wrote a 1976 cookbook, "Love for Cooking". In 2002, she was awarded the National Medal of Arts by President George W. Bush at a ceremony held at the White House.


title: Uta Hagen

text: In 2001, Hagen agreed to be filmed giving master classes in NYC, LA, Toronto and Chicago by Karen Ludwig and Pennie du Pont, who released the video entitled "Uta Hagen's Acting Class", a two-part set that captures her master classes. The video has been thoroughly studied and is now taught in many acting classes.


title: Uta Hagen

text: Harvey Korman talks about studying under her during his Archive of American Television interview in 2004. David Hyde Pierce worked with Hagen in the Richard Alfieri play "Six Dance Lessons in Six Weeks", at the Geffen Playhouse in 2001. Hyde Pierce spoke at her 2004 memorial at Manhattan's Majestic Theater.


title: Uta Hagen

text: Uta Hagen was married to José Ferrer from 1938 until 1948. They had one child together, their daughter Leticia (born 15 October 1940). They divorced partly because of Hagen's long-concealed affair with Paul Robeson, her co-star in "Othello". Hagen married Herbert Berghof on 25 January 1957, a union that lasted for 33 years until his death in 1990. Hagen died in Greenwich Village in 2004 after suffering a stroke in 2001.


title: Transcendental idealism

text: Transcendental idealism is a philosophical system founded by German philosopher Immanuel Kant in the 18th century. Kant's epistemological program is found throughout his "Critique of Pure Reason" (1781). By "transcendental" (a term that deserves special clarification) Kant means that his philosophical approach to knowledge transcends mere consideration of sensory evidence and requires an understanding of the mind's innate modes of processing that sensory evidence.


title: Transcendental idealism

text: In the "Transcendental Aesthetic" section of the "Critique of Pure Reason," Kant outlines how space and time are pure forms of human intuition contributed by our own faculty of sensibility. Space and time do not have an existence "outside" of us, but are the "subjective" forms of our sensibility and hence the necessary "a priori" conditions under which the objects we encounter in our experience can appear to us at all. Kant describes time and space as "empirically real" but "transcendentally ideal."


title: Transcendental idealism

text: Kant argues that the conscious subject cognizes the objects of experience not as they are in themselves, but only the way they appear to us under the conditions of our sensibility. Thus Kant's doctrine restricts the scope of our cognition to appearances given to our sensibility and denies that we can possess cognition of things as they are in themselves, i.e. things as they are independently of how we experience them through our cognitive faculties.


title: Transcendental idealism

text: Although it influenced the course of subsequent German philosophy dramatically, exactly how to interpret this concept was a subject of some debate among 20th century philosophers. Kant first describes it in his "Critique of Pure Reason", and distinguished his view from contemporary views of realism and idealism, but philosophers do not agree on how sharply Kant differs from each of these positions.


title: Transcendental idealism

text: Transcendental idealism is associated with "formalistic idealism" on the basis of passages from Kant's "Prolegomena to any Future Metaphysics", although recent research has tended to dispute this identification. Transcendental idealism was also adopted as a label by the subsequent German philosophers Johann Gottlieb Fichte and Friedrich Wilhelm Joseph von Schelling, Arthur Schopenhauer, and in the early 20th century by Edmund Husserl in the novel form of transcendental-phenomenological idealism.


title: Transcendental idealism

text: Kant presents an account of how we intuit () objects and accounts of space and of time. Before Kant, some thinkers, such as Leibniz, had come to the conclusion that space and time were not things, but only the relations among things. Contrary to thinkers, including Newton, who maintained that space and time were real things or substances, Leibniz had arrived at a radically different understanding of the universe and the things found in it. According to his "Monadology", all things that humans ordinarily understand as interactions between and relations among individuals (such as their relative positions in space and time) have their being in the mind of God but not in the Universe where we perceive them to be. In the view of realists, individual things interact by physical connection and the relations among things are mediated by physical processes that connect them to human brains and give humans a determinate chain of action to them and correct knowledge of them.


title: Transcendental idealism

text: Kant was aware of problems with both of these positions. He had been influenced by the physics of Newton and understood that there is a physical chain of interactions between things perceived and the one who perceives them. However, an important function of mind is to structure incoming data and to process it in ways that make it other than a simple mapping of outside data.


title: Transcendental idealism

text: The salient element here is that space and time, rather than being real "things-in-themselves" or empirically mediated appearances (), are the very forms of intuition () by which we must perceive objects. They are hence neither to be considered properties that we may attribute to objects in perceiving them, nor substantial entities of themselves. They are in that sense subjective, yet necessary, preconditions of any given object insofar as this object is an appearance and not a "thing-in-itself". Humans necessarily perceive objects as located in space and in time. This condition of experience is part of what it means for a human to cognize an object, to perceive and understand it as something both spatial and temporal: "By "transcendental idealism" I mean the doctrine that appearances are to be regarded as being, one and all, representations only, not things in themselves, and that time and space are therefore only sensible forms of our intuition…" Kant argues for these several claims in the section of the "Critique of Pure Reason" entitled the "Transcendental Aesthetic". That section is devoted to inquiry into the "a priori" conditions of human sensibility, i.e. the faculty by which humans intuit objects. The following section, the "Transcendental Logic", concerns itself with the manner in which objects are thought.


title: Transcendental idealism

text: Xenophanes of Colophon in 530 BC anticipated Kant's epistemology in his reflections on certainty. "And as for certain truth, no man has seen it, nor will there ever be a man who knows about the gods and about all the things I mention. For if he succeeds to the full in saying what is completely true, he himself is nevertheless unaware of it; and Opinion (seeming) is fixed by fate upon all things."


title: Transcendental idealism

text: Certain interpretations of some of the medieval Buddhists of India, such as Dharmakirti, may reveal them to be transcendental idealists, since they seemed to hold the position of mereological nihilism (the nonexistence of objects made up of parts) but transcendental idealists who held that their minds were distinct from the atoms. Some Buddhists often attempt to maintain that the minds are equal to the atoms of mereological nihilist reality, but Buddhists seem to have no explanation of how this is the case, and much of the literature on the aforementioned Buddhists involves straightforward discussion of atoms and minds as if they are separate. This makes their position very similar to transcendental idealism, resembling Kant's philosophy where there are only things-in-themselves (which are very much like philosophical atoms), and phenomenal properties.


title: Transcendental idealism

text: Schopenhauer takes Kant's transcendental idealism as the starting point for his own philosophy, which he presents in "The World as Will and Representation". Schopenhauer described transcendental idealism briefly as a "distinction between the phenomenon and the thing in itself", and a recognition that only the phenomenon is accessible to us because "we know neither ourselves nor things as they are in themselves, but merely as they appear." In volume 1 of the "Parerga and Paralipomena" ("Fragments for the History of Philosophy"), Schopenhauer writes:


title: Transcendental idealism

text: Further on in §13, Schopenhauer says of Kant's doctrine of the ideality of space and time: "Before Kant, it may be said, we were in time; now time is in us. In the first case, time is "real" and, like everything lying in time, we are consumed by it. In the second case, time is "ideal"; it lies within us."


title: Transcendental idealism

text: Schopenhauer contrasted Kant's transcendental critical philosophy with Leibniz's dogmatic philosophy.


title: Transcendental idealism

text: In "The Bounds of Sense", P. F. Strawson suggests a reading of Kant's first "Critique" that, once accepted, forces rejection of most of the original arguments, including transcendental idealism. Strawson contends that, had Kant followed out the implications of all that he said, he would have seen that there were many self-contradictions implicit in the whole.


title: Transcendental idealism

text: Strawson views the analytic argument of the "transcendental deduction" as the most valuable idea in the text, and regards transcendental idealism as an unavoidable error in Kant's greatly productive system. In Strawson's traditional reading (also favored in the work of Paul Guyer and Rae Langton), the Kantian term phenomena (literally, things that can be seenfrom Greek: "phainomenon", "observable") refers to the world of appearances, or the world of "things" sensed. They are tagged as "phenomena" to remind the reader that humans confuse these derivative appearances with whatever may be the forever unavailable "things in themselves" behind our perceptions. The necessary preconditions of experience, the components that humans bring to their apprehending of the world, the forms of perception such as space and time, are what make "a priori" judgments possible, but all of this process of comprehending what lies fundamental to human experience fails to bring anyone beyond the inherent limits of human sensibility. Kant's system requires the existence of noumena to prevent a rejection of external reality altogether, and it is this concept (senseless objects of which we can have no real understanding) to which Strawson objects in his book.


title: Transcendental idealism

text: In "Kant's Transcendental Idealism", Henry E. Allison proposes a reading that opposes Strawson's interpretation. Allison argues that Strawson and others misrepresent Kant by emphasising what has become known as the two-worlds reading (a view developed by Paul Guyer). This—according to Allison, false—reading of Kant's phenomena/noumena distinction suggests that phenomena and noumena are ontologically distinct from each other. It concludes on that basis that we somehow fall short of knowing the noumena due to the nature of the very means by which we comprehend them. On such a reading, Kant would himself commit the very fallacies he attributes to the transcendental realists. On Allison's reading, Kant's view is better characterized as a two-aspect theory, where noumena and phenomena refer to complementary ways of considering an object. It is the dialectic character of knowing, rather than epistemological insufficiency, that Kant wanted most to assert.


title: Transcendental idealism

text: Opposing Kantian transcendental idealism is the doctrine of naïve realism, that is, the proposition that the world is knowable as it really is, without any consideration of the knower's manner of knowing. This has been propounded by philosophers such as Bertrand Russell, G. E. Moore, Ralph Barton Perry, and Henry Babcock Veatch. Naïve or direct realism claims, contrary to transcendental idealism, that perceived objects exist in the way that they appear, in and of themselves, independent of a knowing spectator's mind. Kant referred to this view as "transcendental realism," which he defined as purporting the existence of objects in space and time independent from our sensibility.


title: Fermi energy

text: The Fermi energy is a concept in quantum mechanics usually referring to the energy difference between the highest and lowest occupied single-particle states in a quantum system of non-interacting fermions at absolute zero temperature.


title: Fermi energy

text: In a Fermi gas, the lowest occupied state is taken to have zero kinetic energy, whereas in a metal, the lowest occupied state is typically taken to mean the bottom of the conduction band.


title: Fermi energy

text: The term "Fermi energy" is often used to refer to a different yet closely related concept, the Fermi "level" (also called electrochemical potential).


title: Fermi energy

text: There are a few key differences between the Fermi level and Fermi energy, at least as they are used in this article:


title: Fermi energy

text: Since the Fermi level in a metal at absolute zero is the energy of the highest occupied single particle state,


title: Fermi energy

text: then the Fermi energy in a metal is the energy difference between the Fermi level and lowest occupied single-particle state, at zero-temperature.


title: Fermi energy

text: In quantum mechanics, a group of particles known as fermions (for example, electrons, protons and neutrons) obey the Pauli exclusion principle. This states that two fermions cannot occupy the same quantum state. Since an idealized non-interacting Fermi gas can be analyzed in terms of single-particle stationary states, we can thus say that two fermions cannot occupy the same stationary state. These stationary states will typically be distinct in energy. To find the ground state of the whole system, we start with an empty system, and add particles one at a time, consecutively filling up the unoccupied stationary states with the lowest energy. When all the particles have been put in, the Fermi energy is the kinetic energy of the highest occupied state.


title: Fermi energy

text: As a consequence, even if we have extracted all possible energy from a Fermi gas by cooling it to near absolute zero temperature, the fermions are still moving around at a high speed. The fastest ones are moving at a velocity corresponding to a kinetic energy equal to the Fermi energy. This speed is known as the Fermi velocity. Only when the temperature exceeds the related Fermi temperature, do the particles begin to move significantly faster than at absolute zero.


title: Fermi energy

text: The Fermi energy is an important concept in the solid state physics of metals and superconductors. It is also a very important quantity in the physics of quantum liquids like low temperature helium (both normal and superfluid He), and it is quite important to nuclear physics and to understanding the stability of white dwarf stars against gravitational collapse.


title: Fermi energy

text: The Fermi energy for a "non-interacting" ensemble of identical spin- fermions in a three-dimensional (non-relativistic) system is given by


title: Fermi energy

text: where "N" is the number of particles, "m" the rest mass of each fermion, "V" the volume of the system, and formula_2 the reduced Planck constant.


title: Fermi energy

text: Under the free electron model, the electrons in a metal can be considered to form a Fermi gas. The number density formula_3 of conduction electrons in metals ranges between approximately 10 and 10 electrons/m, which is also the typical density of atoms in ordinary solid matter. This number density produces a Fermi energy of the order of 2 to 10 electronvolts.


title: Fermi energy

text: Stars known as white dwarfs have mass comparable to our Sun, but have about a hundredth of its radius. The high densities mean that the electrons are no longer bound to single nuclei and instead form a degenerate electron gas. Their Fermi energy is about 0.3 MeV.


title: Fermi energy

text: Another typical example is that of the nucleons in the nucleus of an atom. The radius of the nucleus admits deviations, so a typical value for the Fermi energy is usually given as 38 MeV.


title: Fermi energy

text: where formula_5 is the Boltzmann constant, and formula_6 the Fermi energy. The Fermi temperature can be thought of as the temperature at which thermal effects are comparable to quantum effects associated with Fermi statistics. The Fermi temperature for a metal is a couple of orders of magnitude above room temperature.


title: Tifosi

text: It is erroneously claimed that "In Italian, literally means those infected by typhus disease, a reference to someone acting in a fevered manner." In reality, it comes from Ancient Greek "typhos," meaning smoke, as it was customary for spectators of the Ancient Olympic Games to celebrate the victories of their favourite athletes by reuniting around a bonfire. The confusion is due to the fact that both fever and smoke share the same etymological root, "typhos."


title: Tifosi

text: "Tifosi" is used for a mixed gender or an all-male group; masculine singular is "tifoso", feminine singular "tifosa", feminine plural "tifose".


title: Tifosi

text: The word is mainly used to describe fans of clubs in football. Apart from the many local fan clubs in Italy, whose main role is, for example, to provide a meeting place for fans and friends and organize away trips, since the late 1960s, many Italian fans rely on organized stadium groups known as Ultras. The main goal is to choreograph fan support with flags, banners, coloured smoke screens, flares, drums, and chanting in unison. For most teams city rivalries, colours, coat of arms, symbols, and the overall iconography have roots in the Middle Ages and early Renaissance.


title: Tifosi

text: It has become common to use the word Tifosi to refer to the supporters of Scuderia Ferrari in Formula One. Italian motor racing fans are well known for their love of Ferrari, though they have also been staunch supporters of other Italian cars such as Maserati, Lancia and Alfa Romeo.


title: Tifosi

text: The Tifosi provide Formula One with a sea of red filling the grandstands at the Italian Grand Prix. One of the most common Tifosi sights is the display of an enormous Ferrari flag in the grandstands during Formula One weekends at every race circuit, with especially large contingents showing up in Ferrari livery at home and nearby European tracks. A similar sight could be observed in former years during the San Marino race, which was held at the Autodromo Enzo e Dino Ferrari near the town of Imola, 80 km (49.7 mi) east of the Ferrari factory in Maranello.


title: Tifosi

text: It has not been uncommon for the Tifosi in Italy to actually cheer for a non-Italian driver in a Ferrari passing an Italian driver in another make of car for the lead of a race. At the 1983 San Marino Grand Prix, the crowd at Imola cheered long and loud when Riccardo Patrese crashed his Brabham out of the lead of the race only 6 laps from home, handing Frenchman Patrick Tambay the win in his Ferrari. Patrese himself had only passed Tambay for the lead half a lap earlier.


title: Tifosi

text: The recent increase in their ranks can be directly traced to the rise of Michael Schumacher, who drove for Ferrari from 1996 to 2006, leading the team to the Constructors' Championship from 1999–2004.


title: Tifosi

text: One driver who never actually drove for Ferrari but is supported by the Tifosi is Frenchman Jean-Louis Schlesser. He drove for the Williams team at the 1988 Italian Grand Prix at Monza substituting for an ill Nigel Mansell. On lap 49 of the 51 lap race, Schlesser was unwittingly involved in the incident at the Variante del Rettifilo chicane that took out the leading McLaren-Honda of Ayrton Senna, fittingly handing Ferrari's Gerhard Berger and Michele Alboreto an emotional 1–2 Italian Grand Prix result only a month after the death of Enzo Ferrari. Berger's win handed McLaren their only loss of the 16-race season.


title: Tifosi

text: When Ferrari won at Monza for the first time since 2010 in 2019, a massive crowd of Tifosi went to the podium to celebrate the victory of Charles Leclerc. As revealed by David Croft during the podium celebration, there is a love-hate relationship between the Tifosi and Mercedes, who have won in Monza from the start of the turbo hybrid era in 2014 to 2018. Whenever a Mercedes wins the Italian GP, or makes the podium, the Tifosi would boo at the driver.


title: Tifosi

text: The word is commonly used to describe fans along the roadside at professional road cycling races in Italy such as Tirreno–Adriatico, Milan–San Remo, the Giro d'Italia, and the Giro di Lombardia.


title: 2020–21 Real Madrid CF season

text: The 2020–21 Real Madrid Club de Fútbol season was the club's 117th season in existence and the 90th consecutive season in the top flight of Spanish football. In addition to the domestic league, Real Madrid participated in this season's editions of the Copa del Rey, the Supercopa de España, and the UEFA Champions League. The season covered the period from 8 August 2020 to 30 June 2021.


title: 2020–21 Real Madrid CF season

text: Real Madrid played the entire season at the Alfredo Di Stéfano Stadium, while the Santiago Bernabéu was undergoing a structural renovation.


title: 2020–21 Real Madrid CF season

text: Despite finishing a close second in the league and advancing to the Champions League semi-finals for the first time since 2018, Real Madrid went trophyless for the first time since the 2009–10 season.


title: 2020–21 Real Madrid CF season

text: The first league match of the season, on 20 September, ended in a goalless draw at Real Sociedad. On 26 September, Real secured their first win of the season by defeating Real Betis 3–2 away from home, with goals from Federico Valverde, Sergio Ramos and an own goal. Four days later, a Vinícius Júnior goal clinched the three points against Real Valladolid in the first home game of the season.


title: 2020–21 Real Madrid CF season

text: On 4 October, goals from Vinícius and Karim Benzema got Madrid another three points in a 2–0 away victory against Levante. After the international break, Madrid lost a home game to Cádiz 0–1 on 17 October. Four days later, Madrid fell 2–3 to Shakhrtar Donetsk in their opening Champions League match, despite second half goals from Modrić and Vinícius after being down 0–3. The first El Clásico of the season was played on 24 October, with Madrid winning 3–1 at Camp Nou. Valverde, Ramos and Modrić scored the goals. Three days later, Benzema and Casemiro scored two late goals to give Real a 2–2 draw in the Champions League at Borussia Mönchengladbach. On the last day of October, a brace from Benzema and goals from Valverde and Eden Hazard secured a 4–1 home win over Huesca.


title: 2020–21 Real Madrid CF season

text: The new month kicked off with a 3–2 home win against Inter Milan in the Champions League on 3 November. The goalscorers were Benzema, Ramos and Rodrygo. Five days later, despite an opening goal from Benzema, Madrid lost 1–4 to Valencia away from home, while giving up three penalties and an own goal. On 21 November, after the second international break, Real came away with a 1–1 draw at Villarreal, despite getting an early lead after a goal from Mariano. Four days later, an early penalty from Hazard and an own goal secured three points in the away Champions League match against Inter. The home match against Deportivo Alavés was lost 1–2 on 28 November, with Casemiro scoring the lone goal.


title: 2020–21 Real Madrid CF season

text: On the first day of the new month, Madrid once again lost to Donetsk in the Champions League, this time 0–2 on the road. Four days later, Sevilla was defeated 1–0 at the Ramón Sánchez Pizjuán, thanks to an own goal. On 9 December, Madrid defeated Borussia Mönchengladbach in the Champions League 2–0 at home, with Benzema scoring both goals. With the win, Madrid topped Group B and advanced to the knockout stage. Three days later, a Casemiro goal and an own goal gave Real a 2–0 home victory over Atlético Madrid. On 15 December, a brace from Benzema and a goal from Toni Kroos saw Madrid get away with another home win, this time defeating Athletic Bilbao 3–1. Goals from Benzema, Modrić and Vázquez helped Madrid to a 3–1 away win over Eibar, moving the team to second place. On 23 December, Real Madrid secured a 2–0 home win against Granada, with Casemiro and Benzema on the scoresheet. A week later, in the last game of 2020, a Modrić goal was not enough as Madrid drew Elche 1–1 away from home to finish the year in second place.


title: 2020–21 Real Madrid CF season

text: Real started the new year with a 2–0 win over Celta Vigo at the Alfredo Di Stéfano on 2 January. The goals were scored by Vázquez and Marco Asensio. A week later, the match at Osasuna ended in a goalless draw. On 14 January, Madrid lost the semi-final of the 2020–21 Supercopa de España against Athletic Bilbao 1–2, with a second half goal from Benzema not being enough. Real was knocked out of the 2020–21 Copa del Rey in the round of 32 exactly six days later, after losing 1–2 a.e.t. at Alcoyano, where Éder Militão initially gave Madrid the lead. On 23 January, Real defeated Alavés 4–1 on the road, with a brace from Benzema and goals from Casemiro and Hazard. A week later, ten-man Madrid lost the home match against Levante 1–2, even though Asensio gave Real an early lead.


title: 2020–21 Real Madrid CF season

text: A brace from Raphaël Varane helped produce a 2–1 come-from-behind win at Huesca on 6 February. Three days later, Madrid hosted Getafe and won 2–0 after goals from Benzema and Ferland Mendy. On 14 February, goals from Benzema and Kroos secured another three points in a 2–0 home win against Valencia. Six days later, a second-half Casemiro goal helped Madrid to a 1–0 win over Valladolid at the José Zorrilla. On 24 February, Atalanta was defeated 1–0 in Bergamo, thanks to a goal from Mendy, in the first leg of the Champions League round of 16.


title: 2020–21 Real Madrid CF season

text: On the first day of the new month, the home game against Sociedad ended in a 1–1 draw, with the goal coming from Vinícius in the closing minutes. In a derby against Atlético at the Wanda Metropolitano on 7 March, Benzema scored a late equalizer with the same result, securing Madrid a point. Six days later, a brace from Benzema gave Madrid a 2–1 come-from-behind victory over Elche at the Di Stéfano. On 16 March, Madrid secured their qualification for the quarter-finals of the Champions League with a 3–1 home win over Atalanta. The goals were scored by Benzema, Ramos and Asensio. Four days later, a brace from Benzema and a goal from Asensio saw Madrid win 3–1 at Celta Vigo.


title: 2020–21 Real Madrid CF season

text: On 3 April, Real defeated Eibar 2–0 at home with goals from Asensio and Benzema. Three days later, Madrid defeated Liverpool 3–1 at the Di Stéfano in the crucial first leg of the Champions League quarter-finals. Vinícius scored a brace, with another goal coming from Asensio. The season's second El Clásico was won 2–1 on 10 April with goals from Benzema and Kroos. Four days later, the return leg against Liverpool ended 0–0, meaning Madrid qualified for the Champions League semi-finals. On 18 April, Real were held to a goalless draw at Getafe. Three days later, a brace from Benzema and a goal from Álvaro Odriozola gave Madrid a 3–0 away victory over Cádiz. The crucial home match against Betis on 24 April 2021 ended in a 0–0 draw, damaging Real's title aspirations. Three days later, a Benzema goal secured a 1–1 home draw against Chelsea in the first leg of the Champions League semi-finals.


title: 2020–21 Real Madrid CF season

text: On 1 May, Militao and Casemiro scored late to help Madrid post a 2–0 home win versus Osasuna. Four days later, Real's Champions League campaign came to an end at the semi-final stage after a 0–2 away loss to Chelsea. Another four days later, an Asensio goal and a late deflection from Hazard helped Madrid salvage a point in the home game against Sevilla, keeping them alive in the title race. The away match against Granada on 13 May was won 4–1, with goals coming from Modrić, Rodrygo, Odriozola and Benzema. Three days later, a goal from Nacho secured Madrid a 1–0 win at Athletic Bilbao. With that win, Real stayed in second position, two points behind leaders Atlético Madrid, with one match to go. On 22 May, Madrid produced a late comeback to defeat Villarreal 2–1 at home in the last match of the season, with Benzema and Modrić scoring the goals. Since Atlético also won their game, Real finished second in the standings. This marked the club's first trophyless season since 2009–10.


title: 2020–21 Real Madrid CF season

text: Madrid entered the tournament in the round of 32, as they had participated in the 2020–21 Supercopa de España.


title: Cultural impact of Michael Jackson

text: American singer-songwriter Michael Jackson (1958–2009) is regarded as one of the most significant cultural figures of the 20th century and one of the most successful and influential entertainers. Often referred as the "King of Pop", his achievements helped to complete the desegregation of popular music in the United States and introduced an era of multiculturalism and integration that future generations of artists followed. His influence extended to inspiring fashion trends and raising awareness for social causes around the world.


title: Cultural impact of Michael Jackson

text: Jackson became a child star in 1969 as the lead singer of the Jackson 5, a band formed with his older brothers. The group were recognized by US Congress for their contribution to American youth culture, and Jackson was embraced by the American public to a degree not afforded a child star since Shirley Temple in the 1930s. In the early 1980s, Jackson became a dominant figure in popular culture and the first African-American entertainer to have a strong crossover fan base on Music Television (MTV). His music videos, including those for "Beat It", "Billie Jean", and "Thriller" from his 1982 album "Thriller", are credited with breaking racial barriers and transforming the medium into an art form and promotional tool. The popularity of these videos helped bring the television channel MTV to fame. Jackson's success at this time was credited with rescuing the music industry from its late-1970s recession, and revolutionizing it by initiating a marketing focus on blockbuster albums and video presentation.


title: Cultural impact of Michael Jackson

text: Through his videos and live performances, Jackson popularized street dances, particularly his signature move the moonwalk, and attracted a cult of impersonators throughout the world. He is credited with helping to spread dance to a global audience and having an influence comparable to dance icons such as to Fred Astaire and Sammy Davis Jr. With an aesthetic borrowed from the musical film tradition, the "Thriller" videos created a subindustry of choreographers as other pop artists sought to produce sophisticated dance-oriented promotional films. In the 1980s, Jackson's personal idiosyncrasies and changing appearance became the source of fascination for the tabloid media, a phenomenon furthered by the child abuse accusations leveled against him in 1993. These eccentricities and controversies inspired a wealth of pictures and other artworks exploring his public image, which were presented in the 2018 exhibition "" at London's National Portrait Gallery.


title: Cultural impact of Michael Jackson

text: Jackson influenced a wide range of subjects, from celebrity studies to visual culture to gender and sexuality studies, and many more including ones not directly related to his profession. According to a study published in "The Journal of Pan African Studies" in 2010, his influence extended to academia, with references to the singer in literature concerning mass communications, psychology, medicine, engineering and chemistry. The British Council named Jackson on their list of "80 Moments that Shaped the World" with regard to international cultural relations.


title: Cultural impact of Michael Jackson

text: As the lead singer and youngest member of the Jackson 5 from the late 1960s, Michael Jackson was the group's focal point for the media. They became one of the most popular family acts in pop music, with many hit records, a self-titled cartoon series and, from 1976, a self-titled variety show. He and his brothers were widely viewed as role models for contemporary society; the press celebrated them as a family founded on core religious beliefs and a strong work ethic, and in 1972 the Jackson 5 received a commendation from US Congress in recognition of the brothers' contribution to American youth culture. Amid this recognition, according to the editors of "Rolling Stone"s "Encyclopedia of Rock & Roll", Jackson captivated the nation on a level not seen in a child star since Shirley Temple in the 1930s.


title: Cultural impact of Michael Jackson

text: Author Peter Doggett describes the pre-teen Jackson as "America's most instinctive soul singer" and the reason that, aided by Motown founder Berry Gordy's presentation of the group, the Jackson 5 surpassed contemporaries such as the Osmonds to become the foremost sibling act. Gordy instilled in Jackson an ambition to make crossover, chart-topping, universal music during Jackson's time at the label. His musical influences varied widely, from the R&B of his father's band to Western classical. With the combination of artistic diversity and mass appeal, Jackson's achievements as a musician have defined a category of contemporary popular music that is characterized by fusions of different eras, styles, media and genres, but is also rooted in R&B and soul music.


title: Cultural impact of Michael Jackson

text: The album "Off the Wall" was generally categorized as a disco album, yet music critic Rob Sheffield described it as one that "invented modern pop as we know it". The album has been called a turning point and a distillation of the disco era. According to musician and journalist Bob Stanley, "Off the Wall" presented Jackson as "a new kind of alpha male" with "an air of super-confidence" reminiscent of Elvis Presley before the latter's army service. The album's commercial success ensured that Jackson's standing surpassed that of the Jackson 5.


title: Cultural impact of Michael Jackson

text: In the description of author and pop culture critic Joseph Vogel, Jackson's 1982 album "Thriller" changed the direction of popular music. Jay Cocks, writing for "Time" magazine in 1984, said the album was "a thorough restoration of confidence, a rejuvenation [and] its effect on listeners, especially younger ones, was nearer to a revelation". It reintroduced black music to mainstream American radio; until then the so-called "restrictive special-format programming", a genre-driven radio content philosophy which segregated music by race introduced in the mid-1970s, limited airplay of black music. Jackson, whose success was compared to that of Elvis Presley and the Beatles, appeared on the cover of "Time".<ref name="Time/Thriller"></ref> The album established Jackson as the world's top entertainment star and, in Stanley's recollection, "you'd expect to see a copy in the corner of any room, in any town, in any country in the world." Its unprecedented commercial success also provided the model for record companies recovering from the economic downturn of the late 1970s, whereby they focused on promoting a blockbuster album at the expense of releases by their lesser-known acts. Amid his description of the cultural phenomenon that Jackson represented in 1984, Cocks deemed him "A one-man rescue team for the music business ... A singer who cuts across all boundaries of taste and style, and color too." In 2008, the Library of Congress added "Thriller" to the National Recording Registry for its "stratospheric national and international success".


title: Cultural impact of Michael Jackson

text: Jackson's music has been extensively covered by other artists of various styles, including Mariah Carey, Miles Davis, Willie Nelson, and Alien Ant Farm. Artists who often mention Jackson in their music include Kanye West, Lil Wayne, LL Cool J, Rick Ross, and Drake. According to Edmondson, writing in 2013, Jackson "redefined the term pop star" and his cultural legacy is reflected "in the very landscape of the modern, genre-crossing, multimedia pop music scene".


title: Cultural impact of Michael Jackson

text: From the start of his performing career, Jackson incorporated dance moves into a stage presence that invited comparison with James Brown, Sammy Davis Jr., Mick Jagger and Tina Turner. He went on to popularize street dances such as popping, locking, the robot and his signature move the moonwalk. Professor of performance studies at NYU Tavia Nyongo said that "No dancer has done as much to popularize the art form since Fred Astaire."


title: Cultural impact of Michael Jackson

text: Jackson first performed the moonwalk when miming to "Billie Jean" at the close of the "Motown 25" TV special, which aired in May 1983. The performance was viewed by an international audience of around 50 million and, according to "Rolling Stone", "energize[d] the music scene once again and set in motion all the forces that would go on to shape the popular culture of the 1980s". Media studies academic Jaap Kooijman writes that, although the moonwalk was an additional element in his routine at "Motown 25", Jackson's replication of his dancing from the already popular "Billie Jean" music video presented a new phenomenon whereby a concert performance involved re-creating a video sequence and the music, including live vocals, ceded to visual imagery such as dance.


title: Cultural impact of Michael Jackson

text: Jackson is credited with helping to spread dance to a global audience. Nigel Lythgoe, executive producer and judge on the TV dance competition "So You Think You Can Dance", said that "countless" applicants had begun dancing because of Jackson. Ronni Favors, a director at the Alvin Ailey American Dance Theater, said Jackson was "a trailblazer for his generation", setting the expectation that future pop stars, such as Britney Spears and Beyoncé, integrate dance in their performances. In Japan, as a result of him opening his 1987–89 Bad World Tour there, Jackson is credited with reshaping J-pop's choreography. He also influenced India's Bollywood film scene, where dance sequences, films and soundtrack music all borrowed heavily from Jackson's work.


title: Cultural impact of Michael Jackson

text: Following the singer's death in 2009, Andy Gill of "The Independent" said that through Jackson's example, "the Eighties became the decade of dance stars like Prince and Madonna, neither of whom would have been able to establish themselves as quickly as they did had Jackson not moonwalked across the room and kicked down the door for them."<ref name="Gill/Independent"></ref> Gill added that with thousands of dancers imitating his moves in the moonwalk and the zombie, Jackson became "the most significant mainstream dance icon since the mid-century heyday of Fred Astaire, Gene Kelly and Sammy Davis Jr." Jackson was posthumously inducted into the National Museum of Dance and Hall of Fame in 2010.


title: Cultural impact of Michael Jackson

text: Jackson had a lasting influence on the music video medium, starting with the clips for his "Thriller" singles "Billie Jean" and "Beat It". At the time most music videos had small budgets, low production values and little narrative. Jackson's videos began a transformation, replacing low-budget montage promos with elaborate short films consisting of in-depth narratives and sophisticated visuals, and taking the form of a mini musical. Jackson collaborated with several Hollywood directors on these works, including John Landis, Martin Scorsese, Spike Lee and John Singleton. "Beat It" featured unusually sophisticated choreography and, according to "The Rolling Stone Encyclopedia of Rock & Roll", created a "music video subindustry of dancers and choreographers" such as Paula Abdul and Toni Basil.


title: Cultural impact of Michael Jackson

text: The "Thriller" video—which gained a commercial release as "Michael Jackson's Thriller"—was unusually long (at 15 minutes) and took the form of a short film presentation. It features Jackson dancing with zombies and cost more than $1 million to produce. The film sealed MTV's position as a cultural force, helped disassemble racial barriers for black artists, revolutionized music video production, popularized the making-of documentaries, and drove rentals and sales of VHS tapes.<ref name="Hebblethwaite/Guardian"></ref> It has been described as the most influential music video in history; according to Edmondson, the "Thriller" video "is credited with single-handedly revolutionizing the landscape of pop music". Former MTV executive Nina Blackwood said, "[After 'Thriller'] we saw videos get more sophisticated—more story lines, way more intricate choreography. You look at those early videos and they were shockingly bad." Music video director Brian Grant credited "Thriller" as the turning point when music videos became a "proper industry". Gill recognized the Landis-directed film as a work that "altered forever the balance of sound and vision in the entertainment industry", adding: "Prior to Jackson, music alone had been the premier conduit of cultural dissemination among young people; after Jackson, it was merely the accompaniment to a dance routine, one small element in a larger spectacle." In December 2009, the video was inducted into the National Film Registry.


title: Cultural impact of Michael Jackson

text: With MTV's initial broadcast of the film, in December 1983, the debut of a new Jackson video became a major media event. MTV's belated support signaled the end of its rock-only policy and, due to the popularity the film gained for the network, of concerns for its commercial survival. Bob Pittman, MTV's co-founder and CEO, said that "'Thriller' brought people to MTV for the first time, and it made them stay and watch it again and again. Now everybody was into MTV." This development ensured an upswing in the economics of the music industry after its sharp decrease in revenue since the late 1970s and, with the expansion of MTV's reach in 1984, new music stars being created through the video medium as well as established acts such as Bruce Springsteen embracing high-production music videos. The "Rolling Stone" editors state that Jackson's breakthrough was the "turning point" for MTV, initiating a transformation in which the network "not only revolutionized virtually every aspect of the music business, from promotion to concert tours, but changed the way listeners/viewers related to music and to artists".


title: Cultural impact of Michael Jackson

text: According to "The Rolling Stone Encyclopedia of Rock & Roll", the $160,000 budget for Jackson's "Beat It" video was considered an "exorbitant" amount; the video for his 1995 single "Scream" cost an estimated $4 million, making it the most expensive clip in pop music history at that time. According to Landis, the "Thriller" video project was the subject of a course at Harvard Business School, although he said this study incorrectly highlighted the role of business and legal professionals rather than Jackson's creative vision. MTV's premiere of Jackson's "Black or White" single was broadcast simultaneously in 27 countries on November 14, 1991, and was watched by an estimated 500 million people. As of 2006, this remained the largest audience to view a music video.


title: Cultural impact of Michael Jackson

text: "Thriller" has become closely associated with Halloween. The dance is performed in major cities around the world; the largest zombie dance included 12,937 dancers, in Mexico City. A YouTube video of more than 1,500 prisoners performing the dance had attracted 14 million views as of 2010.


title: Cultural impact of Michael Jackson

text: The "Rolling Stone" editors describe Jackson as "one of the most intriguing personas (sic) in popular music, at once childlike and obsessed with control" and comment on his ubiquitous presence, "spotlit in his trademark red zippered jacket and white sequined glove". Jackson often asked tailors to make him clothes that defied convention. His defiance led to a notable style that includes sequined gloves, a fedora, red leather jackets, sequined jackets, aviator sunglasses, black high-waisted pants, white socks, and leather penny loafers. Jackson was also interested in British royalty and military history, which resulted in his adoption of regalia and military jackets. His jackets often had a single-colored armband on one sleeve. At the height of his fame, Jackson inspired fashion trends around the world. British "Vogue" called him "a fashion pioneer [...] who gave new meaning to moonwalking, immortalised solitary, sparkly gloves, initiated the trophy jacket trend in the Eighties and was brave enough to couple dress with Madonna on the red carpet".


title: Cultural impact of Michael Jackson

text: Others have been influenced by Jackson's fashion sense. In 2012, Lady Gaga named Jackson as an inspiration. She owns around 400 pieces from his personal collection. In 2016, she wore Jackson's jacket from his 1990 visit to the White House at Hillary Clinton's final campaign rally during the 2016 U.S. presidential election. Also in 2016, Beyoncé honored Michael Jackson at Super Bowl 50 by wearing a Jackson-inspired outfit, a black and gold military jacket similar to the one Jackson wore in his Super Bowl halftime show in 1993.


title: Cultural impact of Michael Jackson

text: Jackson has been depicted by a large number of contemporary artists, including Jeff Koons, Michael Craig-Martin and Grayson Perry.<ref name="NPG/OnTheWall"></ref> The silkscreen image of Jackson used on the cover of "Time" in 1984 was created by Andy Warhol. The final portrait Jackson commissioned before his death, by Kehinde Wiley, portrayed him as Philip II of Spain in the manner of a painting by Pieter Paul Rubens.<ref name="Dowd/BBC"></ref>


title: Cultural impact of Michael Jackson

text: In June 2018 the National Portrait Gallery in London opened an exhibition titled "", featuring art inspired by Jackson and created by many leading artists. The curators stated that Jackson was "the most depicted cultural figure in visual art". The exhibition included the Warhol and Wiley pieces, and culminated in a 2005 film by Candice Breitz in which 16 young people are shown dancing to "Thriller". "Guardian" art critic Adrian Searle wrote that the singer's eccentricities and the common characterizations of him as "Ariel of the ghetto", a modern-day Baudelaire and Frankenstein's monster had provided artists with a wealth of imagery to explore in their work, and that as a muse he was "an inspiration, a model, a tragedy".<ref name="Searle/Guardian"></ref>


title: Cultural impact of Michael Jackson

text: Sculptures of Michael Jackson are, or have been on display around the world. The 10 Amazing Statues of Michael Jackson Around the world; 9 Michael Jackson Statues You Won’t Believe!


title: Cultural impact of Michael Jackson

text: Early in his career, Jackson and his family were often portrayed in the press as having risen out of black ghetto culture. This stereotype reinforced their standing as role models for American youth but, as a fabrication by Motown's publicity department, it displeased the family. To many African-Americans, his youth and energy were a source of inspiration in the aftermath to Martin Luther King's 1968 assassination, at a time when the country's black-power and civil rights movements were in disarray. Jackson became a notable figure in the desegregation of US popular culture and music. "Off the Wall" succeeded at a time when disco was perceived as inferior to rock by critics. According to Vogel, one of the album's significant achievements was to integrate a diverse collection of talents from different races, cultures, and countries, and to coalesce them seamlessly into the record.


title: Cultural impact of Michael Jackson

text: "Billie Jean" was one of the first music videos by a black artist to be shown on MTV, which hitherto had been a channel directed toward a white, rock-oriented audience. Although the song was already a number one hit on the "Billboard" charts, MTV initially refused to play the video because of the network's commitment to rock music. When CBS Records executive Walter Yetnikoff threatened to remove all of their products off MTV and expose its discriminatory policies, the network gave in. According to Edmondson, "The video [for 'Thriller'] is often cited as the musical phenomenon that completed the racial integration of popular music begun in the rock 'n' roll era."


title: Cultural impact of Michael Jackson

text: The success of "Thriller" not only broke down racial barriers in music but also in other areas of contemporary society. Critic Greg Tate said, "Black people cherished "Thriller"s breakthrough as if it were their own battering ram [against] apartheid." Civil rights activist Al Sharpton commented, "Way before Tiger Woods or Barack Obama, Michael made black people go pop-culture global." He also attributed Obama's presidential win to "a process that Michael helped America graduate to" as crossover fans and imitators grew up to become voters. To some commentators in the 1980s, however, Jackson had betrayed his African-American roots, especially in his musical collaborations with former Beatle Paul McCartney—a point of criticism that Stanley says Jackson sought to address with his 1987 album "Bad".


title: Cultural impact of Michael Jackson

text: The video for "Black or White" showed Jackson dancing with dancers of various ethnic groups and traditions, and the lyrics plead for racial tolerance and understanding. In early 1993, he launched a $1.25 million program to assist children affected by the 1992 Los Angeles riots and, in a TV interview conducted by Oprah Winfrey, discussed issues related to his African-American heritage and the abuse he suffered under his father. The viewer ratings for the show were among the highest in the history of US television.


title: Cultural impact of Michael Jackson

text: In 1995 "They Don't Care About Us" was released as one of the singles from "". In the mid-2010s, the track was used as an anthem for the Black Lives Matter movement. The song, originally recorded as part of the "Dangerous" sessions, was inspired by the Rodney King beating, which had led to the 1992 LA riots. The lyrics became more personal after Jackson felt dehumanized by the Santa Barbara County police's behavior during the investigation into the child sexual abuse accusations brought against him in 1993.


title: Cultural impact of Michael Jackson

text: "They Don't Care About Us" attracted controversy over its supposedly antisemitic lyrics. Bernard Weinraub of "The New York Times" cited the lines ""Jew me, sue me / Everybody do me / Kick me, kike me / Don’t you black or white me"" as "pointedly critical of Jews". Rabbi Abraham Cooper of the Simon Wiesenthal Center described the lyrics as "deeply disturbing" and potentially harmful to young people. Jackson issued statements saying that his lyrics were about "the pain of prejudice and hate" and that the song was "a way to draw attention to social and political problems". He described himself as "the voice of the accused and the attacked". The lyrics were eventually edited out with muffles.


title: Cultural impact of Michael Jackson

text: At the height of his fame, during the 1980s, Jackson began to embrace and perpetuate the public perception of his strangeness. Jackson (and his publicity team) and the media worked in tandem to cultivate this image. Early tabloid stories of his being obsessed with the Elephant Man's bones and sleeping in an "oxygen chamber" were possibly publicity stunts. Around this time, the tabloid newspaper "The Sun" began nicknaming Jackson "Wacko Jacko", a name he came to despise. Other tabloids and media outlets soon followed. The nickname stayed with Jackson for the rest of his career. Stories about him gradually turned negative. In Vogel's description: "Critics maligned him for buying the Beatles catalog [in 1985], mocked his changing appearance, called him a sissy, questioned whether he actually wrote his songs, reduced his art to commercial ephemera." His marriage to Lisa Marie Presley and rumours of him undergoing skin-whitening and other cosmetic surgery furthered the controversy surrounding Jackson's image and made him the subject of sensationalist biographies.


title: Cultural impact of Michael Jackson

text: Writing in British "Vogue" in 1987, Barney Hoskyns said that Jackson occupied a "superstar stratosphere of his own" and part of the public's misunderstanding of the star was "because we so "want" to know him – as we want to know anyone that famous". Hoskyns described the tabloid image of Jackson as "despicable ... distortions", but nevertheless opined: "Michael Jackson represents a terrible, pitiful corruption of what a twenty-nine-year-old human being really should be ... His neurotic obsession with perfecting his physical appearance apparently knows no bounds. And his inability to enjoy meaningful relations with anyone except animals, small children and cartoon characters has become ridiculous. This is, in short, a singularly maladjusted young man."<ref name="Hoskyns/Vogue"> Available at Rock's Backpages (subscription required).</ref> The "Rolling Stone" editors also attribute the media speculation partly to the singer's elusiveness and obsession with privacy, and add: "the massive public soul-searching the [1993] allegations against Jackson inspired were but one indication of the almost inestimable role he has played in shaping not only pop music but pop culture."


title: Cultural impact of Michael Jackson

text: Scholars have described the widely acknowledged and often polarizing perception of Jackson as a postmodern spectacle, causing the "real Michael Jackson" to remain elusive. In an article for "Popular Music & Society", Brian Rossiter commented: "The media, aware of the marketable potential of Jackson's ambiguities, consistently used them to manufacture the notion of an authentic or private self behind his public persona. […] Audiences were always given liberty to select which Michael Jackson they deemed to be the real or authentic one […]."


title: Cultural impact of Michael Jackson

text: Susan Fast, writing for the same publication, gives a more sympathetic view of Jackson: "While some of [his] difference was demonstrated through what was viewed in the mass media as 'eccentric' behavior […] it was really his more substantive(sic), underlying differences that were most troubling—racial, gendered, able-bodied/disabled, child/teenager/adult, adult man who loved children, father/mother." She writes that Jackson's persona was "so unsettling to the hegemonic order that it had to be contained through ridicule, misinterpretation, sensationalism, and finally criminal indictment". It is generally regarded as unusual for a man to want to be a single parent, Fast continues, to adore children like a mother; the thought of a man obsessed with cosmetics and appearance agitated the public to disbelieve the idea of him being an object of heterosexual desire. Fast argues that such perceptions, which stemmed from anxieties of masculinity, despite the fact that he created highly heterosexual art like "Black or White" and "In the Closet"; and that this idea extended to the public perception of Jackson's alleged child molestation.


title: Cultural impact of Michael Jackson

text: Ben Beaumont-Thomas, music editor for "The Guardian", said Jackson "ushered in a global culture" and that his impact extended into "areas previously untouched by Western pop culture". At the 1989 Soul Train Music Awards, actress Elizabeth Taylor dubbed Jackson the "King of Pop, Rock & Soul". In the coming years, Jackson declared himself to be the "King of Pop", a moniker that was widely accepted as accurate.


title: Cultural impact of Michael Jackson

text: Jackson first visited Africa in 1974 with the Jackson 5, a visit that inspired his "Bad" single "Liberian Girl".<ref name="Shields/OkayAfrica"></ref> Along with Jackson compositions such as "Heal the World" and "We Are the World", fans from Liberia found the song uplifting and his message resonated there in a climate of civil war and .


title: Cultural impact of Michael Jackson

text: In 1992, Jackson carried out a five-nation African cultural tour, intent on visiting "orphanages, children's hospitals, churches, schools and playgrounds". While in Côte d'Ivoire, he was crowned king of the Agni people in the Kingdom of Sanwi. Later that year, he established the Heal the World Foundation to raise awareness of social issues related to children. In 2016 John Dramani Mahama, then President of Ghana, referred to "Heal the World" in a speech at the U.N. General Assembly to encourage globalization and acceptance of refugees, and to denounce xenophobia.


title: Cultural impact of Michael Jackson

text: Until 1994, with the fall of apartheid in South Africa, Jackson was the only artist whose songs were played on white pop stations and black R&B stations there. According to Metro FM presenter Lupi Ngcayisa, his lyrics "forced black families to debate issues surrounding individualism and race". South African R&B artist Loyiso Bala, of the Bala Brothers, likened Jackson's impact to Nelson Mandela and said that as a black boy growing up in a township, "you either wanted to be Michael Jackson or a freedom fighter."


title: Cultural impact of Michael Jackson

text: In 1996 Jackson visited Santa Marta, a favela in Rio de Janeiro, to film one of the videos for "They Don't Care About Us". Initially, Rio's local government was concerned that Jackson would show the world an unflattering picture of poverty, which might affect tourism, and accused Jackson of exploiting the poor. Others supported Jackson's wish to highlight the problems of the region, arguing that the government was embarrassed by its own failings. A judge banned all filming but this ruling was overturned by an injunction.