title: Persecution of Zoroastrians

text: Apart from two accounts of confrontation in the Qissa, Parsi lore presents a smooth integration into the local culture of first their Hindu, and then Muslim neighbors. The community still exists in western India, and it currently contains the largest concentration of Zoroastrians in the world. "Parsi legends regarding their ancestors' migration to India depict a beleaguered band of religious refugees escaping the harsh rule of fanatical Muslim invaders in order to preserve their ancient faith." The epic poem Qissa-i-Sanjan (Story of Sanjan) is an account of the early years of Zoroastrian settlers on the Indian subcontinent. It is only in recent times that Parsis have become aware of the extent of the oppression that their ancestors in Iran had to endure.


title: Persecution of Zoroastrians

text: Zoroastrians had difficult time during the Safavid period and faced repeated persecution and forced conversion. Safavid kings sought to compel them to accept Shia Islam, Sunnis too were forced to convert to Shia or were persecuted, imprisoned, exiled, or killed. Zoroastrians were also branded as impure, in addition to being infidels. As earlier in the century, so this period also witnessed sporadic campaigns for the conversion of Armenians and Zoroastrians, focusing blame for economic and other ills on these and other minorities whose involvement in the spice export, for example, was well known.


title: Persecution of Zoroastrians

text: In the early 16th century the great Safavid king, Shah Abbas I settled a number of Zoroastrians in a suburb of his new capital, Isfahan. The suburb of Isfahan where the Zoroastrians lived was called Gabr-Mahal, Gabristan or Gabrabad, derived from the word Gabr. Europeans who visited his court left accounts of the 'Gabars' or 'Gabrs' (an insulting term used for Zoroastrians by the Muslims), agree on the poverty and simplicity of their lives. Fearing desecration by Muslims, Zoroastrians hid the sacred fires, and conversed in a newly invented dialect called Dari. Later Safavid kings were not as tolerant as Shah Abbas. Muhammad Baqir Majlisi persuaded Sultan Husayn (1688–1728 CE) to decree the forcible conversion of Zoroastrians; those who refused were killed.


title: Persecution of Zoroastrians

text: The accounts in "Mino Khirad", written during the Savafid period, demonstrate that the Zoroastrians were subjected to harassment by the Shi'ite majority, their places of worship were under a constant threat of being destroyed. By 1707, when Le Bruyn visited Isfahan, the Zoroastrians were no longer able practice their religion freely. He notes that the most deprived Zoroastrians had been brought to Isfahan, and had been forced to become Muslim three years earlier. In 1821, Ker Porter visiting Isfahan notes that there were hardly any Zoroastrians left in Isfahan and Gabrabad was in ruins.


title: Persecution of Zoroastrians

text: A Zoroastrian astrologer named Mulla Gushtasp predicted the fall of the Zand dynasty to the Qajar army in Kerman. Because of Gushtasp's forecast, the Zoroastrians of Kerman were spared by the conquering army of Agha Mohammad Khan Qajar. Despite the aforementioned favorable incident, the Zoroastrians during the Qajar dynasty remained in agony and their population continued to decline. Even during the rule of Agha Mohammad Khan, the founder of the dynasty, many Zoroastrians were killed and some were taken as captives to Azerbaijan. Zoroastrians regard the Qajar period as one of their worst.


title: Persecution of Zoroastrians

text: Many foreign visitors to Iran of the time had commented on their pitiful situation. Traveller A.V.W. Jackson noted that Zoroastrians lived in constant fear of persecution by Muslim extremists and their lives were in danger whenever the fanatical spirit of Islam broke out, such as the one witnessed by him in Yazd. According to Edward Browne, the wall of Zoroastrian houses had to be lower than that of the Muslims and prohibited from marking their houses with distinctive signs. Zoroastrians were forbidden from erecting new houses and repairing old ones.


title: Persecution of Zoroastrians

text: Various methods were used to proselytize the minorities. According to a law, if any member of family converted to Islam, he/she was entitled to all inheritance. They were forbidden from taking up lucrative occupations. The community was regarded as outcast, impure and untouchable. The Zoroastrians and their food was considered impure and many public places refused to serve them. When they shopped in the bazaar, they were not allowed to touch any food or fruits. They were threatened with forced conversions, beaten up and fleeced, and their religious sanctuaries were regularly desecrated. Harassments and persecution were the norms of daily life. Zoroastrians were often attacked and beaten by Muslims in the streets. The murders of Zoroastrians were not punished. At times, Zoroastrian girls were kidnapped and forcefully converted and married to Muslims and brought to town in fanfare.


title: Persecution of Zoroastrians

text: Zoroastrians were subjected to public discrimination through dress regulations – not allowed to wear new or white clothes, and compelled by enactments to wear the dull yellow raiment already alluded to as a distinguishing badge. They were not allowed to wear overcoats but were compelled to wear long robes called "qaba" and cotton "geeveh" on their feet even in winter. Wearing eyeglasses, long cloak, trousers, hat, boots, socks, winding their turbans tightly and neatly, carrying watches or rings, were all forbidden to Zoroastrians. During the rainy days they were not allowed carry umbrellas or to appear in public, because the water that had run down through their bodies and cloths could pollute the Muslims. Zoroastrian men in Yazd would carry a large shawl that they would place under their feet when visiting a Muslim's home so as to prevent the carpet from being polluted. Forbidden from riding horses and only allowed to ride mules or donkeys, upon facing a Muslim they had to dismount. The general proscription against Zoroastrians' riding horses and donkeys was lifted by Reza Shah in 1923.


title: Persecution of Zoroastrians

text: On top of all the misery the Zoroastrians had to pay a heavy religious tax known as Jizya. Zoroastrian sources record the method of extracting this as designed to humiliate the dhimmi, the taxed person, who was compelled to stand while the officer receiving the money sat on a high throne. Upon receiving the payment, the officer gave the dhimmi a blow on the neck and drove him roughly away. The public was invited to watch the spectacle. Arab tax collectors would mock Zoroastrians for wearing "Kushti" and would rip it off, hanging the cord around the necks of the beleaguered faithful. Due to corruption of the tax officials, at times twice and even three times the official figure would be collected, because every intermediary had to receive his share. If the families could not afford paying the Jizya, their children were beaten and even tortured and their religious books were thrown in fire. That is how the term "the bookless" came about. Under the woeful conditions, some had to convert and there were those who declared themselves Muslims, picked up Islamic names, but in secret continued Zoroastrian practices. Today the latter group among the Zoroastrians is known as Jaddid. In response to persecution and segregation policies, the Zoroastrians community became closed, introverted, and static.


title: Persecution of Zoroastrians

text: Zoroastrian massacres did not cease during the Qajar rule. The last two are recorded at the villages surrounding the city of Boarzjan and Turkabad near Yazd. Today, the village of Maul Seyyed Aul near Borazjan, among the local people is known as "killing site" (Ghatl-Gauh), and Zoroastrian surnames of Turk, Turki, Turkian and Turkabadi reflect lineage to the survivors of Turkabad. In the 1850s, Comte de Gobineau, the French Ambassador to Iran, wrote: "Only 6000 of them are left and just a miracle may save them from extinction. These are the descendants of the people who one day ruled the world."


title: Persecution of Zoroastrians

text: Due to the extent of oppression, and destitution, many Zoroastrians ventured to the hazardous journey to India. Those who could not afford the voyage aboard the ships, risked their lives by crossing the hostile desert on donkeys or even on foot. In India, they were recognized for Sedreh and Kushti and were sheltered by their Parsi brethren. There, they formed the second major Indian Zoroastrian community known as the Iranis.


title: Persecution of Zoroastrians

text: When the news of their plight reached the Parsis, who by this time had become quite prosperous, Parsi funds were set up to help the Iranian Zoroastrians and emissaries were dispatched to Iran. A Parsi philanthropist, Maneckji Limji Hataria, was sent to help them. He found only 7711 Zoroastrians in Kerman, Yazd and Tehran (now the capital of Iran). Using his influence with the British government he managed to get some of the repression against Zoroastrians removed. "Jizya" was paid by the Zoroastrian minority until 1882, when it was removed by pressure on the Qajar government from the Persian Zoroastrian Amelioration Fund.


title: Persecution of Zoroastrians

text: The Zoroastrian Trust Funds of Europe (ZTFE), also attempted to alleviate the conditions of their Iranian brethren. Both Dadabhai Naoroji and Mancherjee Bhownagree, as presidents of the ZTFE and Members of Parliament addressed the House of Commons of the United Kingdom on the issue of the persecution of Zoroastrians in Iran. On the six occasions, Shah Naser al-Din Shah Qajar visited London; Parsi delegations from the ZTFE were present to advocate for their Iranian co-religionists suffering the intense persecution of the Qajar dynasty.


title: Persecution of Zoroastrians

text: The 1979 Islamic Revolution was equally traumatic for the remaining Zoroastrians, and their numbers reduced drastically. Immediately after the revolution, during Bazargan's premiership, Muslim revolutionaries "walked into the main Zoroastrian fire temple in Tehran and removed the portrait of the Prophet Zoroaster and replaced it with one of [Ayatollah] Khomeini".


title: Persecution of Zoroastrians

text: However, just like the Armenian, Assyrian and Persian Jewish communities, Zoroastrians are officially recognized and on the grounds of the 1906 Constitution allocated one seat in the Iranian Parliament, currently held by Esfandiar Ekhtiari Kassnavieh. Out-marriage and low birth rates affect the growth of Iran's Zoroastrian population which, according to Iran's 2012 census results, stood at 25,271, though this represented an increase of 27.5% on the 2006 population.


title: Persecution of Zoroastrians

text: In 2013, Sepanta Niknam was elected to the city council of Yazd and became the first Zoroastrian councillor in Iran.


title: Persecution of Zoroastrians

text: Mazdakism was viewed by the Zoroastrian hierarchy as a heresy and its followers were persecuted by Zoroastrian Sassanian leaders. The Sassanian ruler Khosrau I launched a campaign against the Mazdakis in 524 or 528, culminating in a massacre which killed most of them, including Mazdak himself and restored orthodox Zoroastrianism as the state religion.


title: Persecution of Zoroastrians

text: Various accounts specify the way of death: e.g. the Shahnameh states that the three thousand Mazdakis were buried alive with the feet upwards in order to present Mazdak with the spectacle of a "human garden", whereas Mazdak himself was hanged upside down and shot with countless arrows; other stories specify other torturous methods of execution. In any case, Anushiravan then proceeded to implement his own far-reaching social and administrative reforms. Mazdakism almost disappeared after the massacre. Later, there were instances in which Zoroastrian clergy were assisted by Muslims against Zoroastrians whom the Zoroastrian clergy considered to be heretics or separatists.


title: Persecution of Zoroastrians

text: According to Mary Boyce, Zoroastrians living under Christian rule in Asia Minor were noted to have undergone hardship, notably during the long conflict between the Roman Empire and Persia. Christians living in Sassanian-held territory were noted to have destroyed many fire-temples and Zoroastrian places of worship. Christian priests deliberately extinguished the sacred fire of the Zoroastrians and characterized adherents as "followers of the wicked Zardusht (Zoroaster), serving false gods and the natural elements."


title: Prarthana Indrajith

text: Prarthana Indrajith (born 29 October 2004) is an Indian playback singer. She predominantly works in the Malayalam film industry, and has also sung in Tamil and Hindi films. Her debut performance was the song "Ko Ko Kozhi" which she sang in the Malayalam film The Great Father.


title: Prarthana Indrajith

text: Her grandparents Sukumaran and Mallika Sukumaran, and her uncle Prithviraj Sukumaran are also actors.


title: Bromocriptine

text: Bromocriptine, originally marketed as Parlodel and subsequently under many brand names, is an ergoline derivative and dopamine agonist that is used in the treatment of pituitary tumors, Parkinson's disease, hyperprolactinaemia, neuroleptic malignant syndrome, and, as an adjunct, type 2 diabetes.


title: Bromocriptine

text: Bromocriptine is used to treat acromegaly and conditions associated with hyperprolactinemia like amenorrhea, infertility, hypogonadism, and prolactin-secreting adenomas. It is also used to prevent ovarian hyperstimulation syndrome and to treat Parkinson's disease.


title: Bromocriptine

text: Since the late 1980s it has been used, off-label, to reduce the symptoms of cocaine withdrawal but the evidence for this use is poor.


title: Bromocriptine

text: A quick-release formulation of bromocriptine, Cycloset, is also used to treat type 2 diabetes. When administered within 2 hours of awakening, it increases hypothalamic dopamine level and as a result decreases hepatic glucose production. It therefore acts as an adjunct to diet and exercise to improve glycemic control.


title: Bromocriptine

text: Most frequent side effects are nausea, orthostatic hypotension, headaches, and vomiting through stimulation of the brainstem vomiting centre. Vasospasms with serious consequences such as myocardial infarction and stroke that have been reported in connection with the puerperium, appear to be extremely rare events. Peripheral vasospasm (of the fingers or toes) can cause Raynaud's Phenomenon.


title: Bromocriptine

text: Bromocriptine use has been anecdotally associated with causing or worsening psychotic symptoms (its mechanism is in opposition of most antipsychotics, whose mechanisms generally block dopamine receptors). It should be understood, however, that the greater affinity bromocriptine and many similar antiparkinson's drugs have for the D receptor form (considered to be mostly present at inhibitory D autoreceptor locatations) relative to the D form, sufficiently low partial agonist activity (ie where a molecule binding to a receptor induces limited effects while preventing a stronger ligand like dopamine from binding), and, possibly, the functional selectivity of a particular drug may generate antidopaminergic effects that are more similar than oppositional in nature to antipsychotics.


title: Bromocriptine

text: Pulmonary fibrosis has been reported when bromocriptine was used in high doses for the treatment of Parkinson's disease.


title: Bromocriptine

text: Use to suppress milk production after childbirth was reviewed in 2014 and it was concluded that in this context a causal association with serious cardiovascular, neurological or psychiatric events could not be excluded with an overall incidence estimated to range between 0.005% and 0.04%. Additional safety precautions and stricter prescribing rules were suggested based on the data. It is a bile salt export pump inhibitor.


title: Bromocriptine

text: After long-term use of dopamine agonists, a withdrawal syndrome may occur during dose reduction or discontinuation with the following possible side effects: anxiety, panic attacks, dysphoria, depression, agitation, irritability, suicidal ideation, fatigue, orthostatic hypotension, nausea, vomiting, diaphoresis, generalized pain, and drug cravings. For some individuals, these withdrawal symptoms are short-lived and they make a full recovery, for others a protracted withdrawal syndrome may occur with withdrawal symptoms persisting for months or years.


title: Bromocriptine

text: Bromocriptine is a partial agonist of the dopamine D receptor. It also interacts with other dopamine receptors and with various serotonin and adrenergic receptors. Bromocriptine has additionally been found to inhibit the release of glutamate by reversing the GLT1 glutamate transporter.


title: Bromocriptine

text: As an antagonist of the serotonin 5-HT receptor, bromocriptine has not been associated with cardiac valvulopathy. This is in contrast to other ergolines acting instead as 5-HT receptor agonists such as cabergoline and pergolide but is similar to lisuride which likewise acts as a 5-HT receptor antagonist.


title: Bromocriptine

text: Like all ergopeptides, bromocriptine is a cyclol; two peptide groups of its tripeptide moiety are crosslinked, forming the >N-C(OH)< juncture between the two rings with the amide functionality.


title: Bromocriptine

text: Bromocriptine is a semisynthetic derivative of a natural ergot alkaloid, ergocryptine (a derivative of lysergic acid), which is synthesized by bromination of ergocryptine using "N"-bromosuccinimide.


title: Bromocriptine

text: Bromocriptine was discovered by scientists at Sandoz in 1965 and was first published in 1968; it was first marketed under the brand name Parlodel.


title: Bromocriptine

text: As of July 2017, bromocriptine was marketed under many brand names worldwide, including Abergin, Barlolin, Brameston, Brocriptin, Brom, Broma-Del, Bromergocryptine, Bromergon, Bromicon, Bromocorn, Bromocriptin, Bromocriptina, Bromocriptine, Bromocriptine mesilate, Bromocriptine mesylate, Bromocriptine methanesulfonate, Bromocriptini mesilas, Bromocriptinmesilat, Bromodel, Bromokriptin, Bromolac, Bromotine, Bromtine, Brotin, Butin, Corpadel, Cripsa, Criptine, Criten, Cycloset, Degala, Demil, Deparo, Deprolac, Diacriptin, Dopagon, Erenant, Grifocriptina, Gynodel, kirim, Kriptonal, Lactodel, Medocriptine, Melen, Padoparine, Palolactin, Parlodel, Pravidel, Proctinal, Ronalin, Semi-Brom, Serocriptin, Serocryptin, Suplac, Syntocriptine, Umprel, Unew, Updopa, Upnol B, and Volbro.


title: Bromocriptine

text: As of July 2017 it was also marketed as a combination drug with metformin as Diacriptin-M, and as a veterinary drug under the brand Pseudogravin.


title: The Mills Brothers

text: The Mills Brothers, sometimes billed the Four Mills Brothers, and originally known as the Four Kings of Harmony, were an American jazz and traditional pop vocal quartet who made more than 2,000 recordings that sold more than 50 million copies and garnered at least three dozen gold records.


title: The Mills Brothers

text: The Mills Brothers were the first African-American artists to have their own show on national network radio (on CBS in 1930); they made appearances in film; and were the first to have a No. 1 hit on the "Billboard" singles chart, with "Paper Doll" in 1943. They were inducted into the Vocal Group Hall of Fame in 1998.


title: The Mills Brothers

text: The quartet consisted of Donald (lead tenor vocals, April 29, 1915 – November 13, 1999), Herbert (tenor vocals, April 2, 1912 – April 12, 1989), Harry (baritone vocals, August 9, 1913 – June 28, 1982), and John Jr. (guitar, double bass, vocals; October 19, 1910 – January 23, 1936).


title: The Mills Brothers

text: Their father, John Hutchinson Mills (February 11, 1882 – December 8, 1967), was a barber with his own shop and a barbershop quartet. He was the son of William Hutchinson Mills and Cecilia Simms who lived in Bellefonte, Pennsylvania.


title: The Mills Brothers

text: As the boys grew older, they began singing in the choir of the Cyrene African Methodist Episcopal Church and in the Park Avenue Baptist Church in Piqua. After lessons at the Spring Street Grammar School, they gathered in front of their father's barbershop or on the corner to perform. They entered an amateur contest at May's Opera House but while on stage Harry realized he had lost his kazoo. He improvised by cupping his hand over his mouth and mimicking the sound of trumpet. The brothers liked the idea and worked it into their act. John, the bass vocalist, would imitate the tuba. Harry, a baritone, imitated the trumpet, Herbert became the second trumpet, and Donald the trombone. John accompanied the four-part harmony on ukulele and then guitar. They practiced imitating orchestras they heard on the radio.


title: The Mills Brothers

text: In 1928, after playing May's Opera House in Piqua between Rin Tin Tin features, the brothers accompanied the Harold Greenameyer Band to Cincinnati for an audition with radio station WLW. The station did not hire the band, but did hire the Mills brothers. With the help of Seger Ellis, a WLW Cincinnati DJ, they became local radio stars, and got their major break when Duke Ellington and his Orchestra played a date in Cincinnati. When the youngsters sang for Duke, he called Tommy Rockwell at Okeh Records, who signed them and brought the group to New York City.


title: The Mills Brothers

text: In September 1930, Ralph Wonders urged broadcasting executive William S. Paley, at CBS Radio in New York, to turn on his office speaker and listen to an audition of four young men. For the audition they were "The Mills Brothers", but they had been known by many other names. They were billed as "The Steamboat Four" when they sang for Sohio. They had been called the "Four Boys and a Guitar" on their Sunday shows. When Paley heard their performance, he immediately went downstairs and put them on the air. The next day, the Mills Brothers signed a three-year contract and became the first African-Americans to have a network show on radio.


title: The Mills Brothers

text: Their first recording for Brunswick Records, a cover of the Original Dixieland Jass Band standard "Tiger Rag", became a nationwide best-seller and a no. 1 hit on the charts in a version with lyrics by Harry DaCosta. It sold over one million copies, and was awarded a gold disc by the RIAA.


title: The Mills Brothers

text: Other hits followed – "Goodbye Blues", their theme song, "Nobody's Sweetheart", "Ole Rockin' Chair", "Lazy River", "How'm I Doin'", and others. They remained on Brunswick until late 1934, when they signed with Decca, where they stayed well into the 1950s. On all of their Brunswick records, as well as the early Deccas, the label stated, "No musical instruments or mechanical devices used on this recording other than one guitar".


title: The Mills Brothers

text: They were a hit on CBS in 1930–1931, particularly when they co-starred on the popular "The Fleischmann's Yeast Hour" hosted by Rudy Vallee. From 1932 to 1933 they had a radio series in which they were billed as the "Four Boys and a Guitar". Before their show announcers explained to listeners that the only instrument was a guitar, as the vocal effects made many listeners think they were brass instruments. The brothers were sponsored by Standard Oil, Procter & Gamble, Crisco, and Crosley Radio. They began appearing in films. Their first, "The Big Broadcast" (Paramount Pictures, 1932) was an all-star radio revue that included Bing Crosby, Cab Calloway, and the Boswell Sisters. They also made three "bouncing ball" cartoon shorts for the Fleischer Brothers.


title: The Mills Brothers

text: Between 1933 and 1935, the Brothers starred with Crosby for Woodbury Soap in "Bing Crosby Entertains", making 27 appearances in all on the CBS radio show. They also recorded their classics "Lazy Bones", "Sweet Sue", "Lulu's Back In Town", "Bye-Bye Blackbird", "Sleepy Head", and "Shoe Shine Boy". Their film appearances included "Twenty Million Sweethearts" (Warner Brothers, 1934), "Operator 13" (MGM, 1934) and "Broadway Gondolier" (Warner Brothers, 1935).


title: The Mills Brothers

text: In 1934, The Mills Brothers became the first African-Americans to give a command performance before British royalty. They performed at the Regal Theatre for a special audience: King George V and Queen Mary. While performing in England, John Jr. became ill. He died in the beginning of 1936. Their father, John Sr. replaced John Jr. as the bass and tuba. At this time, Bernard Addison joined the Brothers as their guitar player.


title: The Mills Brothers

text: Through 1939 the group enjoyed remarkable success in Europe. Herbert recalled,We left England for the last time just three days before war was declared on Germany and the only boat we could get was to Australia. We were overseas from then on except for two months in 1940 and then we went back to South America. We didn't get back until 1941. In the meantime the Ink Spots were coming up, and people had sort of forgotten us.


title: The Mills Brothers

text: In the period between John Jr.'s death and their return to the States, they re-recorded "Lazy River". It was followed by "Someday You'll Want Me to Want You", "Swing Is the Thing", "Long About Midnight", "Organ Grinder's Swing", and "The Song is Ended". They honored Duke Ellington with a swing version of his "Caravan," and then produced a series of classic recordings; "South of the Border", which they performed in a tour of South America, along with "Ain't Misbehavin'", "It Don't Mean a Thing", "Jeepers Creepers", "Three Little Fishies", and "Basin Street Blues".


title: The Mills Brothers

text: During this era, there was also a brief time when the group performed with a non‑family singer. Gene Smith served as a stand-in for one year when Harry was drafted into the Army. Although Smith's solo singing did not particularly resemble the group's usual sound, he was able to harmonize well until the fourth brother's return. Smith is noticeable in a number of the Mills Brothers' film appearances.


title: The Mills Brothers

text: Returning to the States, the Brothers were anxious for a hit and recorded "I'll be Around" in 1943. Donald Mills chose "Paper Doll" as the B-side of the record. "I'll Be Around" became a hit, then a disk jockey turned the record over. "Paper Doll", recorded in fifteen minutes, sold six million copies and became the group's biggest hit.


title: The Mills Brothers

text: The rise of rock and roll did little to decrease the Mills Brothers popularity. "Glow Worm" jumped to number two on the pop charts in 1952. "Opus One", an updated version to the Tommy Dorsey hit, was soon on the charts as well, followed by "You're Nobody till Somebody Loves You", "The Jones Boy", "Yellow Bird", "Standing on the Corner", and "If I Had My Way". The track also peaked at No. 10 in the UK Singles Chart in January 1953. It was the fifth million selling record for the Mills Brothers.


title: The Mills Brothers

text: In 1956, John Sr., when he was 68, stopped touring with the group. As a trio, the Mills Brothers were frequent guests on television talk shows and variety shows. After leaving Decca for Dot Records, they had a hit in 1958 with a cover version of "Get a Job" by The Silhouettes. They reached the charts with "Yellow Bird" two years before Arthur Lyman's version was a Top Ten hit. "Cab Driver", written by Carson Parks and recorded in 1968, was their last hit (No. 23 Pop, No. 3 Easy Listening).


title: The Mills Brothers

text: The Mills Brothers' fiftieth anniversary in show business was celebrated in 1976 with a tribute at the Dorothy Chandler Pavilion in Los Angeles, hosted by Bing Crosby. At the time, Harry was now almost blind because of diabetes.


title: The Mills Brothers

text: As a trio, Herbert, Harry and Donald continued performing on the oldies circuit until Harry's death in 1982. Herbert and Donald continued until Herbert's death in 1989. Then, Donald began performing with his son, John II. In 1998 the Recording Academy recognized the Mills family's contributions to popular music when it presented Donald, as the sole surviving member, with a Grammy Award for Lifetime Achievement.


title: The Mills Brothers

text: After Donald's death of pneumonia on November 13, 1999, John II became the next family member to tour under the name "The Mills Brothers" with Elmer Hopper, who had previously sung lead with Paul Robi's Platters. They were at times joined by John II's eldest brother, Don Mills, Jr. Following Hopper's death on May 5, 2019, John II started performing with Randy Taylor as a featured vocalist.


title: The Mills Brothers

text: The Mills Brothers were among hundreds of artists who reportedly had material destroyed in the 2008 Universal fire.


title: Dartmoor Zoological Park

text: Dartmoor Zoological Park (originally Dartmoor Wildlife Park) is a zoo just north of the village of Sparkwell, on the south-west edge of Dartmoor, in the county of Devon in the South West of England. It was opened in 1968 by Ellis Daw who ran it until its licence was revoked and it was forced to close in 2006. The zoo was bought in August 2006 by Benjamin Mee, who reopened the zoo in July 2007, later writing a book about his experiences called "We Bought a Zoo" (2008). A 2011 film of the same title was loosely based on the book.


title: Dartmoor Zoological Park

text: The zoo was opened as Dartmoor Wildlife Park by Ellis Daw in 1968 on the Goodamoor Estate that his family had bought in 1948. Goodamoor House was built in the 17th century by Paul Ourry Treby of the Treby family in the parish of Plymton St. Mary. The Treby family lived on the estate until the late 19th century.


title: Dartmoor Zoological Park

text: In the following years Daw acquired many species to add to his collection, including lions and tigers, jaguars and pumas. He was also instrumental in the design and construction of many of the buildings and enclosures around the park.


title: Dartmoor Zoological Park

text: Dartmoor Wildlife Park became the subject of local debate after a 2001 report by the Captive Animals Protection Society raised questions about the welfare of the animals and the conditions in which they were kept. The group criticised the living conditions for the animals and the safety barriers, calling for the zoo's licence to be revoked. Ellis Daw denied the allegations, pointing to the lack of accidents in the zoo's 33-year history. The council were reluctant to revoke the zoo's licence, due to concerns over the future of the animals, but did charge Ellis Daw with 16 offences after the zoo was investigated. All but one of these charges were dropped, but Daw was found guilty of breeding Siberian tigers outside of an organised breeding programme, and of keeping them in poor conditions. For this, Daw received a £200 fine and a conditional discharge, and the tigers were sent to a wildlife centre in the Netherlands.


title: Dartmoor Zoological Park

text: The zoo closed to the public on 23 April 2006. Ellis Daw's autobiography, "From the Lamb to the Tiger", in which he recorded the history of the zoo during the time that he owned it, was published in 2011. Next to the house is a large block of granite on which is inscribed:


title: Dartmoor Zoological Park

text: In August 2006, the Wildlife Park was bought for £1.1m by the Mee family consisting of the matriarch Amelia Mee, four out of five of her children, including Benjamin Mee. Four days after the family moved in, the jaguar escaped. He was later anaesthetised and captured after leaping into the nearby tiger enclosure. The following February the zoo obtained the £500,000 it needed for refurbishment of the site and reopened as the rebranded Dartmoor Zoological Park on 7 July 2007.


title: Dartmoor Zoological Park

text: The zoo has been a member of BIAZA (the British and Irish Association of Zoos and Aquariums) since 2011 and as a result is able to obtain animals from other BIAZA collections, as well as move certain animals on to other collections in order to become part of breeding programmes. In 2011 the zoo was awarded Eden's top wildlife attraction of the year and a Global Enterprise award.


title: Dartmoor Zoological Park

text: In July 2016 a lynx escaped from the zoo and was free in the Devon countryside for more than three weeks before being recaptured.


title: Dartmoor Zoological Park

text: A four part television documentary entitled "Ben's Zoo" was broadcast in 2006. It followed the story of Mee and his staff as they worked to rebuild the park. In 2008 Benjamin Mee published a book titled "We Bought a Zoo", about his and his family's experiences within the zoo.


title: Dartmoor Zoological Park

text: The book was loosely adapted into a 2011 film, "We Bought a Zoo". It was directed by Cameron Crowe following a rewrite of the original adaptation written by Aline Brosh McKenna. The film, starring Matt Damon, Scarlett Johansson, Colin Ford, and Maggie Elizabeth Jones was released in the U.S. and other major territories on 23 December 2011, and in the UK on 16 March 2012. In the film adaptation the zoo is called Rosemoor Wildlife Park, and is situated in the United States. The story also differs in that Mee buys the zoo after the death of his wife, whereas in fact she died aged 40 of a brain tumour several months after the purchase. Mee and his children have cameo roles within the film.


title: Dartmoor Zoological Park

text: Dartmoor Zoological Park has over 70 different animal species, including some endangered and critically endangered species. The zoo has a breeding programme with common marmosets, tapir, slender-tailed meerkats, Kafue lechwe, and wallaby.


title: Dartmoor Zoological Park

text: Amur tiger, African lion, Jaguar, Carpathian lynx, Red-handed tamarin, Gelada, Iberian wolves, Asian short-clawed otters, Raccoon, Vervet monkeys, Common marmosets, Ring-tailed coati, Slender-tailed meerkats, tapir, capybara, Kafue lechwe, Grant's zebra, sugar gliders, lesser hedgehog tenrec, Parma wallabies, Bennett's wallabies, Reeves's muntjac, Fallow deer, domestic rabbits, raccoon dogs, reindeer, Azara's agouti, African pygmy goats and Cloud rat.


title: Dartmoor Zoological Park

text: Ostrich, greater rhea, white-cheeked turaco, avocets, Indian runner ducks, Helmeted guinea fowl, white-naped crane, great horned owl, great grey owl, burrowing owl, European eagle owl, striated caracara, Himalayan Monal, and golden pheasant.


title: Dartmoor Zoological Park

text: Red-tailed boa constrictor, royal python, corn snake, milk snake, Western hognose snake, blue spiky lizard, blue-tongued skink, bearded dragon, crested gecko, American alligators, electric blue gecko and yellow-headed day gecko.


title: Dartmoor Zoological Park

text: Sun beetle, leaf insects, Mcklay's spectre, giant thorny stick insect, orange-headed cockroaches, Indian ornamental tarantula, Brazilian black tarantula, Chilean rose tarantula, tailless whip scorpion, and tiger land snails.


title: Om Namo Venkatesaya

text: Om Namo Venkatesaya is a 2017 Indian Telugu-language Hindu devotional biographical film directed by K. Raghavendra Rao and produced by A. Mahesh Reddy on AMR Sai Krupa Entertainments banner. The film stars Nagarjuna as Hathiram Bhavaji, alongside Anushka Shetty, Jagapathi Babu, Saurabh Raj Jain, and Pragya Jaiswal. Sai Kumar, Rao Ramesh, Sampath Raj, Ashmita Karnani, Brahmanandam, and Ajay play supporting roles. It has music composed by M. M. Keeravani. The film was dubbed in Tamil as "Akhilandakoti Brahmandanayagan". The film failed at the box office.


title: Om Namo Venkatesaya

text: The film begins with Rama, born in Dalpatpur Uparhar village in Ayodhya, India, leaves the house in childhood itself in search of God and meets a saint Anubhavananda Swamy who assures him that it will happen and he also plays with him. Swamy teaches Rama the dice game and later advises him to meditate. After 15 years, Lord Venkateswara appears in the form of a child and disturbs his meditation when Rama asks Him to go away. After that, he reaches back to his hometown where his parents fix his alliance with his cousin Bhavani. Just before the marriage, Rama gets a call from his mentor in the dream that the time has arrived to play with God. Forthwith, he rushes to call off the wedding when Anubhavananda Swamy states that the boy who appeared before him is Lord Venkateswara.


title: Om Namo Venkatesaya

text: Hence, Rama heads Tirumala where Krishnamma another ardent devotee who believes herself as the wife of the Lord and dedicates her life to his service. Besides, Govindarajulu, the temple administrator, performs illegal acts, misuses the temple funds, and makes the workers his slaves. Meanwhile, Rama reaches Tirumala and calls the Lord in the name of "Balaji" out of love and affection. But Rama is not allowed into the temple, so, he sits outside for seven to eight days without having food or sleep. Govindarajulu orders his men to kick him, and they strike him very badly when the temple elephant rescues him. Later, Krishnamma treats him in her "Ashram". In her guidance, Rama learns about "Sthala Puranam" (History of the Temple) and decides to begin a new horizon at Tirumala by campaigning it to the pilgrims to make them aware of the true nature of the Lord. He also encounters Govindaraju by protecting pilgrims and employees from his atrocities.


title: Om Namo Venkatesaya

text: Now, Rama constructs a new "Ashram" at the hilltop and starts cultivating their flowers and fruits and growing cowshed ("Goshala") for milk products to the temple. Here, Govindarajulu provokes Raaja Giridhara Rayalu against Rama, but he recognizes the fact and honesty of Rama. Giridhara Raaya allocates the temple authority to Rama and demotes Govindarajulu as a sweeper. In a short while, Rama makes many changes in the temple by introducing a new form of prayers ("Poojas"), services ("Seva") such as offering Aarti with butter ("Navaneetha Aarti"), everyday marriage ("Nitya Kalyanam") to the god, amenities for devotees, and making sure that the temple flourishes with all rituals as per the Holy Scriptures. Lord Venkateswara is impressed by this and lands on earth to play dice with Rama.


title: Om Namo Venkatesaya

text: Henceforth, every day, the Lord visits to spend some time with Rama. In the beginning, the Lord loses a ring in the bet which is given by Goddess Lakshmi as a token of love, but Rama is still under dichotomy whether the event occurred or not. Lakshmi gets angry with Venkateswara and leaves him, only to reside in Rama's house and bless him. Once, when Rama was fanning Lakshmi while she slept, a Tantrik attacks him. Lakshmi gets angry, assumes the form of Chamunda, and kills the Tantrik. Lakshmi, pacified with Venkateswara, returns to him. Later on, Rama craves another glimpse of the Lord; at that exact moment, Venkateswara appears before him and plays the dice, in which the Lord loses all of his jewelry. The next day, when the temple doors are opened, the Lord's main idol is found with no jewelry adorning it, and they are identified at Rama's Ashram.


title: Om Namo Venkatesaya

text: At that point, Giridhara Raaya arrives to conduct an interrogation when Rama says that the Lord himself has given it to him. But no one believes it, so the King keeps a test on Rama to prove his innocence by locking him in a prison full of sugarcane and asking him to eat every bit before dawn; otherwise, he will be sentenced to death. Soon, Lord Venkateswara appears in the form of an elephant and finishes it off, and disappears. In the morning, the king is surprised to learn the miracle in which the jewelry returns to Venkateswara. Therefrom, Rama is adored by the name of "Hathiram Bhavaji" and the pilgrims start visiting him, before seeing the god. Rama gets fed up and decides to leave Tirumala. Noticing this, Venkateswara follows and takes an oath that the former not leave the hill when Rama insists to be buried alive ("Sajeeva Samadhi") at the hilltop, as per the vow the Lord has given him. At last, Venkateswara's wives Lakshmi & Bhudevi blame him for the deed. Finally, the movie ends the Lord proclaims that "Hathiram Bhavaji" is immortal in his day-to-day services at the temple.


title: Om Namo Venkatesaya

text: The music was composed by M. M. Keeravani and released on Lahari Music Company. The Audio launch held at Hitex N-Convention Centre, in Hyderabad, on 8 January 2017, coinciding with Mukkoti Ekadasi. Akkineni Naga Chaitanya and Akhil Akkineni has launched the audio, Akkineni Nagarjuna, Amala Akkineni, K. Raghavendra Rao, M.M.Keeravani, Jagapathi Babu, Dil Raju, Anushka Shetty, Pragya Jaiswal and several other members of the film industry attended the event.


title: Om Namo Venkatesaya

text: Sangeetha Devi Dundoo of "The Hindu" said, "Watch the film for Nagarjuna who comes up with another memorable performance. As you watch the story of a devotee who puts his love for the Lord above everything, it might make you go a little deeper and understand faith beyond rituals". A reviewer from "The New Indian Express" wrote, "The grandeur on display is unquestionable and the film is certainly a visual treat. But the actors, in their fine splendour, seem to dully run through the motions and the film fails to strike a chord overall."


title: Toby Emmerich

text: Toby Emmerich (born February 8, 1963), is an American producer, film executive, and screenwriter. He has been with Warner Bros. for much of his career, and formerly served as the chairman of the Warner Bros. Pictures Group.


title: Toby Emmerich

text: Emmerich was born to Constance (née Marantz) and André Emmerich (1924–2007), a Frankfurt-born gallery owner and art dealer. His parents lived in New York City at the time of his birth. He is Jewish. He is the brother of Noah Emmerich, an actor, and Adam Emmerich, a mergers and acquisitions lawyer at the firm of Wachtell, Lipton, Rosen & Katz in New York. He attended The Calhoun School in New York City and then graduated from Wesleyan University.


title: Toby Emmerich

text: He has been producer or executive producer of over 50 films. He also wrote the screenplays to the films "Frequency" and "The Last Mimzy", among other screenplays. He was also the executive music producer of the films "Menace II Society" and "Above The Rim" and is given thanks in the credits of Wayne Kramer's 2006 thriller film "Running Scared".


title: Toby Emmerich

text: After serving as president of production at New Line Cinema, Emmerich became president and chief operating officer of New Line on March 18, 2008. In 2017, he became President and Chief Content Officer of the Warner Bros. Pictures Group, and later in 2018 its chairman. As chairman, he "has oversight of the Studio’s global theatrical production, marketing and distribution operations and also oversees the marketing and distribution activities of Warner Bros. Home Entertainment". In October 2019, he extended his contract as chairman of Warner Bros. Pictures Group and elevated top lieutenant Carolyn Blackwood to the newly created position of chief operating officer.


title: Toby Emmerich

text: On June 1, 2022, Emmerich announced his resignation from his position with Warner Bros, with Michael De Luca and Pamela Abdy set to replace him after their contracts with Amazon-owned Metro-Goldwyn-Mayer expire. Emmerich remained at his post for a "transitional period" before starting his own production company, signing a five-year funding and distribution deal with Warner Bros. De Luca and Abdy took over in July 2022.


title: Riemann surface

text: In mathematics, particularly in complex analysis, a Riemann surface is a connected one-dimensional complex manifold. These surfaces were first studied by and are named after Bernhard Riemann. Riemann surfaces can be thought of as deformed versions of the complex plane: locally near every point they look like patches of the complex plane, but the global topology can be quite different. For example, they can look like a sphere or a torus or several sheets glued together.


title: Riemann surface

text: The main interest in Riemann surfaces is that holomorphic functions may be defined between them. Riemann surfaces are nowadays considered the natural setting for studying the global behavior of these functions, especially multi-valued functions such as the square root and other algebraic functions, or the logarithm.


title: Riemann surface

text: Every Riemann surface is a two-dimensional real analytic manifold (i.e., a surface), but it contains more structure (specifically a complex structure) which is needed for the unambiguous definition of holomorphic functions. A two-dimensional real manifold can be turned into a Riemann surface (usually in several inequivalent ways) if and only if it is orientable and metrizable. So the sphere and torus admit complex structures, but the Möbius strip, Klein bottle and real projective plane do not.


title: Riemann surface

text: Geometrical facts about Riemann surfaces are as "nice" as possible, and they often provide the intuition and motivation for generalizations to other curves, manifolds or varieties. The Riemann–Roch theorem is a prime example of this influence.


title: Riemann surface

text: A complex structure gives rise to a conformal structure by choosing the standard Euclidean metric given on the complex plane and transporting it to "X" by means of the charts. Showing that a conformal structure determines a complex structure is more difficult.


title: Riemann surface

text: As with any map between complex manifolds, a function "f": "M" → "N" between two Riemann surfaces "M" and "N" is called "holomorphic" if for every chart "g" in the atlas of "M" and every chart "h" in the atlas of "N", the map "h" ∘ "f" ∘ "g" is holomorphic (as a function from C to C) wherever it is defined. The composition of two holomorphic maps is holomorphic. The two Riemann surfaces "M" and "N" are called "biholomorphic" (or "conformally equivalent" to emphasize the conformal point of view) if there exists a bijective holomorphic function from "M" to "N" whose inverse is also holomorphic (it turns out that the latter condition is automatic and can therefore be omitted). Two conformally equivalent Riemann surfaces are for all practical purposes identical.


title: Riemann surface

text: Each Riemann surface, being a complex manifold, is orientable as a real manifold. For complex charts "f" and "g" with transition function "h" = "f"("g"("z")), "h" can be considered as a map from an open set of R to R whose Jacobian in a point "z" is just the real linear map given by multiplication by the complex number "h"<nowiki>'</nowiki>("z"). However, the real determinant of multiplication by a complex number "α" equals |"α"|, so the Jacobian of "h" has positive determinant. Consequently, the complex atlas is an oriented atlas.


title: Riemann surface

text: Every non-compact Riemann surface admits non-constant holomorphic functions (with values in C). In fact, every non-compact Riemann surface is a Stein manifold.


title: Riemann surface

text: In contrast, on a compact Riemann surface "X" every holomorphic function with values in C is constant due to the maximum principle. However, there always exist non-constant meromorphic functions (holomorphic functions with values in the Riemann sphere C ∪ {∞}). More precisely, the function field of "X" is a finite extension of C("t"), the function field in one variable, i.e. any two meromorphic functions are algebraically dependent. This statement generalizes to higher dimensions, see . Meromorphic functions can be given fairly explicitly, in terms of Riemann theta functions and the Abel–Jacobi map of the surface.


title: Riemann surface

text: The existence of non-constant meromorphic functions can be used to show that any compact Riemann surface is a projective variety, i.e. can be given by polynomial equations inside a projective space. Actually, it can be shown that every compact Riemann surface can be embedded into complex projective 3-space. This is a surprising theorem: Riemann surfaces are given by locally patching charts. If one global condition, namely compactness, is added, the surface is necessarily algebraic. This feature of Riemann surfaces allows one to study them with either the means of analytic or algebraic geometry. The corresponding statement for higher-dimensional objects is false, i.e. there are compact complex 2-manifolds which are not algebraic. On the other hand, every projective complex manifold is necessarily algebraic, see Chow's theorem.


title: Riemann surface

text: As an example, consider the torus "T" := C/(Z + "τ" Z). The Weierstrass function formula_1 belonging to the lattice Z + "τ" Z is a meromorphic function on "T". This function and its derivative formula_2 generate the function field of "T". There is an equation


title: Riemann surface

text: where the coefficients "g" and "g" depend on τ, thus giving an elliptic curve "E" in the sense of algebraic geometry. Reversing this is accomplished by the j-invariant "j"("E"), which can be used to determine "τ" and hence a torus.


title: Riemann surface

text: The set of all Riemann surfaces can be divided into three subsets: hyperbolic, parabolic and elliptic Riemann surfaces. Geometrically, these correspond to surfaces with negative, vanishing or positive constant sectional curvature. That is, every connected Riemann surface formula_4 admits a unique complete 2-dimensional real Riemann metric with constant curvature equal to formula_5 or formula_6 which belongs to the conformal class of Riemannian metrics determined by its structure as a Riemann surface. This can be seen as a consequence of the existence of isothermal coordinates.


title: Riemann surface

text: In complex analytic terms, the Poincaré–Koebe uniformization theorem (a generalization of the Riemann mapping theorem) states that every simply connected Riemann surface is conformally equivalent to one of the following:


title: Riemann surface

text: A Riemann surface is elliptic, parabolic or hyperbolic according to whether its universal cover is isomorphic to formula_8, formula_9 or formula_14. The elements in each class admit a more precise description.


title: Riemann surface

text: The Riemann sphere formula_8 is the only example, as there is no group acting on it by biholomorphic transformations freely and properly discontinuously and so any Riemann surface whose universal cover is isomorphic to formula_8 must itself be isomorphic to it.


title: Riemann surface

text: If formula_4 is a Riemann surface whose universal cover is isomorphic to the complex plane formula_9 then it is isomorphic to one of the following surfaces:


title: Riemann surface

text: Topologically there are only three types: the plane, the cylinder and the torus. But while in the two former case the (parabolic) Riemann surface structure is unique, varying the parameter formula_24 in the third case gives non-isomorphic Riemann surfaces. The description by the parameter formula_24 gives the Teichmüller space of "marked" Riemann surfaces (in addition to the Riemann surface structure one adds the topological data of a "marking", which can be seen as a fixed homeomorphism to the torus). To obtain the analytic moduli space (forgetting the marking) one takes the quotient of Teichmüller space by the mapping class group. In this case it is the modular curve.


title: Riemann surface

text: In the remaining cases formula_4 is a hyperbolic Riemann surface, that is isomorphic to a quotient of the upper half-plane by a Fuchsian group (this is sometimes called a Fuchsian model for the surface). The topological type of formula_4 can be any orientable surface save the torus and sphere.


title: Riemann surface

text: A case of particular interest is when formula_4 is compact. Then its topological type is described by its genus formula_29. Its Teichmüller space and moduli space are formula_30-dimensional. A similar classification of Riemann surfaces of finite type (that is homeomorphic to a closed surface minus a finite number of points) can be given. However in general the moduli space of Riemann surfaces of infinite topological type is too large to admit such a description.


title: Riemann surface

text: The geometric classification is reflected in maps between Riemann surfaces, as detailed in Liouville's theorem and the Little Picard theorem: maps from hyperbolic to parabolic to elliptic are easy, but maps from elliptic to parabolic or parabolic to hyperbolic are very constrained (indeed, generally constant!). There are inclusions of the disc in the plane in the sphere: formula_31 but any holomorphic map from the sphere to the plane is constant, any holomorphic map from the plane into the unit disk is constant (Liouville's theorem), and in fact any holomorphic map from the plane into the plane minus two points is constant (Little Picard theorem)!


title: Riemann surface

text: These statements are clarified by considering the type of a Riemann sphere formula_32 with a number of punctures. With no punctures, it is the Riemann sphere, which is elliptic. With one puncture, which can be placed at infinity, it is the complex plane, which is parabolic. With two punctures, it is the punctured plane or alternatively annulus or cylinder, which is parabolic. With three or more punctures, it is hyperbolic – compare pair of pants. One can map from one puncture to two, via the exponential map (which is entire and has an essential singularity at infinity, so not defined at infinity, and misses zero and infinity), but all maps from zero punctures to one or more, or one or two punctures to three or more are constant.


title: Riemann surface

text: Continuing in this vein, compact Riemann surfaces can map to surfaces of "lower" genus, but not to "higher" genus, except as constant maps. This is because holomorphic and meromorphic maps behave locally like formula_33 so non-constant maps are ramified covering maps, and for compact Riemann surfaces these are constrained by the Riemann–Hurwitz formula in algebraic topology, which relates the Euler characteristic of a space and a ramified cover.


title: Riemann surface

text: For example, hyperbolic Riemann surfaces are ramified covering spaces of the sphere (they have non-constant meromorphic functions), but the sphere does not cover or otherwise map to higher genus surfaces, except as a constant.


title: Riemann surface

text: The isometry group of a uniformized Riemann surface (equivalently, the conformal automorphism group) reflects its geometry:


title: Riemann surface

text: The classification scheme above is typically used by geometers. There is a different classification for Riemann surfaces which is typically used by complex analysts. It employs a different definition for "parabolic" and "hyperbolic". In this alternative classification scheme, a Riemann surface is called "parabolic" if there are no non-constant negative subharmonic functions on the surface and is otherwise called "hyperbolic". This class of hyperbolic surfaces is further subdivided into subclasses according to whether function spaces other than the negative subharmonic functions are degenerate, e.g. Riemann surfaces on which all bounded holomorphic functions are constant, or on which all bounded harmonic functions are constant, or on which all positive harmonic functions are constant, etc.


title: Riemann surface

text: To avoid confusion, call the classification based on metrics of constant curvature the "geometric classification", and the one based on degeneracy of function spaces "the function-theoretic classification". For example, the Riemann surface consisting of "all complex numbers but 0 and 1" is parabolic in the function-theoretic classification but it is hyperbolic in the geometric classification.


title: Dreaming of You (Selena album)

text: Dreaming of You is the fifth studio album by American singer Selena. Released posthumously on July 18, 1995, by EMI Latin and EMI Records, it was an immediate commercial and critical success, debuting atop the United States "Billboard" 200—the first predominately Spanish-language album to do so. It sold 175,000 copies on its first day of release in the U.S.—a then-record for a female vocalist. With first week sales of 331,000 units, it became the second-highest first-week sales for a female musician since Nielsen Soundscan began monitoring album sales in 1991. "Billboard" magazine declared it a "historic" event, while "Time" said the recording elevated Selena's music to a wider audience. It won Album of the Year at the 1996 Tejano Music Awards and Female Pop Album of the Year at the 3rd annual "Billboard" Latin Music Awards.


title: Dreaming of You (Selena album)

text: After signing a recording contract with EMI Latin in 1989, the label denied Selena a requested crossover after she made three demonstration recordings. After her Grammy Award nomination for "Live" (1993) was announced, Selena signed with SBK Records to begin recording her crossover album, which was front-page news in "Billboard" magazine. In March 1994, she released "Amor Prohibido"; in interviews she said her English-language album was still being developed. Recording sessions for "Dreaming of You" began in December 1994; Selena recorded four tracks slated for the album. On March 31, 1995, she was shot dead by Yolanda Saldívar, the former manager of her Selena Etc. boutiques over a dispute about claims of embezzlement.


title: Dreaming of You (Selena album)

text: The album contains some previously released material, as well as some unreleased English and Spanish-language tracks that were recorded between 1992 and 1995. The tracks are a mixture of American pop and Latin music, with the first half of "Dreaming of You" containing English-language R&B and pop ballads, while the latter half profiles Selena's Latin-themed repertoire, making this is her only album to also feature the English-language songs, instead of Latino-language only from her past four albums. Six tracks from the album were released as singles. The first four singles, "I Could Fall in Love", "Tú Sólo Tú", "Techno Cumbia", and "Dreaming of You", charted within the top ten on the U.S. charts. The title track became Selena's highest-charting "Billboard" Hot 100 single of her career, peaking at number twenty-two.


title: Dreaming of You (Selena album)

text: "Dreaming of You" was among the top ten best-selling debuts for a musician, best-selling debut by a female act, and the fastest-selling U.S. album of 1995. It has since been ranked among the best and most important recordings produced during the rock and roll era. Media outlets have since ranked the recording among the best posthumous releases. When "Dreaming of You" peaked at number one, Tejano music entered the mainstream market. Music critics said the general population of the U.S. would not have known about Tejano or Latin music had it not been for "Dreaming of You". The Recording Industry Association of America (RIAA) certified the record 59× platinum (Latin field), for sales of 3.549 million album-equivalent units in the U.S. The album was eventually certified gold by Music Canada and by Asociación Mexicana de Productores de Fonogramas y Videogramas (AMPROFON). , the album has sold five million copies worldwide. With sales of three million copies, it is the best-selling Latin album of all-time in the U.S .


title: Dreaming of You (Selena album)

text: In the 1960s, Selena's father Abraham Quintanilla, Jr. became the third vocalist of Los Dinos, a group composed of Mexican Americans. The band began their careers playing English-language doo-wop music. White Americans were offended that a Mexican American band was singing "their type of music". After a crowd of Mexican-Americans ran Los Dinos out of a nightclub for singing English-language songs, the band decided to perform music of their heritage. Los Dinos found success recording and performing Spanish-language songs and their popularity grew. Quintanilla, Jr. left the band in the 1970s after fathering his third child, Selena. After discovering Selena could sing, he quickly organized his children into a band called Selena y Los Dinos. Despite wanting to record English-language songs, the band recorded Tejano music compositions; a male-dominated, Spanish-language genre with German influences of polka, jazz, and country music that was popular with Mexicans living in the United States. The band was often turned down by Texas music venues because of the members' ages and because Selena was the lead singer.


title: Dreaming of You (Selena album)

text: Rick Trevino, founder of the Tejano Music Awards, originally approached La Sombra as the opening act for the 1989 awards ceremony, following Selena y Los Dinos. The band's lead vocalist Frank Sunie declined the offer, telling Trevino he "doesn't open up for anybody". Trevino then called Quintanilla, Jr. to ask him to open the ceremony. Quintanilla, Jr. immediately accepted the offer, saying it was "the best time, because everyone is sober. They're sober they're listening to the artist and the music." Unbeknown to Quintanilla, Jr and Selena, the new head of Sony Music Latin and José Behar, who had recently launched EMI Latin Records, were attending the awards ceremony and were scouting for new Latin acts. Behar wanted to sign Selena to EMI's label Capitol Records, while Sony Music Latin was offering Quintanilla, Jr. twice Capitol's sum. Behar thought he had discovered the next Gloria Estefan, but his superior called Behar illogical since he had only been in Texas for a week. Quintanilla, Jr. chose EMI Latin's offer because of the potential for a crossover, and he wanted his children to be the first musicians to sign with the company.


title: Dreaming of You (Selena album)

text: Before Selena signed her contract with EMI Latin in 1989, Behar and Stephen Finfer requested Selena for an English-language debut album. She was asked to make three demonstration recordings for Charles Koppelman, chairman of EMI Records. After reviewing them, Koppelman declined a crossover attempt, believing Selena should first strengthen her fan base. In a 2007 interview, Behar spoke about the difficulty of recording Selena's English-language debut. He said EMI "had let all of us to believe that she would record in English, and it just wasn't materializing for whatever reason". Behar said the record company "didn't believe, they didn't think it could happen", and continuously told Selena and her father "it wasn't the right time" for an English-language debut.


title: Dreaming of You (Selena album)

text: Selena signed a record deal with EMI subsidiary SBK Records in November 1993, following her Grammy Award nomination for "Live" (1993). The news of the singer's record deal was front-page news in "Billboard" magazine. In a 1994 meeting, Selena expressed her guilt to Behar; Selena had told interviewers of her upcoming crossover album and told them the recording was expected to be released soon. At the time, Selena had not recorded a single song for her planned English-language debut. Behar subsequently told Koppelman that Selena and her band would leave EMI and find a record company willing to record an English-language album for Selena. Behar had lied to the chairman to force the crossover album to begin; EMI relented and the recording sessions began. Selena said she felt intimidated by the recording deal because the situation was new to her and only a few people had believed she would achieve success in the pop market.


title: Dreaming of You (Selena album)

text: According to Betty Cortina of "People" magazine, "Dreaming of You" marked a shift that abrogated the singer being marketed as part of her band and billed Selena as an American solo artist in "the most fundamental way for her". From 1989, Selena's brother A.B. Quintanilla became Selena's principal music producer and songwriter, and remained so throughout her career. Because Quintanilla III was working on the singer's follow-up recording to "Amor Prohibido" (1994), he could not produce the crossover album. He was asked to meet with several producers in New York and choose one who would best "fit with Selena's style". "Dreaming of You" was the first album Selena's family did not produce. They had decided to step down before the recording sessions and allow professional pop producers to work with her. Quintanilla III and Selena flew to Nashville, Tennessee, and met with Keith Thomas, who had prepared the instrumental parts for the song called "I Could Fall in Love" but had not yet completed the vocal parts, so he sang it for them. Selena and Quintanilla III immediately liked it; Quintanilla III said he wanted Selena to include it on her album. Recording sessions began in December 1994 at The Bennett House in Franklin, Tennessee; Selena had to return later when Thomas could provide additional vocals. Selena and her husband Chris Pérez arrived at the studio on March 24, 1995, to finish recording the song. In a 2002 interview, Pérez said Thomas provided Selena with a cassette of "I Could Fall in Love" and said she had the song "on loop" and she "must have heard it a hundred times". He believed it had an "effect on her" because "she went into the studio the next day to actually do the recording and just was nailing things left and right and [Thomas] was letting her do her thing and I mean it was an incredible thing to watch".


title: Dreaming of You (Selena album)

text: EMI Records, which had more experience in the pop market, headed the project and allowed Selena to choose one song that she liked. Her sister and drummer of the band, Suzette Quintanilla, said in a 1997 interview that the singer carefully chose a song that represented what "Selena was all about". She chose "Dreaming of You", which was written by American songwriters Franne Golde and Tom Snow in 1989 for American R&B group The Jets, who rejected it. According to Snow, Golde "never gave up on the tune and eventually got it to Selena". When Quintanilla III heard the demonstration recording, he told Selena he did not like the track. Selena told him she was going to record it because she favored its lyrical content and message. In a 2002 interview, Quintanilla III said he was "more judgmental" on his first impression of the demonstration recording than the song itself and cited its medley, content, and song structure for changing his mind.


title: Dreaming of You (Selena album)

text: Selena began recording "Dreaming of You" on March 5, 1995, at Quintanilla, Jr.'s recording label Q-Productions in Corpus Christi, Texas. During the recording session, Selena was suffering from bronchitis. Her father asked her to "just try" and sing the song because several producers had arrived from Los Angeles to watch her record the track. After the recording session, the producers liked Selena's vocal range in the song and decided to use her first take. American producer Guy Roche produced and arranged the piece along with "Captive Heart". After the arrangement for "Dreaming of You", Selena wanted Pérez to hear the finished product. He was unable to attend after Quintanilla, Jr. wanted him to work with a band he was interested in managing. In 2012, Pérez wrote in his book about his and Selena's relationship that he regretted not going to the recording session.


title: Dreaming of You (Selena album)

text: The album was scheduled to be completed in time for a projected release in September or October 1995, and songs to be earmarked for recording and possible inclusion for the album included "Oh No (I'll Never Fall in Love Again)" and "Are You Ready to Be Loved?"; rehearsal tapes for these songs were later released on SelenaQRadio in September and December 2015 respectively.


title: Dreaming of You (Selena album)

text: Selena recorded "God's Child (Baila Conmigo)", a duet with David Byrne that was included on the soundtrack of the comedy film "Blue in the Face" (1995). Byrne said the song was the last recording Selena made before she was shot and killed by Yolanda Saldívar, her friend and former manager of her Selena Etc. boutiques, on March 31, 1995. In the aftermath, EMI Records and EMI Latin put aside ($784,000 2015 USD) to complete "Dreaming of You". Behar said promotion "will be on the superstar scale" and claimed "[we] didn't put this marketing campaign behind it because there was a tragedy. We put this marketing campaign behind it because we believed that this was going to be a huge album because of the music. This is a record that we're going to work over the next 10 months."


title: Dreaming of You (Selena album)

text: "Dreaming of You" is a multigenre work of American pop and Latin music. It incorporates the diverse stylistic influences of techno, hip-hop, pop rock, dance-pop, regional Mexican music, Tejano, R&B, disco, and flamenco music. The first half of the album comprises R&B and pop ballads, while the remainder contains Latin-themed influences that profile Selena's music career. Music journalists said producers who worked with Selena tried to caricature her with Paula Abdul, Amy Grant, Celine Dion, Whitney Houston, Mariah Carey, and Madonna. "Newsweek" magazine called Selena's English-language recordings "a blend of urban pop and Latin warmth". According to AllMusic's Stephen Erlewine, the album's mood is spicy, celebratory, and exuberant. "I Could Fall in Love" and "Dreaming of You" are lyrically identical; called "confessional ballads", both recordings speak of despair, heartbreak, and fear of rejection from a man the songs' narrators are falling in love with. The lyrics of "Dreaming of You" also explore feelings of longing and hope. Larry Flick of "Billboard" magazine wrote that "Dreaming of You"s idealistic lyrics have an "affecting poignancy that will not be lost on AC [radio]."


title: Dreaming of You (Selena album)

text: "God's Child (Baila Conmigo)" employs an off-beat rhythm that is energetic, dark, mysterious, and its lyrics suggest subterfuge and counter-hegemony. The song has elements of rumba, flamenco, rock, R&B, and Middle Eastern music. "Captive Heart" has 1980s funk; Achy Obejas of the "Chicago Tribune" said it was intended for contemporary hit radio. The disco house track "I'm Getting Used to You", which makes use of cha-cha, explores a volatile relationship. Mario Tarradell of "The New London Day" said "Captive Heart" and "I'm Getting Used to You" border on new jack swing—a popular R&B subgenre pioneered by Jade and Mary J. Blige. The producers of the soundtrack of the 1995 romantic comedy-drama film "Don Juan DeMarco"—in which Selena played a mariachi singer—decided not to include her recordings of "Tú Sólo Tú" and "El Toro Relajo". Christopher John Farley of "Time" magazine said the producers who excluded the songs regretted this move following the impact of Selena's death. According to Denise Segura and Patricia Zavella in their book "Women and Migration in the U.S.-Mexico Borderlands: A Reader" (2007), "Tú Sólo Tú"—a Pedro Infante cover—and "El Toro Relajo" are about unrequited love and were recorded in a ranchera-style. Selena recorded "Tú Sólo Tú" "con ganas"—a Spanish-language aphorism that translates to a performer singing with "unapologetic emotionality"; common among ranchera singers.


title: Dreaming of You (Selena album)

text: EMI Records, which wanted the 1992 track "Missing My Baby" and the 1994 single "Techno Cumbia" to be added to "Dreaming of You", asked


title: Dreaming of You (Selena album)

text: Quintanilla III to meet with R&B group Full Force in Manhattan. The group remixed both songs, added vocals to "Missing My Baby", and remixed the latter in a reggae style. Quintanilla, Jr. decided to add "Como la Flor" (1992), "Amor Prohibido" (1994), and "Bidi Bidi Bom Bom" (1994) to "Dreaming of You". He pitched the idea of remixing the songs as though the band was singing them in concert, changing their beats slightly. Quintanilla III said the new versions of the tracks gave fans "something fresh" and that he thought the idea was "neat". "Como la Flor", credited as a career-launching single, expresses the sorrow of a woman whose lover has abandoned her for another partner while she wishes "nothing but the best" for him. "Amor Prohibido" is a Romeo & Juliet-esque Spanish-language dance-pop track. "Bidi Bidi Bom Bom", remixed into a reggae track, speaks of the narrator's heart palpitating whenever her love interest walks past her. The Barrio Boyzz was asked to record a bilingual version of their Spanish-language duet with Selena on "Donde Quiera Que Estés" (1994) called "Wherever You Are".


title: Dreaming of You (Selena album)

text: Davitt Sigerson, the president and CEO of EMI Records, feared "I Could Fall in Love" might sell more copies than "Dreaming of You", so he did not issue the single as a commercial release. "I Could Fall in Love" was released promotionally to U.S. radio stations on June 26, 1995, at the same time as "Tú Sólo Tú" to demonstrate Selena's change from recording in Spanish to English. Fred Bronson of "Billboard" magazine said if EMI Latin had released "I Could Fall in Love" as a single and it had debuted in the top 40 of the U.S. "Billboard" Hot 100 chart, it would have been the first posthumous debut single to do so since "Pledging My Love" by Johnny Ace in 1955. "I Could Fall in Love" peaked at number eight on the U.S. "Billboard" Hot 100 Airplay chart, and at number one on the U.S. Latin Pop Songs chart. "Tú Sólo Tú" and "I Could Fall in Love" occupied the first and second positions respectively on U.S. Hot Latin Tracks for five consecutive weeks. Selena thus became the first artist to have both a Spanish-language and an English-language song in the top ten of that chart. "I Could Fall in Love" became the fifth-highest-charting song on that chart in 1995 and remained the highest-charting English-language song for two years, until Celine Dion's 1998 single "My Heart Will Go On" exceeded it when it peaked at number one. "Tú Sólo Tú" spent ten consecutive weeks at number one on the Hot Latin Tracks, becoming the most longevous number-one single of Selena's musical career. With "Tú Sólo Tú" and her other chart-topping singles from 1992 to her death in 1995, Selena's recordings spent 44 weeks at number one; the most for any Hispanic artist as of 2011.


title: Dreaming of You (Selena album)

text: On August 14, 1995, "Dreaming of You" was released as the album's lead single, with the remix version and a radio edit of "Techno Cumbia" as the b-side tracks. The single peaked at number twenty-two on the U.S. "Billboard" Hot 100 chart and sold 25,000 copies in its first week of availability; by 2010 it had sold 284,000 digital units. "Dreaming of You" was the best-selling single of Selena's career; in 2003 it was the eighty-eighth best-selling Hot 100 single of all-time, according to "Billboard" and Nielsen SoundScan. The "Los Angeles Times" placed "Dreaming of You" at number five out of its top-ten singles of 1995. "Techno Cumbia" peaked at number four on the U.S. Hot Latin Tracks and the U.S. Regional Mexican Songs charts. On December 2, 1995, "El Toro Relajo" debuted and peaked at number twenty-four on the U.S. Hot Latin Tracks. "I'm Getting Used to You", the second commercially released single and the sixth single overall, was released on March 2, 1996. It debuted and peaked at number seven on the U.S. "Billboard" Bubbling Under Hot 100 Singles chart and at number one on the U.S. "Billboard" Dance/Electronic Singles Sales chart. "I'm Getting Used to You" later peaked at number twenty-three on the U.S. "Billboard" Adult Contemporary Tracks chart on the week ending June 8, 1996. The "Billboard" critics poll ranked the remix version of "I'm Getting Used to You" among their top ten singles of 1996.


title: Dreaming of You (Selena album)

text: "I Could Fall in Love", "Dreaming of You", and "I'm Getting Used to You" were less commercially successful outside the United States and Canada. "I Could Fall in Love" peaked at number one on the "RPM" Adult Contemporary Songs chart on the week ending November 6, 1996. "I Could Fall in Love" peaked at number five on the "RPM" Top 100 Singles chart. It was the only single by Selena to chart on the New Zealand Singles Chart, peaking at number ten. In 1996, "Dreaming of You" performed better in Canada on the "RPM" Adult Contemporary and the Top 100 Singles chart, peaking at numbers seven and thirty, respectively. "I'm Getting Used to You" debuted at number ninety-six on the "RPM" Top 100 Singles chart on the week ending June 10, 1996, and became the third single by Selena to chart in Canada. After five weeks on the chart, "I'm Getting Used to You" peaked at number sixty-five. At number ninety-three, "I'm Getting Used to You", exited the Top 100 Singles chart after spending nine weeks on it.


title: Dreaming of You (Selena album)

text: The majority of contemporary reviews were positive. Stephen Thomas Erlewine of AllMusic said "Dreaming of You" was the first recording by Selena to have been heard by the general population of the United States because her death attracted American listeners to her album. This was echoed by Alisa Valdes of "The Boston Globe". Erlewine said "Amor Prohibido" is "a more consistent release" and that "Dreaming of You" was not the singer's best work, and he called it an introductory effort. According to Erlewine, the English-language tracks on the album "are no different than her Spanish songs"; he also said the album "would have been stronger" if the singer had lived. He finished his review by calling the album a "powerful—and touching—testament to her talents". John Lannert of "Billboard" magazine called the album's commercial success "hardly a fluke". "Vibe" magazine contributor Ed Morales, described the album as a summation of her cumbia-influenced songs, her Tex-Mex (Texas-Mexico) "excellence", and a "poignant glimpse" of the path the singer's musical career may have taken had she lived. Writing for "Time" magazine, David Browne said "Dreaming of You"s release was "one of the quickest posthumous albums ever cobbled together". He said the producers who worked with Selena on the album had decisively paired her with recordings that reminded him of lighter versions of Paula Abdul and called them "greeting-card sentiments". He recognized the later half of "Dreaming of You" as "the true, unbridled Selena", calling them "traditional ballads or tropical fantasies, Selena evokes lust and passion"; illustrating that those qualities found on her English-language songs are absent from the Spanish-language ones.


title: Dreaming of You (Selena album)

text: Writing for the "Chicago Tribune", Achy Obejas called the recording a fragmentary work and said it is "Selena's past and about what might have been". Obejas called the record "full of promise and flaws", and said its intentional bilingual nature was done by "necessity rather than design". She also said the album is a Latino crossover nix, citing Gloria Estefan's earlier mainstream work as the primitive Latino crossover; although Selena "didn't get to take the next step" as did Estefan. Objeas also wrote that the album is the opposite of a "masterpiece, or definitive, or even a testament to Selena's talents", but is more of a "smorgasbord". Objeas praised Selena's "complete ease on the R&B tunes" and thought she was "getting funky and pretty soulful". Enrique Lopetegui of "Los Angeles Times" said "Dreaming of You" is Selena's "most electric and satisfying album", and said it was an applicable "epitaph" for her. Lopetegui called the songs on the album "radio-friendly pop tunes" but said the album "lacks cohesion" and that he finds the bilingual album "even more interesting than the original idea". According to Lopetegui, Selena "blossoms into a full-fledged soul singer, with an aggressiveness seldom show before" on her English-language tracks but finds the rancheras "Tú Sólo Tú" and "El Toro Relajo" the "most impressive" and saying Selena was inexperienced with that style. Christopher John Farley of "Time" magazine said "Dreaming of You" elevated Selena's music "to a far wider audience than she ever had when she was alive". He said the album incorporates her "finest, most enjoyable work" and called it "a commendable but sorrowful accomplishment". Contrasting her Tejano and English-language songs, Farley wrote that Selena's Tejano recordings was sometimes clumsy, whereas her English pop songs were "sweet, pure and clear, and on the mariachi numbers, Selena shows off a voice that is sexy, strong and gracefully maturing".


title: Dreaming of You (Selena album)

text: Writing for the "New York Daily News", Mary Talbot said listening to "Dreaming of You" was "akin to sifting through a dead woman's scrapbook" and called it "disparate jottings and snapshots some artful, some light, all weighted with nostalgia". Talbot said the album showcases "Selena's past and outlines what could have been her future", and because of the singer's death, the story is incomplete. She called the English offerings "sturdy, generic pop numbers" that would be favored among her Tejano following "but there aren't enough of them to prove her strength or breadth as an English-language artist". Talbot said Selena was skillful in crisscrossing "traditional Mexican music with a contemporary American pop sensibility, and that skill doesn't figure with these songs". Towards the end of her review, Talbot said "Dreaming of You" is "the effervescent pop of her generation". Mario Tarradell of "The Dallas Morning News" said the album "doesn't deliver", writing that Selena was "revamped to sound like one of pop radio's many generic female vocalist" and that her English recordings lack "the bubbly, effervescent personality, the chica-del-barrio charm" found on her Tejano songs. Tarradell said the English songs were "tepid imitations of Amy Grant and Abdul". Peter Watrous of "The New York Times" called "Dreaming of You" "a collection of leftovers" and said the Spanish-language songs "sound better" than Selena's English ones. Watrous said the producers did not ameliorate Selena's English-language tracks and gave their all. He further wrote that "the music is faceless commerce" but that Selena recorded them "so well on the album" that it suggested "she had a good chance of success, working lush ballads in an anonymous pop style that Disney has mastered". Rock music contributor Roger Catlin of the "Hartford Courant" described "Dreaming of You" as "a package that hints at the overall talent and immense potential of the young star". Catlin said her English-language works were lacking "technical heroics that have defined [Selena] in the '90s." but states the singer "is understandably assured" on her Spanish offerings. He said Selena was "low key" and that the material seemed that way because she had only recorded four English-language tracks before her death.


title: Dreaming of You (Selena album)

text: "Dreaming of You" was listed as the ninth "Top 10 Posthumous Albums" by "Time" magazine in 2010. It was named as the third-best posthumous album of all-time by BET, which called the recording a "heartbreaking testament to a young talent on the verge of superstardom". "Vibe" magazine ranked "Dreaming of You" the second-best posthumous release and described it as an "overview", "Dreaming of You" won Album of the Year at the 1996 Tejano Music Awards. At the 3rd Annual "Billboard" Latin Music Awards in 1996, "Dreaming of You" won Female Pop Album of the Year.


title: Dreaming of You (Selena album)

text: "Dreaming of You"s U.S. release date was confirmed on June 10, 1995, to be July 18 that year. The album's release in European and Asian countries was delayed when EMI Records feared Selena's murder—rather than her music—would become the focal point of the recording. Adam Sexton, vice-president of EMI Records, announced on August 5, 1995, that the album would be released in Germany on August 14 and in the rest of Europe in September. The album's release in Asia was set for October. Fans began lining up to purchase "Dreaming of You" hours before stores were due to open; within twenty-four hours 75% of all available copies of the album were sold. Although initial predictions placed "Dreaming of You" first sales at 400,000 copies, the album sold 331,000 units its first week and debuted atop the U.S. "Billboard" 200 chart, becoming the first and only predominately Spanish-language album to do so. This was the second-biggest release sales for a 1995 album, behind Michael Jackson's "", and the second-largest first-week sales for a female musician, behind Janet Jackson's "janet." (1993) since Nielsen SoundScan began monitoring album sales in 1991. "Dreaming of You" displaced Hootie & the Blowfish's "Cracked Rear View" from the top spot on the "Billboard" 200. The recording debuted atop the U.S. "Billboard" Top Latin Albums and the U.S. "Billboard" Latin Pop Albums charts, displacing Selena's 1994 album "Amor Prohibido" and the Gipsy Kings' "Best of"' album, respectively.


title: Dreaming of You (Selena album)

text: In its second week, "Dreaming of You" fell to number three on the "Billboard" 200 chart, and remained there for two consecutive weeks. Sales of "Dreaming of You" continued to decrease, falling to number six in its fourth week. In its fifth week, "Dreaming of You" dropped to number eight. Starting in its sixth week, the album remained in the top twenty of the "Billboard" 200 chart. On the week ending October 28, 1995, sales of "Dreaming of You" rose 18% after an eighteen-week decline. This was followed by the highly publicized murder trial. The album remained on the "Billboard" 200 chart for forty-four consecutive weeks, exiting the chart at number 181 on the week ending June 1, 1996. Lannert predicted "Dreaming of You" would remain atop the Latin music charts until Selena's next posthumous release. It remained at number one for forty-two consecutive weeks until Enrique Iglesias displaced it with his self-titled debut album on the week ending May 25, 1996. "Dreaming of You" went on to become the best-selling Latin and Latin pop album of 1995 and 1996.


title: Dreaming of You (Selena album)

text: The recording finished as the forty-fourth album of the "Billboard" 200 of 1995 and finished at number 123 on the "Billboard" 200 albums of 1996. Two years after Selena's murder, "Dreaming of You" and "Siempre Selena" (1996) occupied the third and fourth slots respectively on the "Billboard" Top Latin Albums chart. "Dreaming of You" sold 420,500 copies between 1997 and 1999, and sold 190,000 units in 1997 alone. The biopic "Selena" (1997) contributed to a 65% increase of sales for "Dreaming of You" for that year. "Dreaming of You" sold half a million copies in Texas. Some Texas retailers criticized sale figures for the state because the album had sold poorly at their music stores. By December 1995, "Dreaming of You" had sold two million copies in the U.S. and was certified double platinum by the Recording Industry Association of America (RIAA), signifying shipments of two million copies. Within ten months of its release, the album was nearing triple-platinum status; it was eventually certified 59× platinum (Latin field) by the RIAA, denoting 3.54 million album-equivalent units sold. , it remains the best-selling Latin album of all-time in the U.S. with sales of three million units according to Nielsen SoundScan. It has sold over five million copies sold worldwide as of January 2015. A percentage of the proceeds from the album's sales was donated to the Selena Scholarship Fund.


title: Dreaming of You (Selena album)

text: In Canada, "Dreaming of You" debuted at number 59 on the "RPM" Top 100 Albums chart for the week of September 4, 1995. In its second week, it rose to number 50 on the week of September 11, 1995. On its ninth week, "Dreaming of You" peaked at number seventeen on the week of October 30, 1995. After spending twenty-nine weeks on the chart, "Dreaming of You" spent its final week at number 97 on the week of March 25, 1996. The album was certified gold by Music Canada, denoting shipments of 50,000 units in that country alone. In "Dreaming of You" first week of release to music stores in Mexico, EMI shipped 140,000 units there and received re-orders from Monterrey, Guadalajara, and Tijuana.


title: Dreaming of You (Selena album)

text: "Dreaming of You" sold 175,000 copies on its first day of release in the U.S.a then-record for a female vocalist. The recording also had the highest release-day sales of any Spanish-language album to debut on "Billboard"s Top Latin Albums chart. According to Behar, the sales figures Nielsen SoundScan provided did not include sales in small shops specializing in Latin music, where "Dreaming of You" scored well. The album's sales helped Selena to become the third solo artist to debut a posthumous album at number one on the U.S. "Billboard" 200 chart, after Janis Joplin and Jim Croce. It became the first and only Spanish-language and Tejano recording to debut at number one on the U.S. "Billboard" 200 chart, and the first EMI Latin release to do so.


title: Dreaming of You (Selena album)

text: According to John Lannert of "Billboard" magazine, "Dreaming of You" was among the top ten best-selling debuts for a musician, best-selling debut by a female act, and according to Thom Duffy also from "Billboard" magazine, it was the fastest-selling U.S. 1995 album. It helped Selena to become the fastest-selling female act in recorded music history, and has since been ranked among the best and important recordings produced during the rock and roll era. "Dreaming of You" joined five of Selena's studio albums on the "Billboard" 200 chart simultaneously, making Selena the first female act in "Billboard" history to accomplish this. The album was included on Michael Heatley's list titled "Where Were You When the Music Played?: 120 Unforgettable Moments in Music History" (2008). Musicologist Howard J. Blumenthal said it "would have made [Selena] a major rock star", and included it in his 1997 book "The World Music CD Listener's Guide".


title: Dreaming of You (Selena album)

text: "Billboard" magazine said "Dreaming of You" was predominantly purchased by Latinos in the U.S.; demonstrating the purchasing power of Hispanic music consumers. The album was believed to have "open the eyes" of retailers who never stocked Latin music; its sales were well above expectations of white, American music shop owners. Sales of Selena's earlier albums and "Dreaming of You" prompted Best Buy and other retailers to hire Latin music specialists. Within weeks, the album was predicted to outsell Julio Iglesias' "1100 Bel Air Place" (1984), as the largest-selling English-language Latin album. EMI Records announced in the December 2, 1995 issue of "Billboard" magazine that as EMI's best-selling record in North America, the album gave them the highest sales for a music label during the first half of 1995. With "Dreaming of You" peaking at number one, Tejano music entered the mainstream market. Music critics said the general population of the U.S. would not have known about Tejano or Latin music had it not been for "Dreaming of You". Following the album's release, and because of the singer's death, Tejano music's popularity waned as Latin pop began dominating U.S. radio play and commercial sales. In March 2015, the Chicano Humanities & Arts Council in Denver, Colorado, showcased an exhibit called "Dreaming of You: The Selena Art Show", which prominently featured artwork by Chicano artists who paid homage to the singer.


title: European water vole

text: The European water vole or northern water vole (Arvicola amphibius), is a semi-aquatic rodent. It is often informally called the water rat, though it only superficially resembles a true rat. Water voles have rounder noses than rats, deep brown fur, chubby faces and short fuzzy ears; unlike rats their tails, paws and ears are covered with hair.


title: European water vole

text: In the wild, on average, water voles only live about five months. Maximum longevity in captivity is two and a half years.


title: European water vole

text: Water voles reach in length, plus a tail which is about half the length of the body. Weights reported for adults are variable. It is possible for large, optimal adults to weigh as much as However, these are peak weights. Elsewhere, the mean body mass has been reported as , although this figure includes immature water voles. The minimum weight to successfully breed as well as to survive winter is reportedly in females and in males. As a species the mean body mass is claimed as .


title: European water vole

text: Overall, European water voles are a uniform dark brown colour, with slightly paler coloration on the underside. Their pelage is quite thick and they are furred over their entire body, including their tail, unlike rats. Their dark colour allows them to blend in well in the densely vegetated areas they inhabit.


title: European water vole

text: The binomial applied to the European water vole is "Arvicola amphibius"; it was formerly known by the junior synonym "A. terrestris". The confusion stems from the fact that Linnaeus described two species of water vole on the same page of the same work. Those two forms are now universally considered the same species. It has been recognized as "A. amphibius" (Linnaeus, 1758) because the first source to unite the two forms, which Linnaeus had treated separately, into a single species chose "A. amphibius" as the valid name. The species is widely known by the synonym "A. terrestris", which for many decades was treated as the valid name.


title: European water vole

text: Some authorities consider the southwestern water vole ("Arvicola sapidus") to be the same species, but it is now generally considered distinct.


title: European water vole

text: The European water vole ("Arvicola amphibius") is found in most of Europe, Russia, West Asia and Kazakhstan.


title: European water vole

text: In Britain, water voles live in burrows excavated within the banks of rivers, ditches, ponds, and streams. Burrows are normally located adjacent to slow moving, calm water which they seem to prefer. They also live in reed beds where they will weave ball-shaped nests above ground if no suitable banks exist in which to burrow.


title: European water vole

text: Water voles prefer lush riparian vegetation which provides important cover to conceal animals when they are above ground adjacent to the water body. Areas of heavily grazed and trampled riparian habitats are generally avoided. Water voles may be displaced by the introduction of riparian woodland and scrub as they prefer more open wetland habitats away from tree cover.


title: European water vole

text: As well as frequenting typical lowland wetland habitats dominated by rank marginal aquatic vegetation, water voles are also just as at home in areas upland 'peatland' vegetation where they utilize suitable small ditches, rivers, and lochs surrounded by moorland up to 1,000 m asl (e.g., northern Scotland).


title: European water vole

text: In Europe and Russia, they may venture into woods, fields, and gardens. They live under the snow during the winter.


title: European water vole

text: Water voles are currently being reintroduced as a threatened species in Yorkshire, England. In the Massif Central area of France, however, farmers are campaigning for action to be taken against water voles, where plagues of these rodents are causing major damage to crops.


title: European water vole

text: Water voles mainly eat grass and other vegetation near the water, but will also consume fruits, bulbs, twigs, buds, and roots when given the opportunity. In Europe, rich harvest periods can cause water vole "plagues" to take place, during which the voles eat ravenously, destroying entire fields of grass and leaving the fields full of burrows. Water voles in some parts of England have been shown to occasionally prey on frogs and tadpoles; it has been speculated that this is to make up for a protein deficiency in the voles' diet.


title: European water vole

text: Food remains alone are not a reliable indicator of the presence of this species, as other smaller voles can also leave remains of large grasses and rushes.


title: European water vole

text: The mating period lasts from March into late autumn. The female vole's pregnancy lasts for approximately 21 days. Up to 8 baby voles can be born, each weighing around . The young voles open their eyes three days after their birth. They are half the size of a full grown water vole by the time they are weaned.


title: European water vole

text: Water voles are expert swimmers and divers. They do not usually live in large groups. Adult water voles each have their own territories, which they mark with fecal latrines located either near the nest, burrow and favoured water's edge platforms where voles leave or enter the water. Latrines are known to be a good survey indicator of this species, and can be used to gauge abundance of animals. They also scent-mark by using a secretion from their bodies (a flank gland), although this is not normally detectable during a field survey. They may attack if their territory is invaded by another water vole.


title: European water vole

text: As a large and common microtine rodent, the range of predators faced by the European water vole is extensive. However, many species of predator prefer other rodents, such as "Microtus" voles and wood mice, due to their greater numerical abundance. Wildcats, red foxes, most species of hawk (especially common buzzards), owl (especially the barn owl, genus "Strix", and Eurasian eagle-owl) and falcon (in large numbers by the common kestrel) in their range are among their reported predators. A very large number are also taken by mustelids. Reportedly small "Mustela" weasels as well as European and introduced American mink may take the largest number of water voles of any predator due in part to aligning habitat preferences. The rarely checked invasive population of American mink has reportedly caused a decline of water voles in Britain.


title: European water vole

text: The water vole population in the U.K. has fallen from its estimated pre-1960 level of around 8 million to 2.3 million in 1990 and to 354,000 (other source: 750,000) in 1998. This represents a 90–95% loss. It is still declining dramatically: the most recent estimate for 2004 is around 220,000. This decline is partly attributed to the American mink, an aggressive predator of the vole, together with unsympathetic farming and watercourse management which destroyed parts of the water vole's habitat.


title: European water vole

text: On 26 February 2008, the U.K. Government announced full legal protection for water voles would be introduced from 6 April 2008. This makes it an offence to disturb, damage or obstruct their breeding places.