title: Maruti Suzuki Wagon R

text: The Indonesian-made Wagon R is essentially a stripped-down version of Indian Wagon R. The differences with the Indian Wagon R are the absence of high-mounted stop lamp, rear fog lamp, rear wiper, rear washer, defoggers, electric mirrors, "Wagon R" lettering on the rear chrome garnish, a simpler HVAC system and adjustments, mirror on the passenger's sun visor, day/night view center mirror, fabric door trims, rear power windows, adjustable head rests, 60:40 split back seat, tilt steering, upper front passenger glove box (1 airbag variant), front passenger airbag, ABS, driver side cup holder, headlamp levelling adjuster, boot parcel tray, CNG variant and the presence of a Garuda-inspired emblem to comply with Low Cost Green Car (LCGC) tax incentive regulations.


title: Maruti Suzuki Wagon R

text: The Karimun Wagon R was discontinued in Indonesia in late 2021, while knock-down kit exports to Pakistan continues.


title: Maruti Suzuki Wagon R

text: The Pak Suzuki Wagon R is a Pakistani version of the Indonesian Suzuki Wagon R, but with more advanced AC system like the Indian version, 2-DIN integrated 9-inch LCD option, defoggers, boot parcel tray and the absence of GS (Stingray) and commercial panel van variants. The Dilago accessories is also available as separate option. As importing from India is impossible due to political issues, the car is imported as a knock-down kit from Indonesia and assembled by Pak Suzuki in Pakistan. The knock-down kit was imported from Indonesia since November 2013 and the car was launched in April 2014 with three trim levels (VX, VXR and VXL). The VX trim was discontinued in 2016. In January 2020, the VXL trim was updated with AGS automated-manual transmission and driver side airbag options.


title: Maruti Suzuki Wagon R

text: The third generation Wagon R was launched in India on 23 January 2019. The third generation Wagon R shares its "HEARTECT" platform with the Ignis, among other distant models including Celerio, Baleno, Swift and Wagon R kei car. As the result, the car is lighter than the outgoing model while also having a stronger body structure. As Suzuki distanced the Indian market Wagon R with the Japanese market Wagon R which its dimensions stuck within the kei car regulation, the third generation Wagon R become larger than its predecessor. The wheelbase is longer and the width has increased by a significant . As the result, the interior size is increased significantly, the car offers larger legroom and shoulder room at the back, and would be able to properly carry five people instead of four. Capitalizing its size changes, Maruti Suzuki is marketing the car as the "Big New Wagon R".


title: Maruti Suzuki Wagon R

text: Other than India, the car is also exported to Bangladesh, Nepal and Sri Lanka. The latter marketed the car as Grand Wagon R.


title: Maruti Suzuki Wagon R

text: For the first time, the Wagon R is offered with two engine options. The base option is the K10B 1.0-litre petrol engine carried from the previous generation, with a more powerful K12M 1.2-litre petrol engine as an option. The 1.0-litre is only offered with manual transmission while the 1.2-litre is available with either manual transmission or AMT. The 1.2-litre engine of the Wagon R produces of power and 113 Nm of torque. Meanwhile, the 1.0-litre engine option will deliver of power and 90 Nm of torque. A factory-fitted CNG kit option is also offered in India for the 1.0 LXi trim. It produces lesser power and torque when on CNG mode and also heavier than petrol variant.


title: Maruti Suzuki Wagon R

text: The improved Wagon R was introduced on 25 February 2022. The car received new K10C 1.0 and K12N 1.2-litre Dualjet engines with idle start stop system, beige and dark grey dual tone interior colour, dual tone exterior colour with black roof, black coloured 14-inch alloy wheels and hill-hold assist for AMT model.


title: Maruti Suzuki Wagon R

text: The Wagon R for India with driver airbag received 2 stars for adult occupants and 2 stars for toddlers from Global NCAP in 2019 (similar to Latin NCAP 2013).


title: Cincinnati Masters

text: The Cincinnati Masters or Cincinnati Open (branded as the Western & Southern Open for sponsorship reasons) is an annual outdoor hardcourt tennis event held in Mason, Ohio near Cincinnati. The event started on September 18, 1899, and is the oldest tennis tournament in the United States played in its original city. The tournament is the second largest summer tennis event in the U.S. after the US Open, as its men's event is one of the Masters 1000 tournaments on the ATP Tour and its women's event is one of the WTA 1000 events on the WTA Tour.


title: Cincinnati Masters

text: The tournament was started in 1899 as the Cincinnati Open and was renamed in 1901 to Tri-State Tennis Tournament, a name it would keep until 1969 (it would later be known by several other names, including ATP Championships), and would eventually grow into the tournament now held in Mason. The original tournament was held at the Avondale Athletic Club, which sat on property that is now Xavier University, and would later be moved to several various locations due to changes in tournament management and surfaces. The first tournament in 1899 was played on clay courts (described in a newspaper article of the time as "crushed brick dust"), and the event was mostly played on clay until 1979 when it switched to hardcourts.


title: Cincinnati Masters

text: In 1903, the tournament was moved to the Cincinnati Tennis Club, where it was primarily held until 1972. In 1974, the tournament was nearly dropped from the tennis calendar but moved at the last moment to the Cincinnati Convention Center, where it was played indoors and, for the first time since 1919, without a women's draw. In 1975, the tournament moved to the Coney Island amusement park on the Ohio River, and the tournament began to gain momentum again.


title: Cincinnati Masters

text: Between 1981 and 1989 it was a major tournament on the men's Grand Prix Tennis Tour and part of the Grand Prix Super Series.


title: Cincinnati Masters

text: In 1979 the tournament moved to Mason where a permanent stadium was built and the surface was changed from Har-Tru clay to hardcourt (DecoTurf II.). Later, two other permanent stadia were constructed, making Cincinnati the only tennis tournament outside the four Grand Slam events with three stadium courts – Center Court, Grandstand Court and Court 3. A new Court 3 was built in 2010, increasing the number of stadium courts to four, with the existing Court 3 renamed Court 9. The women's competition was reinstated in 1988 for one year, and then again in 2004 when the organizers, with the help of the Octagon sports agency, bought the Croatian Bol Ladies Open and moved it to Cincinnati.


title: Cincinnati Masters

text: In August 2008, the men's tournament was sold to the United States Tennis Association, the owners of the US Open.


title: Cincinnati Masters

text: In 2002, the tournament was sponsored for the first time by Western & Southern Financial Group, with the company continuing its sponsorship until at least 2016. In 2011 the men's and women's tournaments were played in the same week, and the name changed from the Western & Southern Financial Group Masters and Women's Open to the Western & Southern Open.


title: Cincinnati Masters

text: In 1975, the tournament reins were taken by Paul M. Flory, then an executive with Procter & Gamble. During his tenure, the tournament enriched its considerable heritage while donating millions of dollars to charity: to Cincinnati Children's Hospital Medical Center, Tennis for City Youth (a program to teach tennis to inner-city children), and to The Charles M. Barrett Cancer Center at University Hospital. Flory was honored with the ATP's Arthur Ashe Humanitarian Award, enshrinement in the USTA/Midwest Hall of Fame and the Cincinnati Tennis Hall of Fame, and was named one of the Great Living Cincinnatians by the Cincinnati Chamber of Commerce. Flory began his involvement as a volunteer with the tournament in the late 1960s and remained a volunteer until the end, never accepting a salary. Flory, who was born on May 31, 1922, died on January 31, 2013, remaining tournament chairman until his final day.


title: Cincinnati Masters

text: The tournament is played at the Lindner Family Tennis Center, located in the Cincinnati suburb of Mason, Ohio. It features a total of 17 courts, including four tennis stadiums—Center Court, Grandstand Court, Court 3, and Court 9 (formerly known as Court 3)—and among the few venues (e.g. with Madrid Open) other than Grand Slams with more than two permanent stadiums.


title: Cincinnati Masters

text: In 2009, the tennis tournament announced a $10 million upgrade to the facility, including the construction of a West Building to add space for players, media and fans. The new building, which opened in mid-2010 and is named the Paul M. Flory Player Center, is approximately twice as high as the previous West Building, rising above ground level and above the court level.


title: Cincinnati Masters

text: In 2010, the tournament announced plans to expand the grounds by more than 40% and add six new courts. One of those courts is Court 3, which serves as the third television court, while another court has seating for 2,500. A new ticket office, entry plaza, food court and exhibit areas also were added.


title: Cincinnati Masters

text: In June 2020, due to the COVID-19 pandemic, the tournament temporarily relocated to the Billie Jean King National Tennis Center in New York City to reduce unnecessary player travel by centralizing the tournament and the U.S. Open at one venue.


title: Cincinnati Masters

text: The venue hosts additional events including the Atlantic 10 Conference Tennis Championships, the Ohio Athletic Conference Tennis Championships, and both the boys' and girls' OHSAA state tennis championships, and has hosted an Association of Volleyball Professionals event, concerts, charitable events, and numerous regional and national junior tennis events.


title: Cincinnati Masters

text: Because of intentional design choices for the Lindner Family Tennis Center, the Cincinnati Masters is known as one of the more intimate environments for player-fan interaction. The layout of the facility promotes fan interaction as players walk from court to court among the fans, and the tournament publicizes player practice times on the numerous courts.


title: Cincinnati Masters

text: Roger Federer has won the most Cincinnati Open titles, and out of eight finals, he possesses seven titles; his last being won in 2015, defeating two-time champion Novak Djokovic in the final. It was at this tournament in 2018 that Djokovic became the first player to win the Golden Masters (winning all 9 masters). Djokovic then completed this again in 2020 for the double Golden Masters.


title: Jefferson Farfán

text: Jefferson Agustín Farfán Guadalupe (; born 26 October 1984) is a Peruvian former professional footballer who mainly plays as a winger for Alianza Lima and the Peru national football team. Commonly known as Farfán or the nickname "Foquita" (Spanish for "Little Seal"), he is known for his speed and technical ability and was one of the best providers of assists during his time in the Bundesliga.


title: Jefferson Farfán

text: Farfán began his career with Deportivo Municipal and Alianza Lima; the latter club saw him make his professional debut in 2001. In 2002, Farfán was highlighted as one of the next best players of Peruvian football and a year later, won his second Primera División title. After winning his third league title with Alianza in 2004, he was recognized as the best Peruvian player of that year.


title: Jefferson Farfán

text: Having joined PSV Eindhoven in mid-2004, Farfán helped the Dutch giants win four Eredivisie titles. He signed for Bundesliga side Schalke 04 in 2008 and during his time with the club, he won the 2011 DFB-Pokal Final. In 2012, he was named the most expensive Latin American player in the league. Farfán briefly played for Al-Jazira in the United Arab Emirates before leaving due to a breach of contract. He last played in Russia for Lokomotiv, when, in his second season, helped the club win their first league title in 14 years and finished as the team's top scorer.


title: Jefferson Farfán

text: With the national team, Farfán is the country's second top goalscorer, behind only Paolo Guerrero. He is very popular in Peru, with coach Ricardo Gareca naming him "one of the most important players in the history of Peruvian football." He helped his side finish third at the 2015 Copa América and second in Brazil 2019.


title: Jefferson Farfán

text: Farfán began his professional career with Alianza Lima of Peru. He made some appearances in 2001 on the first-team, and began to break through in 2002, and impacting Alianza with its 2003 Peru championship. In his final season with the club in 2004, Farfán scored 14 goals, helping the club to another Peru championship.


title: Jefferson Farfán

text: Following that season he was purchased by Dutch club PSV Eindhoven after being scouted by Guus Hiddink, for a reported 2 million Euro transfer fee. Farfán made his debut in the Eredivisie on 14 August in a 5–2 win against RBC Roosendal. Almost two weeks later, Farfán's European debut would come in the third qualifying round of the Champions League, a 5–0 win against Red Star Belgrade. PSV qualified for the final tournament and he played in all twelve games. In the group match against the Norwegian Rosenborg BK, he scored his inaugural European goal in 2–1 win. A month earlier, he had scored his first league goal, in a 4–0 win against SC Heerenveen. With PSV, Farfán won both the league and the cup tournament in his first season in the Netherlands. The Eredivisie would be won by PSV in the following three consecutive seasons. In the 2005/06 season, Farfán finished with 21 goals as club top scorer and fourth top scorer in the league. In his last season with PSV, Farfán was less dominant, partly due to an ankle injury he sustained during the 2007 Copa América. In March 2008, rumors began to circulate about a departure from Eindhoven.


title: Jefferson Farfán

text: On 5 June 2008, it was reported that PSV had reached an agreement with German side Schalke 04 over the transfer of Farfán for around €10 million. On 10 June 2008, the club officially confirmed the transfer of Farfán on a four-year contract. On 28 April 2012, Schalke announced that Farfán had signed a contract extension, which would keep him at S04 until 30 June 2016.


title: Jefferson Farfán

text: On 20 July 2015, after seven years at the club, Schalke confirmed that Farfán had joined Al Jazira Club for a reported fee of €6 million on a three-year deal, where he could earn up to €10 million a year.


title: Jefferson Farfán

text: Farfán left the club on 19 October 2016, because the club did not respect all the clauses in his contract.


title: Jefferson Farfán

text: On 28 January 2017, he signed with the Russian Premier League side FC Lokomotiv Moscow. The Russian team announced his signing after an irregular 2016, where he even was inactive for a hundred days after finishing in October 2016 a millionaire contract with Al Jazira. After 6 months of recovery, Farfán had a good season making goals that allowed his team to get the national title after 14 years.


title: Jefferson Farfán

text: He didn't appear for Lokomotiv for 14 months from May 2019 due to knee injury and a following positive test for COVID-19. He made his first appearance upon recovery on 12 July 2020 in a game against FC Ufa and scored a late equalizer for his club in a 1–1 draw.


title: Jefferson Farfán

text: Farfán is an important player for the Peru national football team. Since making his debut for the side in February 2003, he has gained 95 caps and is second on the nation's career goalscoring list with 27 goals.


title: Jefferson Farfán

text: Farfán ended the South American 2006 World Cup qualifiers as the second top scorer, with seven goals.


title: Jefferson Farfán

text: He was suspended for 18 months from representing the national football team of Peru. But on 3 July 2008, after an investigation and a review of the facts, the suspension was changed to three months (from the date of appeal in April 2008) and $10,000. Farfan scored the winning goal in the World Cup qualifier at home to Chile on 23 March 2013.


title: Jefferson Farfán

text: He was a member of the Peru national football team that finished in third place at the 2015 Copa América. Farfán has been a key performer for Peru during the 2018 World Cup qualifiers where he scored 3 goals. He scored 2 goals in a 3–4 home loss to Chile and the winner in a 1–0 home win over Paraguay. He scored one of two goals in a 2–0 home win against New Zealand that led Peru qualify to the 2018 FIFA World Cup after a 36-year absence.


title: Jefferson Farfán

text: In June 2018 he was named in Peru's final 23-man squad for the 2018 FIFA World Cup in Russia. He started in their first group game against Denmark, which resulted in a 0–1 loss. Farfán started as a substitute in their second group game against France, coming on in the 46th minute to replace Yoshimar Yotún. His side were eliminated from the competition after another 0–1 loss. He missed their final group game against Australia as he was rushed to hospital after a suffering a concussion in training. Peru won their final game 2–0.


title: Jefferson Farfán

text: In Peru's second game of the 2019 Copa América, Farfán scored a goal in Peru's 3-1 victory over Bolivia. Farfán suffered an injury to his left knee prior to Peru's last-eight clash against Uruguay, ruling him out of the rest of the tournament. The Peruvian Football Federation (FPF) confirmed the injury, with Farfán expected to be sidelined for 6 to 9 months. On 6 July 2019, Farfán underwent knee surgery in Barcelona, just hours before his team faced hosts Brazil in the 2019 Copa América Final. Peru went on to lose the game 3–1 in his absence.


title: Jefferson Farfán

text: Farfán is considered to be a fast and technically gifted forward or winger, and is regarded less as a goal-scorer, but instead as more of an assist provider and as a creator of goals. His one-on-one dribbling ability, accurate corner kicks and passes contributed heavily to Schalke's goals, especially in the international arena. Farfán is also known for his penalty kick and direct or indirect free kick ability.


title: Jefferson Farfán

text: Farfán has three children; two sons and one daughter. Having spent most of his career in Germany, he could speak German, though not fluent.


title: Jefferson Farfán

text: Despite his talents, since late 2000s, he is also widely known for being indisciplined and controversial. He has involved in three major national football team scandals in 2007, 2010 and 2019; the two former caused him to be suspended from the national team.


title: Banknotes of the Swiss franc

text: Banknotes of the Swiss franc are issued by the Swiss National Bank in denominations of 10, 20, 50, 100, 200 and 1,000 Swiss francs.


title: Banknotes of the Swiss franc

text: Between 2016 and 2019, the eighth series (while remaining valid) was being replaced by the ninth series. All banknotes starting from the sixth series are exchangeable; banknotes from the fifth series ceased to be valid (fully demonetised) on 1 May 2000.


title: Banknotes of the Swiss franc

text: During the 19th century the cantons (states) of Switzerland had the right to print their own notes. Following the law of 8 March 1881 the Swiss National Bank had the exclusive right to issue banknotes in Switzerland. Its first notes were issued in 1907. Since then, nine series of Swiss franc notes have been printed, six of which have been completely released for use by the general public, and a new series started being released in 2016.


title: Banknotes of the Swiss franc

text: Switzerland is unusual among affluent countries in that it used to expire its banknotes; the Swiss National Bank has declared several older series of banknotes to be no longer legal tender some time after introducing newer series. Notes from these "recalled" series could be exchanged for still-valid notes at the National Bank for up to 20 years after the date of recall, after which the notes lost all value. When recalled series become valueless, the National Bank transfers an amount of money equal to the sum of the now-worthless notes to a state-run last-resort disaster insurance fund, the Swiss Fund for Aid in Cases of Uninsurable Damage by Natural Forces. In June 2019, the Swiss parliament passed a bill that removed the twenty-year time limit. Effective 1 January 2020, all banknotes starting from the sixth series issued in 1976 as well as any future series remain valid and can be exchanged for current notes indefinitely.


title: Banknotes of the Swiss franc

text: In April 2021, the Swiss National Bank announced that it was recalling its eighth series of banknotes issued between 1995 and 1998; the series was replaced by the ninth series launched between 2016 and 2019. In May 2021, the banknotes lost their status as legal tender and are no longer valid for payments.


title: Banknotes of the Swiss franc

text: The third series of Swiss banknotes was printed in 1918; some of the notes were issued as war notes, while others were kept as reserve.


title: Banknotes of the Swiss franc

text: A seventh series of Swiss banknotes was designed and printed in 1984, in parallel with the sixth series, but was never released. It formed the reserve series, to be released, for example, if the current series were suddenly to become widely counterfeited. At first, almost no information was released on the series for security reasons, except for small fragments. However, after the eighth series was released, it was decided to improve the security features of the current series rather than develop a new reserve series. The details of the seventh series were later released, while the actual banknotes were destroyed. The designers were Roger Pfund and Elisabeth Pfund. They had originally won the competition for the design of the sixth series, but since the Swiss National Bank decided to use the design by Ernst and Ursula Hiestand instead, the Pfunds were charged with the design of the reserve series.


title: Banknotes of the Swiss franc

text: The eighth series of Swiss franc banknotes, designed by Jörg Zintzmeyer, entered circulation in 1995. They were withdrawn in 2021.


title: Banknotes of the Swiss franc

text: In 2005, the Swiss National Bank held a competition to determine the design of the next series of banknotes. The competition was won by Manuel Krebs, but his designs, which include depictions of blood cells and embryos, were met with sufficient opposition from the general public as to discourage the bank from going forward with them. As a result, the ninth series of Swiss franc banknotes was based on designs by second place finalist Manuela Pfrunder. The series was scheduled to be issued around 2010 but was delayed to 2015 due to technical problems in the production. The new 50-franc banknote was issued on 12 April 2016, followed by the 20-franc banknote on 17 May 2017, the 10-franc banknote on 18 October 2017, the 200-franc banknote on 22 August 2018, the 1,000-franc banknote on 13 March 2019 and the 100-franc banknote on 12 September 2019.


title: Banknotes of the Swiss franc

text: According to the 2008 edition of Guinness World Records, the eighth series of Swiss franc notes is the most secure in the world with up to 18 security features including a tilting digit, which can only be seen from an unusual angle, a UV digit that can only be seen under ultraviolet light and micro text. According to their respective central banks, the rate of counterfeited banknotes as of 2011 was about 1 in 100,000 for the Swiss franc, 1 in 20,000 for the euro, 1 in 10,000 for the United States dollar and 1 in 3,333 for the pound sterling.


title: Bodice

text: A bodice () is an article of clothing traditionally for women and girls, covering the torso from the neck to the waist. The term typically refers to a specific type of upper garment common in Europe during the 16th to the 18th century, or to the upper portion of a modern dress to distinguish it from the skirt and sleeves. The name "bodice" is etymologically an odd plural spelling of "body" and comes from an older garment called a "pair of bodies" (because the garment was originally made in two separate pieces that fastened together, frequently by lacing).


title: Bodice

text: Frescoes produced by the Minoan civilization portray women wearing open bodices that displayed and accentuated their breasts; however, following the Late Bronze Age collapse, these garments would give way to the simpler clothes characteristic of Iron Age Greece.


title: Bodice

text: Contemporary European bodices are derived from the kirtle. A fitted bodice became fashionable in Europe around 1450.


title: Bodice

text: In one usage, "bodice" refers to a separate upper garment that has removable sleeves or no sleeves, often low-cut, worn in Europe from the 16th century to the 18th century, either over a corset or in lieu of one. To achieve a fashionable shape and support the bust, the bodice was frequently stiffened with "bents" (a type of reed) or whalebone. The bodice was separate from the corset of the time because the bodice was intended to be worn over the other garments, and the others were undergarments.


title: Bodice

text: In another usage, particularly in Victorian and early 20th century fashion, a "bodice" (in earlier sources, "body") instead indicates the upper part of a dress that was constructed in two parts (i.e., with separate skirt and bodice, such as a ballet tutu), but of matching or coordinating fabric with the intention of wearing the two parts as a unit. In dressmaking, the term "waist" (sometimes called "dress waist" to distinguish it from a shirtwaist) was also used. During wear, the parts might be connected by hooks and eyes. This construction was standard for fashionable garments from the 18th century until the late 19th century, and had the advantages of allowing a voluminous skirt to be paired with a close-fitting bodice, and of allowing two or more bodices to be worn with the same skirt at different times. For example, a woman might wear the skirt with a matching high-necked bodice during the day, and later the same skirt with a different, fashionably low-necked bodice in the evening. One-piece construction became more common after 1900 due to the trend for looser, more simply-constructed clothing with narrower skirts.


title: Bodice

text: "Bodice" continues in use to refer to the upper portion (not including the sleeves) of a one- or two-piece dress. The bodice of a dress was called the "corsage" in the 19th century.


title: Bodice

text: In earlier periods, bodices and corsets were laced in spiral fashion, with one continuous lace. Some bodices were laced in the back. In later periods, both were laced like the modern tennis shoe, with eyelets facing one another. This was more convenient for women who had to dress themselves. In the 20th century, lacing was replaced by elastic or other styles.


title: Bodice

text: Padding, boning, and other techniques were used to keep the fitted bodice smooth while it was worn. Pregnant women wore an adjustable type of bodice, called a "jump".


title: Bodice

text: Starting in the 16th century, women used detachable sleeves as a fashion accessory. A ruff or other decorations might be added. By the 18th century, women were wearing a variety of accessories, including fichus and partlets, with their bodices.


title: Bodice

text: In the 19th century, in parts of Europe, styles reflected local folk dress, so that the bodice in France was frilled, in Austria took the form of the dirndl, and in Bulgaria, it had a gold stomacher. Other styles seen in the 19th century include:


title: Bodice

text: Bodices survive into modern times in the traditional or revived folk dress of many European countries, as in the case of the Austrian dirndl and Scottish highland dancers' Aboyne dress. They are also commonly seen today at gatherings celebrating archaic European customs, such as Oktoberfest festivals, Society for Creative Anachronism events, and Renaissance Fairs.


title: Oriental Pearl Tower

text: The Oriental Pearl Radio & Television Tower () is a TV tower in Shanghai. Its location at the tip of Lujiazui in the Pudong New Area by the side of Huangpu River, opposite The Bund, makes it a distinct landmark in the area. Its principal designers were Jiang Huan Chen, Lin Benlin, and Zhang Xiulin. Construction began on July 30, 1991, and the tower was completed on October 1, 1994, and put into use on May 1, 1995. As of October 2022, it is the sixth tallest building in Asia, and the ninth tallest around the world.


title: Oriental Pearl Tower

text: On August 25, 1983, the idea of building a new TV tower was first brought up in a broadcast considering the overwhelming situation of the existing TV transmission tower at that time. On November 17 of the same year, a clear thought of building a TV tower of approximately 400 meters high around Lujiazui area was presented in "The Sixth Five-Year Plan and Seventh Five-Year Plan for the Development of Shanghai's Radio and Television Industry and the Vision for the Next Ten Years."


title: Oriental Pearl Tower

text: On March 25, 1984, the proposal of building the new TV tower is officially made in the Congress report. Later in 1984, the proposal was approved. After repeated investigation and research, the site location was finalized to between Lujiazui and Pudong Park, with the consideration of echoing with the Bund on the other side of Huangpu River.


title: Oriental Pearl Tower

text: On August 23, 1984, the Shanghai Radio and Television Bureau officially made the site selection report. In October 1986, the report was finalized and submitted to the National Planning Commission, with the building height initially set at 450 meters. In January 1987, the report was approved. In January 1988, the Shanghai Radio and Television Bureau submitted a feasibility report for the TV tower and got approved in July.


title: Oriental Pearl Tower

text: In May 1988, three top design institutes in China were invited to participate in a design contest for the TV tower. In September 1988, a total of 12 designs were submitted and evaluated, and the "Oriental Pearl" design from East China Architectural Design Institute was finally chosen. With the consideration of the location and historical role of the tower, the designer chose to connect 15 spheres of different sizes with pillars as the main tower body. The artistic conception came from the sentence "big and small pearls falling on a jade plate(大珠小珠落玉盘)" of a poem "Pi Pa Xing(琵琶行)" by Bai Juyi, intended to emphasize the oriental cultural atmosphere and the artistic sentiment of Shanghai.


title: Oriental Pearl Tower

text: On July 30, 1991, the foundation of the Oriental Pearl TV Tower was officially laid and the construction started.


title: Oriental Pearl Tower

text: On December 14, 1993, the 350-meter 3-D structure (excluding the antenna) was capped. The construction only took 27 months, which is 105 days prior to the expected date. At 12:12 a.m. on May 1, 1994, world's first steel antenna with a length of 110 meters and a weight of 450 tons was successfully installed in position after 11 days of ascension.


title: Oriental Pearl Tower

text: On October 1, 1994, the ground floor lobby decoration was completed. The sightseeing facilities and main light system started operating. The construction of Oriental Pearl TV Tower was officially completed.


title: Oriental Pearl Tower

text: On May 1, 1995, the ribbon cutting ceremony of the Oriental Pearl TV Tower was held and it is officially opened to the public. The first signal was launched, and it first broadcast 5 sets of TV programs and 5 sets of FM radios to the public.


title: Oriental Pearl Tower

text: In 1995, 15 foreign heads of government visited the tower. At the end of the year, the Oriental Pearl TV Tower was rated as one of the Top Ten New Landscapes in Shanghai.


title: Oriental Pearl Tower

text: In 1996, another 35 foreign heads of government and 30 groups of foreign minister-level government officials visited the tower.


title: Oriental Pearl Tower

text: In 1999, the Oriental Pearl TV Tower won the first prize of Shanghai Excellence of Design Award and China Civil Engineering Zhan Tianyou Award.


title: Oriental Pearl Tower

text: In May 2001, the Shanghai Urban History Development Exhibition Hall was opened at ground level of the Oriental Pearl TV Tower.


title: Oriental Pearl Tower

text: In 2004, the tower carried out an energy-saving transformation on the light system, replacing the old source with light-emitting diodes.


title: Oriental Pearl Tower

text: On May 8, 2007, the Oriental Pearl TV Tower was approved by the National Tourism Administration as a National AAAAA-level Tourist Attraction.


title: Oriental Pearl Tower

text: On January 6, 2020, the Oriental Pearl TV Tower was rated as one of the Top Ten New Landmarks in Shanghai by the China Architectural Culture Research Association.


title: Oriental Pearl Tower

text: The tower has fifteen observatory levels. The highest (known as the Space Module) is at 351 m (1148 ft). The lower levels are at 263 m (863 ft) (Sightseeing Floor) and at 90 m (295 ft) (Space City). There is a revolving restaurant at the 267 m (876 ft) level. The project also contains exhibition facilities and a small shopping center. There is also a 20-room hotel called the Space Hotel between the two large spheres. The upper observation platform has an outside area with a 1.5 inch glass floor.


title: Money Train

text: Money Train is a 1995 American action comedy film starring Wesley Snipes, Woody Harrelson, and Jennifer Lopez, with Robert Blake and Chris Cooper in supporting roles.


title: Money Train

text: Foster brothers John and Charlie Robinson are transit cops patrolling the New York City Subway. On Christmas, they chase two muggers into a subway tunnel. Nearby trains are halted, but transit captain Donald Patterson allows the money train – hauling subway revenue – to continue. One of the teenage muggers is gunned down and killed by transit cops guarding the money train, triggering a brawl between them and the brothers. Patterson blames John and Charlie for delaying the money train.


title: Money Train

text: Charlie asks John for money to buy a Christmas present, but instead uses it to pay off gambling debts to mobster Mr. Brown, only to get even more into debt when Brown intends to have his men throw Charlie off a building, until John intervenes. Revealing Charlie is $15,000 in debt, John at first decides to let them drop him, yet after a brief conversation Mr. Brown accepts John’s promise to deliver the money in a few days.


title: Money Train

text: John and Charlie both take a liking to Grace Santiago, a newly assigned decoy transit officer. When a serial killer known as the Torch robs a token booth and sets it on fire at risk of killing the booth attendant, John and Charlie rescue the attendant and put out the fire, but Torch escapes and knocks out Grace.


title: Money Train

text: John rejects Charlie’s plan to rob the money train to pay off the debt. When they and Grace are assigned to patrol the money train, Charlie discovers a grate in the train’s floor and a maintenance ladder leading to Central Park. A brawl breaks out between John and another officer, quickly involving the entire squad. Again blaming the brothers and accusing them of taking some of the money, Patterson continues to berate them even after realizing a collection agent miscounted. Charlie tells John the best time to rob the money train would be New Year's Eve, due to looser security and the year’s highest proceeds: up to $4,000,000 that night.


title: Money Train

text: John gives Charlie $15,000 to pay back Mr. Brown, but while on the train, Charlie loses it to an old lady and is beaten by Brown’s men as punishment. John is visited by Grace, having both realized their mutual attraction to each other and the two make love. Returning home, stopping by John’s apartment, he is saddened to spot Grace and John sleeping together and walks away, with John feeling remorse for hurting Charlie (as well as disappointment after Charlie tells him he lost the money).


title: Money Train

text: In a sting operation to apprehend Torch, Grace is disguised as a token booth attendant. Realizing the trap, Torch distracts police by pushing a man in front of a moving train, killing him. Torch sprays gasoline on Grace, but before he can light it, Charlie alerts the other officers, who open fire. John pursues the killer into another station, where they fight. Torch is burned by his gasoline and killed by an approaching train. Patterson fires Charlie for ruining the ambush; trying to defend Charlie, John is fired as well, leading to the brothers having a major falling out.


title: Money Train

text: On New Year's Eve, John storms into Mr. Brown’s strip club, after hearing about Charlie and defeats the mobsters using his martial arts skills, threatening Brown if anything happens to Charlie, knocking him out with a 360-degree kick into a glass enclosure.


title: Money Train

text: Grace persuades John to intervene in Charlie’s robbery. Charlie enters the money train from beneath, throws out the driver and drives it to the ladder, but is unable to escape with the money due to the presence of a group of NYPD Mounted cops. Reaching the train, John persuades Charlie to drive further to avoid arrest, and they disable the brakes to prevent Patterson activating them remotely. Patterson deploys a steel barricade, but John and Charlie accidentally increase the train to maximum speed and smashes through the barricade. Transit control officer Kowalski declares the money train a runaway and starts clearing tracks, but Patterson diverts the train onto a track occupied by a passenger train, the 1220 Coney Island to prevent its riders' escape, and doesn't even tell the driver about the money train. When Charlie tries to steal the money, John attempts to stop him from doing so, leading to a brawl between the brothers. Eventually, the two stop fighting when Charlie saves John from falling off the train. The money train slams into the rear of the 1220 and slows down, but speeds up again, continuing to ram it with the increasing risk of derailing it and killing everyone on board, including the driver.


title: Money Train

text: With no brakes and the throttle jammed, the brothers decide to throw the train into reverse to save the passenger train. Charlie positions an iron bar to trip the reverse lever, and the brothers climb on top of the train. The money train rams into 1220 again, activating the reverse lever, putting it into reverse position and the brothers jump across to the 1220 train as the money train derails, to the horror of Patterson, who is waiting at the next station with the officers.


title: Money Train

text: When arriving, the brothers try to escape but are spotted by Patterson, who interrogates them. Fed up with his abuse, they both punch him in the face after he spits at John. As Patterson shouts out for their arrest, he is arrested himself by Grace for endangering the passengers’ lives, much to the brothers amazement. The brothers then exit onto Times Square just as the New Year countdown begins and ends, ringing in 1996. During the celebration, John realizes Charlie has a bag with over $500,000, much to his dismay. The film closes with the brothers walking off into the distance arguing over the money while the credits roll.


title: Money Train

text: Snipes and Harrelson had appeared together in the 1992 hit "White Men Can't Jump". They were both paid $5.5 million to star in "Money Train".


title: Money Train

text: The subway car used as the money train in the film is a modified R21 subway car. The rolling stock was modified by the Metropolitan Transportation Authority and film crew into an imposing subway train covered in silver armor plating and equipped with flashing orange lights and sliding barred doors, like those on a jail cell. After production, the car was donated to the New York Transit Museum, and is currently stored at the Coney Island Complex as of February 2010. Other cars were used as props in the movie.


title: Money Train

text: Four additional R30s were used for filming on New York City Subway property, including for the crash between the money train and the 1220 Coney Island. These four cars were 8463, 8510, 8558, and 8569.


title: Money Train

text: The actual money train resembled a normal maintenance train painted yellow with black diagonal stripes. The New York City subway system retired its money trains in 2006, as the introduction of the MetroCard and computerized vending machines that allowed fare payment by credit card have dramatically reduced the number of coins stored in subway stations. Two money train cars were later sent to the New York Transit Museum.


title: Money Train

text: The original music score by Mark Mancina was released in March 2011 by La-La Land Records as a limited edition of 3000 copies. The album features approximately 41 minutes of music across 17 tracks. Additional music was composed by John Van Tongeren.


title: Money Train

text: The film took in $35.4 million at the North American box office, including $10.6 million on its opening weekend. In 2005, "USA Today" characterized it as a "bomb".


title: Money Train

text: Rotten Tomatoes, a review aggregator, reports that 22% of 32 surveyed critics gave the film a positive review; the average rating was 4.3/10. The site's consensus states: "Loud, incoherent, and aimless, "Money Train" reunites Snipes and Harrelson -- and proves that starring duos are far from immune to the law of diminishing returns." Brian Lowry of "Variety" wrote that it "bounces along with a lame script and inconsistent pace". Stephen Holden of "The New York Times" wrote, "More viscerally charged than "Speed" and hipper than "Die Hard With a Vengeance", the movie is a careening, screeching joyride that showers sparks like fireworks." Mick LaSalle of the "San Francisco Examiner" called it "a cut above the usual" buddy cop film due to the stars' chemistry and its well-crafted action scenes. Kenneth Turan of the "Los Angeles Times" described it as "a by-the-numbers action-buddy picture" that is "an acceptable if undemanding venture". Ken Tucker of "Entertainment Weekly" rated it D+ and called it "a big, noisy headache of a movie." Hal Hinson of "The Washington Post" called it a feeble and clichéd buddy film.


title: Money Train

text: In addition to its poor reviews, the film was vilified for its portrayal of 'The Torch' robbing a ticket booth by running a rubber tube around the bulletproof partition and dousing the attendant with an unknown flammable liquid, then threatening to set them on fire. This crime was repeated in real life after the film's release, although police did not think the similar crime was related to the film. Nevertheless, many people, including Bob Dole, called for a boycott of the film.


title: Contribution margin

text: Contribution margin (CM), or dollar contribution per unit, is the selling price per unit minus the variable cost per unit. "Contribution" represents the portion of sales revenue that is not consumed by variable costs and so contributes to the coverage of fixed costs. This concept is one of the key building blocks of break-even analysis.


title: Contribution margin

text: In cost-volume-profit analysis, a form of management accounting, contribution margin—the marginal profit per unit sale—is a useful quantity in carrying out various calculations, and can be used as a measure of operating leverage. Typically, low contribution margins are prevalent in the labor-intensive service sector while high contribution margins are prevalent in the capital-intensive industrial sector.


title: Contribution margin

text: In Cost-Volume-Profit Analysis, where it simplifies calculation of net income and, especially, break-even analysis.


title: Contribution margin

text: Given the contribution margin, a manager can easily compute breakeven and target income sales, and make better decisions about whether to add or subtract a product line, about how to price a product or service, and about how to structure sales commissions or bonuses.


title: Contribution margin

text: Contribution margin analysis is a measure of operating leverage; it measures how growth in sales translates to growth in profits.


title: Contribution margin

text: The contribution margin is computed by using a contribution income statement, a management accounting version of the income statement that has been reformatted to group together a business's fixed and variable costs.


title: Contribution margin

text: Contribution is different from gross margin in that a contribution calculation seeks to separate out variable costs (included in the contribution calculation) from fixed costs (not included in the contribution calculation) on the basis of economic analysis of the nature of the expense, whereas gross margin is determined using accounting standards. Calculating the contribution margin is an excellent tool for managers to help determine whether to keep or drop certain aspects of the business. For example, a production line with positive contribution margin should be kept even if it causes negative total profit, when the contribution margin offsets part of the fixed cost. However, it should be dropped if contribution margin is negative because the company would suffer from every unit it produces.


title: Contribution margin

text: The contribution margin analysis is also applicable when the tax authority performs tax investigations, by identifying target interviewees who have unusually high contribution margin ratios compared to other companies in the same industry.


title: Contribution margin

text: Contribution margin is also one of the factors to judge whether a company has monopoly power in competition law, such as use of the Lerner Index test.


title: Contribution margin

text: The Contribution Margin Ratio is the percentage of Contribution over Total Revenue, which can be calculated from the unit contribution over unit price or total contribution over Total Revenue:


title: Contribution margin

text: For example, if the price is $10 and the unit variable cost is $2, then the unit contribution margin is $8, and the contribution margin ratio is $8/$10 = 80%.


title: Contribution margin

text: Contribution margin can be thought of as the fraction of sales that contributes to the offset of fixed costs. Alternatively, unit contribution margin is the amount each unit sale adds to profit: it is the slope of the profit line.


title: Contribution margin

text: Cost-Volume-Profit Analysis (CVP): assuming the linear CVP model, the computation of Profit and Loss (Net Income) reduces as follows:


title: Contribution margin

text: where TC = TFC + TVC is Total Cost = Total Fixed Cost + Total Variable Cost and is Number of Units. Thus Profit is the Contribution Margin times Number of Units, minus the Total Fixed Costs.


title: Contribution margin

text: From the perspective of the matching principle, one breaks down the revenue from a given sale into a part to cover the Unit Variable Cost, and a part to offset against the Total Fixed Costs. Breaking down Total Costs as:


title: Contribution margin

text: Thus the Total Variable Costs formula_6 offset, and the Net Income (Profit and Loss) is Total Contribution Margin minus Total Fixed Costs:


title: Contribution margin

text: The Beta Company's contribution margin for the year was 34 percent. This means that, for every dollar of sales, after the costs that were directly related to the sales were subtracted, 34 cents remained to contribute toward paying for the indirect (fixed) costs and later for profit.


title: Contribution margin

text: Contribution format income statements can be drawn up with data from more than one year's income statements, when a person is interested in tracking contribution margins over time. Perhaps even more usefully, they can be drawn up for each product line or service. Here's an example, showing a breakdown of Beta's three main product lines.


title: Contribution margin

text: Although this shows only the top half of the contribution format income statement, it's immediately apparent that Product Line C is Beta's most profitable one, even though Beta gets more sales revenue from Line B (which is also an example of what is called Partial Contribution Margin - an income statement that references only variable costs). It appears that Beta would do well by emphasizing Line C in its product mix. Moreover, the statement indicates that perhaps prices for line A and line B products are too low. This is information that can't be gleaned from the regular income statements that an accountant routinely draws up each period.


title: Contribution margin

text: The following discussion focuses on "contribution margin (mean) per" operating room "hour" in the operating room and how it relates to operating room efficiency.


title: Contribution margin

text: A surgical suite can schedule itself efficiently but fail to have a positive contribution margin if many surgeons are slow, use too many instruments or expensive implants, etc. These are all measured by the "contribution margin per OR hour". The contribution margin per hour of OR time is the hospital revenue generated by a surgical case, less all the hospitalization variable labor and supply costs. Variable costs, such as implants, vary directly with the volume of cases performed.


title: Contribution margin

text: This is because fee-for-service hospitals have a positive contribution margin for almost all elective cases mostly due to a large percentage of OR costs being fixed. For USA hospitals not on a fixed annual budget, contribution margin per OR hour averages one to two thousand USD per OR hour.


title: National Electronic Funds Transfer

text: National Electronic Funds Transfer (NEFT) is an electronic funds transfer system maintained by the Reserve Bank of India (RBI). Started in November 2005, the setup was established and maintained by Institute for Development and Research in Banking Technology. NEFT enables bank customers in India to transfer funds between any two NEFT-enabled bank accounts on a one-to-one basis. It is done via electronic messages.


title: National Electronic Funds Transfer

text: Unlike real-time gross settlement, fund transfers through the NEFT system do not occur in real-time basis. Previously, NEFT system settled fund transfers in hourly batches with 23 settlements occurring between 00:30 hrs. to 00:00 hrs.


title: National Electronic Funds Transfer

text: From 16 December 2019, there would be 48 half-hourly batches occurring between 00.30 am to 00:00 am every day regardless of a holiday or otherwise,


title: National Electronic Funds Transfer

text: As of 30 November 2019, NEFT facilities were available at 1,48,477 branches/offices of 216 banks across the country and online through the website of NEFT-enabled banks. NEFT has gained popularity due to the ease and efficiency with which the transactions can be concluded.


title: National Electronic Funds Transfer

text: There is no limit – either minimum or maximum – on the amount of funds that can be transferred using NEFT.


title: National Electronic Funds Transfer

text: NEFT transfers are settled in half-hourly batches every day between 00:30 am and 00:00 am all through the year.


title: National Electronic Funds Transfer

text: NEFT originally settled fund transfers in hourly batches. The RBI reduced clearance times to half-hourly batches in April 2016. In August 2019, the RBI announced that it would enable round-the-clock settlements from 16 December 2019.


title: National Electronic Funds Transfer

text: The scenario varies from bank to bank, whether they levy this charge or not immatter of the transaction done online or offline for the accounts other than a savings bank account.


title: National Electronic Funds Transfer

text: The RBI announced on 11 June 2019 that all charges for NEFT and real-time gross settlement transactions collected from banks would be waived from 1 July 2019, and asked banks to pass on the benefits to customers (so RBI charges nothing for these transactions to its member banks & the only charge that's levied is by the bank through which the outward transaction is initiated).


title: National Electronic Funds Transfer

text: 216.71 million National Electronic Funds Transfers transactions worth were made in September 2019, as against 661 million transactions worth the entire year 2013-15.


title: Kassapa Buddha

text: Kassapa Buddha (Pāli), known as Kāśyapa (काश्यप) in Sanskrit, is one of the ancient Buddhas whose biography is chronicled in chapter 24 of the "Buddhavaṃsa", one of the books of the Pali Canon. He was the last Buddha before the "historical" Gautama Buddha, though living long before him.


title: Kassapa Buddha

text: According to Theravāda Buddhist tradition, Kassapa is the twenty-seventh of the twenty-nine named Buddhas, the sixth of the Seven Buddhas of Antiquity, and the third of the five Buddhas of the present kalpa.


title: Kassapa Buddha

text: The present kalpa is called a "mahabhadrakalpa" (great auspicious aeon). The five Buddhas of the present kalpa are:


title: Kassapa Buddha

text: Kassapa was born in Isipatana Deer Park. This place is located in Varanasi, a city in the modern-day state of Uttar Pradesh in northern India. His parents were the Brahmadatta and Dhanavatī.


title: Kassapa Buddha

text: According to legend, his body was twenty cubits high, and he lived for two thousand years in three different palaces. They are Hamsa, Yasa, and Sirinanda. (The BuA.217 calls the first two palaces Hamsavā and Yasavā). His chief wife was Sunandā, who bore him a son named Vijitasena.


title: Kassapa Buddha

text: Kassapa gave up his worldly life travelling in his palace. He practiced austerities for only seven days. Just before attaining enlightenment, he accepted a meal of milk-rice from his wife and grass for his seat from a yavapālaka named Soma. His Bodhi tree (the tree under which he attained enlightenment) was a banyan, and he preached his first sermon at Isipatana to an assembly of monks who had renounced the world in his company.


title: Kassapa Buddha

text: Kassapa performed the Twin Miracle at the foot of an asana tree outside Sundar Nagar. He held only one assembly of his disciples; among his most famous conversions was that of Nāradeva, a Yaksha. His chief disciples among monks were Tissa and Bhāradvāja, and among nuns were Anulā and Uruvelā, his attendant being Sabbamitta. Among his patrons, the most eminent were Sumangala and Ghattīkāra, Vijitasenā, and Bhaddā.


title: Kassapa Buddha

text: Kassapa died at the age of sixteen thousand years, in the city of Kashi, in the Kashi Kingdom (now known as Varanasi, in the modern-day Indian state of Uttar Pradesh). Over his relics was raised a stupa one league in height, each brick of which was worth one crore (ten million) rupees.


title: Kassapa Buddha

text: There was initially a great difference of opinion on what should be the size of the stupa and of what material it should be built. Construction of the stupa was begun after these issues were finally settled. But then the citizens found they lacked sufficient funds to complete the stupa. An anāgāmi devotee named Sorata travelled throughout Jambudvipa, requesting money from the people for the completion of the stupa. He sent the money as he received it, and on hearing that the work was completed, he set out to go and worship the stupa. However, he was seized by robbers and murdered in the forest, which later came to be known as the Andhavana.


title: Kassapa Buddha

text: Upavāna, in a previous birth, became the guardian deity of the stupa, hence his great majesty in his last life (DA.ii.580; for another story of the building of the shrine see DhA.iii.29).


title: Kassapa Buddha

text: Among the thirty-seven goddesses noticed by Guttila when he visited heaven was one who had offered a scented five-spray at the stupa (J.ii.256). Alāta offered āneja-flowers and obtained a happy rebirth (J.vi.227).


title: Kassapa Buddha

text: The cause of Mahākāśyapa's golden complexion was his gift of a golden brick to the building of Kassapa's shrine (AA.i.116).


title: Kassapa Buddha

text: At the same stupa, Anuruddha, who was then a householder in Varanasi, offered butter and molasses in brass bowls, which were placed without any interval around the stupa (AA.i.105).


title: Take a Bow (Madonna song)

text: "Take a Bow" is a song by American singer Madonna from her sixth studio album, "Bedtime Stories" (1994). It was released as the album's second single on December 6, 1994, by Maverick Records. It is a midtempo pop ballad written and produced by Madonna and Babyface. Following the sexually explicit persona portrayed by Madonna on her previous album, "Erotica", she wanted to tone down her image for "Bedtime Stories". Experimenting with a new musical direction and a more radio-friendly sound, Madonna decided to collaborate with Babyface, whose work with other musicians had impressed her. "Take a Bow" was developed after she listened to the basic beat and chords of a piece of music composed by him.


title: Take a Bow (Madonna song)

text: Recorded at The Hit Factory Studios in New York, "Take a Bow" was backed by a full orchestra. It was also the first time that Babyface had worked with live strings, per Madonna's suggestion. "Take a Bow" lyrically talks about unrequited love and Madonna saying goodbye. It received favorable reviews from music critics, who praised its soulful, poetic lyrics. The single topped the US "Billboard" Hot 100 chart for seven weeks, becoming Madonna's 11th chart-topper. She broke Carole King's three-decade-long record as the female songwriter with the most number-one songs, a record which was later broken by Mariah Carey. "Take a Bow" also reached number one in Canada and the top ten in Finland, Switzerland, and New Zealand. However, it became her first single to miss the UK top ten since 1984, peaking at number 16.


title: Take a Bow (Madonna song)

text: The music video for "Take a Bow" was directed by Michael Haussman, and was filmed in Ronda, Spain. The video depicts Madonna as a bullfighter's (played by real-life Spanish bullfighter Emilio Muñoz) neglected lover, yearning for his love. It won the Best Female Video award at the 1995 MTV Video Music Awards. Journalistic and academic analysis of the video included its plotline, usage of religious iconography, themes and motifs of feminism and submission, as well as its impact on contemporary music videos. In order to promote "Bedtime Stories", Madonna performed "Take a Bow" on a few occasions, including live with Babyface at the 1995 American Music Awards. In 2016, she added the song to the setlist of the Asian and Oceanian legs of her Rebel Heart Tour and her one-off Melbourne concert .


title: Take a Bow (Madonna song)

text: Following the release of Madonna's first book publication, "Sex", the erotic thriller, "Body of Evidence", her fifth studio album, "Erotica", as well as her infamous TV interview with David Letterman in the early-to-mid 1990s, the media and public's backlash against Madonna's overtly sexual image was at a peak. Madonna wanted to tone down her explicit image. Her first attempt was to release the tender ballad "I'll Remember" from the soundtrack of the film "With Honors". Musically, she wanted to move in a new musical direction and started exploring new-jack R&B styles with a generally mainstream, radio-friendly sound. This would eventually become her sixth studio album, "Bedtime Stories", released in October 1994. In author Fred Bronson's "The Billboard Book of Number 1 Hits", Madonna explained:


title: Take a Bow (Madonna song)

text: The idea going in was to juxtapose my singing style with a hardcore hip-hop sensibility and have the finished product still sound like a Madonna record. I began the process by meeting with the hip-hop producers whose work I most admired. It was important, if I were to use a variety of collaborators, that the end product sound cohesive and thematically whole. I wasn't interested in the variety pack approach.


title: Take a Bow (Madonna song)

text: After searching for prospective collaborators, Madonna chose to work with Babyface, whose previous work with artists like Whitney Houston, Boyz II Men, and Toni Braxton had resulted in successful smooth R&B songs. She was also fond of Babyface's song, "When Can I See You" from his third studio album "For the Cool in You" (1994). The singer's management called Babyface to set up a meeting and see if they wanted to work together. Once met, both were surprised by their camaraderie and wanted to write songs. Madonna came over to Babyface's house and after a couple of days they came up with two songs. One of them was based on a piece of music composed by Babyface, but he was not sure about its musical direction. He made Madonna listen to the composition, and she found a way to take the song forward. Babyface clarified that "[i]t was just a beat and the chords. From there we collaborated and built it up... I was living in Beverly Hills and I created a little studio in my house, so she came over there to write." Together they agreed that the first line of the song should be its title, and "Take a Bow" was written. The words were never repeated in the track again.


title: Take a Bow (Madonna song)

text: "Take a Bow" was released as the second single from "Bedtime Stories" on December 6, 1994, following "Secret". The maxi single release of the song included two remixes. According to Jose F. Promis of AllMusic, the first remix, known as the "In Da Soul" mix, gives the ballad a funkier, more urban feel while the second remix, known as the "Silky Soul Mix", is a little more "quiet storm" and "melancholy" than the first.


title: Take a Bow (Madonna song)

text: "Take a Bow" was recorded at The Hit Factory studios, New York, and was mastered and mixed at Sterling Sound Studios, New York. Babyface recalled that he was nervous about recording with Madonna, since he feared that Madonna was a "perfectionist" in the studio, and that would ultimately be time-consuming for the whole process. However, it was one of the fastest recording and mixing, each brought lyrics and melodies, singing them back and forth. The song was backed by full orchestral strings and was also the first time that Babyface had worked with live strings. He recalled that using strings in the song was "[Madonna's] suggestion, and it was Nellee Hooper who actually [arranged the strings]. She had worked with them before but for me it was a new experience". Along with Hooper, Jessie Leavey, Craig Armstrong and Suzie Katayama also worked on the strings and conducting.


title: Take a Bow (Madonna song)

text: "Take a Bow" was written and produced by Madonna and Babyface, and is a midtempo pop R&B soul ballad with Japanese musical influences, like that of Kyu Sakamoto's 1961 song, "Sukiyaki". It begins with sounds of oriental pentatonic strings, giving the impression of Chinese or Japanese opera. The verses consist of a descending chord sequence, containing twists at the end. Madonna's vocals are in a "sleepy languid mood" that is characteristic of the songs from "Bedtime Stories". The lyrics during the chorus talk about Madonna saying goodbye to a lover, who had taken her for granted. The title plays upon the verse in the song "all the world is a stage and everyone has their part", a reference to a line by William Shakespeare in his play "As You Like It", "All the world's a stage, and all the men and women mere players".


title: Take a Bow (Madonna song)

text: In his book "", author J. Randy Taraborrelli describes the song as a "somber, sarcastic, all-the-world's-a-stage song about unrequited love... [about a subject] whose phoniness might have fooled everyone else, but not her." He goes on to say that in the song Madonna tells the subject of her unrequited love to take a bow for "rendering a great, transparent performance in life and love." Alongside the betrayal of her lover, the lyrics also talk about Madonna trying to understand the reasons behind adultery. As the song progresses, the listener realizes that through the lyrics the singer was talking about herself—"One lonely star and you don't know who you are". According to Musicnotes.com, the song has a moderate calypso feel and is set in the time signature of common time and progresses in 80 beats per minute. The composition is set in the key of A major with Madonna's vocal ranging from E to C. "Take a Bow" contains a basic sequence of A–Bm/E–A–Fmaj during the opening strings, and A–A/G–Fm during the verses as its chord progression.


title: Take a Bow (Madonna song)

text: Upon release, "Take a Bow" received general acclaim from critics. Peter Calvin from "The Advocate" praised the lyrical flow of the song, saying that the "effect is truly heartbreaking. The song... shows that ultimately Madonna... is just like you and me". Stephen Thomas Erlewine of AllMusic referred to "Take a Bow" as "tremendous", listing it as one of the best songs from "Bedtime Stories" and stating that it "slowly works its melodies into the subconscious as the bass pulses". He goes on to say that it "offer[s] an antidote to "Erotica", which was filled with deep but cold grooves". Louis Virtel, from TheBacklot.com, placed "Take a Bow" at number 27 of his list "The 100 Greatest Madonna Songs". He wrote; "Madonna's most successful single to date is a melancholic evisceration of a lover's artifice, and its hopeless plain-spokenness makes it one of the finest examples of 90s balladry". J. D. Considine of "The Baltimore Sun" stated that the song, about "innocent romance" has a "gently cascading melody". In his review of "Bedtime Stories", "Billboard"s Paul Verna called it a "holiday feast for Top 40, rhythm crossover, and AC". Reviewing the single, "Billboard" gave the single a particularly positive review; "The follow-up to the top five smash 'Secret' [...] is as perfect as top 40 fare gets. This single has a delightful, immediately memorable melody and chorus, engaging romance-novel lyrics and a lead vocal that is both sweet and quietly soulful. A lovely way for [Madonna] to kick out '95".


title: Take a Bow (Madonna song)

text: In his 2011 review of "Bedtime Stories", Brett Callwood of the "Detroit Metro Times" called the song "spectacular". Writing for "Entertainment Weekly", Chuck Arnold called it "one of the most elegant, most un-Madonna-sounding things she’s ever done". While ranking Madonna's singles in honor of her 60th birthday, Jude Rogers from "The Guardian" placed the track at number 38, calling it a "compellingly cinematic orchestral drama". Matthew Jacobs, from "The Huffington Post", placed it at number 19 of his list "The Definitive Ranking Of Madonna Singles", calling it her "most poetic ballad". Bianca Gracie from "Idolator" noted it as a "timeless ballad", adding that it "has warm strings and soaring harmonies with a hint of tragedy from Madonna’s somber vocals, which makes the end result all the more beautiful." Music writer James Masterton said it is "arguably one of Madonna's best records for ages". Pan-European magazine "Music & Media" deemed it "an elegant ballad, a perfect alternative to prosaic lullabies." They added, "The intro could be mistaken for jingle bells and fits in well with the season." A reviewer from "Music Week" gave it five out of five, calling it "an old-fashioned ballad, full of sweeping violin and vaguely oriental sounds. A natural single for Christmas." John Kilgo from "The Network Forty" described it as "sexy and smooth". "NME"s Alex Needham, opined it was a "gorgeously constructed song by any standards". NPR Multimedia senior producer Keith Jenkins gave a positive review of the song, stating that it "washes over you and gets your blood boiling. You may not walk on water after hearing it, but you may want to get your focus back by walking on broken glass".


title: Take a Bow (Madonna song)

text: Enio Chiola of "PopMatters", included the song on his list of "Top 15 Madonna Singles of All Time". He opined that "['Take a Bow'] features a more demure Madonna, confident in her termination of a doomed relationship, and the music is accented by characteristically Asian orchestration and lovely poetic lyrics", concluding that "[Madonna] quickly learned that the way back into the public's collective hearts was to focus more attention on the music than on the frankness of her sexual image". "Encyclopedia Madonnica" writer Matthew Rettenmund called it a "sentimental ballad with showbiz theme" while finding similarities in the song to that of "Superstar" by The Carpenters. Rikky Rooksby, author of "The Complete Guide to the Music of Madonna", was less impressed with the track. Although he felt that it sounded "shockingly normal" after the "ambient 'Bedtime Story'", he found the song's length as over-long and deduced it to be "communica[ting] no sense whatsoever of the pain of a real goodbye." "Slant Magazine"s Sal Cinquemani, called it "syrupy and bittersweet". In his book, "Madonna: An Intimate Biography", J. Randy Taraborrelli called it a "melancholy and beautifully executed ballad". James Hunter from "Vibe" deemed it "a New Soul masterpiece". Author Chris Wade wrote in his book "The Music of Madonna" that "Take a Bow" was a standout from the album. He complimented Madonna and Babyface's vocals, while calling the music "stunning". He declared it as one of the singer's "purest songs, totally free of any gimmicks, self-consciousness or knowing sexual references; a graceful end to the album."


title: Take a Bow (Madonna song)

text: "Take a Bow" was a commercial success in the United States, topping the "Billboard" Hot 100 chart. It was Madonna's second number-one single since "Billboard" started using Nielsen SoundScan and Nielsen BDS data to tabulate its charts; the first being "This Used to Be My Playground". Topping the chart for seven weeks, it is her longest-running number-one on this chart. It was her 11th single to top the "Billboard" Hot 100 and her 23rd top five entry; both records for a female artist. With the song reaching number one, she ranked fourth on the list of artists with the most number ones on the chart, behind the Beatles, Elvis Presley and the jointly ranked Michael Jackson and the Supremes. With a writing credit in nine chart-toppers, Madonna became the female songwriter with the most number-one songs at that time, overtaking Carole King, who had held the record for more than 30 years. It charted for a total of 30 weeks, tying with "Borderline" as Madonna's longest-running song on the Hot 100. In 2013, "Billboard" allocated "Take a Bow" the number four spot on its list of "Madonna's Biggest Billboard Hits", declaring it her second most successful single of the 1990s after "Vogue".


title: Take a Bow (Madonna song)

text: "Take a Bow" became Madonna's fifth number-one on the Adult Contemporary chart in the United States, following "Live to Tell", "La Isla Bonita", "Cherish", and "I'll Remember". It was number one for nine weeks. The song is also notable as Madonna's last single to make the top 40 of the US R&B chart. It also topped the Mainstream Top 40 chart, and reached number four on the Rhythmic chart. On February 27, 1995, the single was certified gold by the Recording Industry Association of America (RIAA) and according to "Billboard", it was one of the best selling singles of 1995, selling 500,000 copies that year. With "Take a Bow"'s certification, Madonna ranked with Janet Jackson as the female artists with the most gold certified singles. In Canada the song debuted at number 85 on the "RPM" Singles Chart, and reached the top after 11 weeks, becoming Madonna's 12th number-one single in that country. "Take a Bow" charted for 25 weeks and placed at number three on the "RPM" year-end ranking. It also reached number one on the "RPM" Adult Contemporary chart.


title: Take a Bow (Madonna song)

text: "Take a Bow" peaked at number 16 on the UK Singles Chart. This ended Madonna's record-holding string of 35 consecutive top-ten singles on the chart, from "Like a Virgin" (1984) to "Secret" (1994). According to the Official Charts Company, the single has sold 102,739 copies in the United Kingdom, as of August 2008. "It should be a source of shame akin to Britain's poisonous beef and pathetic railways that the dreadful 'Hanky Panky' was purchased in such droves that it reached Number 2"," grumbled Stuart Maconie, "whilst only buying sufficient of the wonderful 'Take a Bow' to propel it to a measly Number 16." In Australia, "Take a Bow" debuted on the ARIA Singles Chart at number 21 on December 25, 1994, eventually peaking at number 15. It remained on the chart for 17 weeks. The song peaked at number two on the Italian Singles Chart; number eight on the Swiss Singles Chart; and number nine on the New Zealand Singles Chart, spending 13 weeks on the latter chart.


title: Take a Bow (Madonna song)

text: The music video for "Take a Bow" was directed by Michael Haussman and is a lavish period-style piece, filmed November 3–8, 1994, in Ronda and in the bullring of Antequera, Spain. In the video, Madonna wore a fitted, classic suit by British fashion designer John Galliano. The costumes worn by Madonna in the video were created by stylist Lori Goldstein, who received the VH1 Fashion and Media award for best styling. Other designers who provided clothing included Donatella Versace and a then-unknown Christian Louboutin. Madonna had a 1940s style on her, with tight corset, silk dresses and a black-veiled hat. The plot of the video was set in the 1940s, depicting Madonna as a neglected lover of a bullfighter, played by real-life Spanish actor and bullfighter Emilio Muñoz. Madonna's character yearns for the bullfighter's presence, with erotic heartbreak. In an interview with MTV's Kurt Loder on the set of the music video, Madonna said that when she was initially writing "Take a Bow" the inspiration for the song was an actor, but she wanted the male character in the video to be a matador instead because she wanted the video to be about an "obsessive, tragic love story that doesn't work out in the end" and a matador would be more visually effective in expressing the emotion of the song.


title: Take a Bow (Madonna song)

text: Madonna arrived in Ronda in November 1994 with a team of 60 people and wanted to shoot at the bullrings in the city. However, her request was rejected by the Real Maestranza de Caballería of Ronda (Royal Cavalry Brotherhood of Ronda), who considered it as a desecration of the arenas if Madonna would have filmed there, since her name at that time was associated with provocative imagery. Also, Madonna had to give up shooting around the city's square due to high economic demands of its owner, former bullfighter Antonio Ordóñez who demanded ₧17 million ( in 1994). Later it was clarified that Madonna was refused due to unknown moral reasons from the Brotherhood, who accused the media of making free publicity on the singer's behalf. The refusal generated controversy in Ronda, whose political groups believed that allowing the video to be shot within its precipices would be great promotion for the city. Madonna later obtained permit to shoot inside the palace of the Marquis of Salvatierra. Bullfighting scenes were shot at the Plaza de Toros de Ronda (The Toros Plaza of Ronda), where Muñoz acted alongside three fighting bulls. The actor was paid ₧7 million ( in 1994) for participating in the video.


title: Take a Bow (Madonna song)

text: The music video was released on November 22, 1994, on MTV. It was also part of VH1's relaunching promotional campaigns, where the channel used the video in its trio of 30 second commercials titled "The New VH1". The commercial showed a couple in a vintage porsche pulling in front of an ATM cash machine. The man makes a transaction while the woman looks at VH1 playing at a store, showing "Take a Bow". When the man turns back to the car, the woman is gone and can be seen inside the video alongside Madonna, while the singer appears in the car, and utters the tagline: "The new VH1... It'll suck you in". According to Abbey Konowitch, who worked on Madonna's Maverick Records, the singer had a long history with MTV and VH1, and hence was eager to participate in the campaign when asked by VH1 president John Sykes. For filming the commercial, the clothes worn in the video had to be flown in from the different designers. Madonna was also impressed by the technology used in the commercial for transposing the woman and herself together.


title: Take a Bow (Madonna song)

text: The music video begins showing Madonna, the torero (Muñoz), and the townspeople preparing for, then attending, a bullfight. A secondary staging in the video presents Madonna standing or sitting near a television set in a room (lit by a single light source from above), while a third staging depicts Madonna writhing around on a bed in her underwear as she watches Muñoz on the television. In the bullring, the torero kills the bull and then comes home and physically and emotionally abuses Madonna. The video can be viewed as a statement on classism, supposing the bullfighter feels threatened and angered by the aristocrat's station, resulting in his physically abusing and then coldly abandoning her.


title: Take a Bow (Madonna song)

text: The style of the music video has been compared to Spanish director Pedro Almodóvar's 1986 film "Matador", starring Antonio Banderas. Madonna requested that Haussman give the video a Spanish theme because, at the time, she was lobbying for the role of Eva Perón in the film version of "Evita". She subsequently sent a copy of the video to director Alan Parker as a way of "auditioning" for the role. Madonna eventually won the role of Perón. The music video for Madonna's 1995 single "You'll See" is considered a follow up to the "Take a Bow" music video, as Madonna and Emilio Muñoz reprise their roles. In that video Madonna's character walks out on Munoz's (bullfighter) character, leaving him behind in despair. Madonna's character is then seen on the train and later on a plane, while Munoz's character tries to catch up with her in vain.


title: Take a Bow (Madonna song)

text: The video generated controversy with animal rights activists who accused the singer of glorifying bullfighting. In Australia, music video program "Video Hits" ran a ticker along the bottom of the screen when the video was playing, stating that the producers of the program did not endorse the glorification of the sport portrayed in the video, while ABC TV video program "Rage" simply refused to play the video at all during their G-rated Top 50 program. Madonna won Best Female Video honors at the 1995 MTV Video Music Awards for the "Take a Bow" music video. It was also nominated for Best Art Direction in a Video, but lost to Michael Jackson and Janet Jackson's "Scream". The video also came in at number 27 on VH1's 50 Sexiest Video Moments. In 2012, the television program "Extra" included "Take a Bow" on their list of "The 10 Sexiest Madonna Music Videos." It can also be found on the Madonna compilations, "" (1999) and "" (2009).


title: Take a Bow (Madonna song)

text: Like some of Madonna's previous music videos, such as "La Isla Bonita" and "Like a Prayer", religious imagery plays a big role in the music video. In the book "Madonna's Drowned Worlds" the use of Catholic imagery in the video is discussed. Author Santiago Fouz-Hernández points out that unlike Madonna's previous music videos, much of the religious imagery is associated with the torero, not Madonna, due to the fact that religious images are a strong part of the bullfighting ritual. It has also been argued that in the video Madonna "subverts the gender structure and masculine subjectivity implicit in traditional bullfighting." This is achieved through the "feminization of the matador and the emphasis on Madonna's character" and also through Madonna's "dominant gaze" as she watches the matador perform."


title: Take a Bow (Madonna song)

text: Roger Beebe, one of the authors of "Medium Cool: Music Videos from Soundies to Cellphones", noted that the video was an example of "how music, image, and lyrics of a song possesses their own temporality". He explained that the "graceful" nature of the song was contrast to the repetitive scenes in the video, which he felt indicated that the protagonist has long been engaging in the activities, including the "demoralizing sex scenes". In "Madonna as Postmodern Myth", author Georges-Claude Guilbert felt the video "defied feminists of the Marilyn Frye and Adrienne Rich variety, who see in the video a disgusting example of passé female submissiveness." Madonna responded to this criticism by stating "I don't believe that any organization should dictate to me what I can and cannot do artistically." Guilbert also noted the usage of religious iconography in the video, especially dubious representation of the Virgin. He explained that most of the times Madonna and the torero make love through the television screen, implying that "one of their purity had to be maintained always".


title: Take a Bow (Madonna song)

text: When discussing "Take a Bow", NPR Multimedia senior producer Keith Jenkins said the music video, with its "rich, sensually framed sepia tones", doesn't leave much to the imagination but rather, it becomes your imagination, with Madonna's vision "drill[ed] into your brain, unlocking your waking eye." Carol Vernallis, author of "Experiencing Music Video: Aesthetics and Cultural Context", noted that the video exemplified the lyrics of the song. She clarified that the scenes featuring Madonna and Muñoz dressing up and putting on their gloves pointed to storyline and lyrics that appeared later, the lyrics being "all the world loves a clown". During that line Muñoz as the torero is seen with a fatuous expression, which Vernallis deduced as "the beginning of the story of possession and fame" in the video. When Madonna sings "I've always been in love with you", she appeared in the video as sometimes adolescent and sometimes middle-aged. For Vernallis it was not clear if the imagery was literal or figurative of the lyrics, "embodying a lasting affection, as separate parts of Madonna's psyche, or as the exaggerated claims of a groupie." The author also noted that the scene where Madonna pricks her hand with a needle makes her relationship with the torero as more ambiguous. The costumes and melody in the video reminded Vernallis of the 1904 opera "Madame Butterfly" by Giacomo Puccini although with an inverted plotline. The scenes showing Madonna in an enclosed room with a single light bulb also drew comparisons to Glenn Close's character in the 1987 psychological thriller film, "Fatal Attraction". Another observation by Vernallis was about the power struggle it showed in the video, with Madonna gradually losing and relegated to one corner of the room.


title: Take a Bow (Madonna song)

text: The "Take a Bow" video was a source of inspiration for Justin Timberlake's music video for his 2006 single, "SexyBack". According to Timberlake, he decided to work with director Michael Haussman on his "SexyBack" video because "Take a Bow" is one of his favorite Madonna videos. He went on to say "Even today, I still remember the visuals, the images, how he captured her. A lot of times, Madonna seems like she's the person in control, and in that video, she seemed vulnerable. It was a cool thing to see." According to director Dave Meyers, the music video for Britney Spears' 2009 single "Radar" is a "tribute" to Madonna's "Take a Bow" video. When speaking of Spears and the "Radar" video, Meyers explained, "[we were] looking for a way to take her into a contemporary, classy environment. I felt empowered by referencing Madonna's ['Take a Bow'] video. Britney hasn't done anything like that."


title: Take a Bow (Madonna song)

text: On January 30, 1995, Madonna performed "Take a Bow" on the American Music Awards of 1995, accompanied by Babyface and full orchestral strings. Babyface said the performance was terrifying for him: "I was nervous as hell. But you couldn't actually see my legs shaking under the suit. When we finished, she told me she had never been that nervous before. That was crazy to me -- I was thinking, 'You're Madonna, you're on stage all the time!'". On February 18, 1995, Madonna arrived in Europe to promote "Bedtime Stories"; that same day, she appeared on German TV show "Wetten, dass..?", where she was interviewed and performed "Secret" and "Take a Bow". On February 22, 1995, Madonna and Babyface sang the song at the Sanremo Music Festival 1995 in Sanremo, Italy. At the end of the performance, she thanked the audience in Italian, and received a standing ovation. Madonna did rehearse the song for 2004's Re-Invention World Tour, but it was ultimately cut from the setlist and not included in the show.


title: Take a Bow (Madonna song)

text: Madonna had never performed "Take a Bow" on any of her concert tours until February 4, 2016, when she performed the song during the Taipei stop of her Rebel Heart Tour. After the performance, she exclaimed "That was fun! First time ever. Hit a few bad notes, but it felt good to sing it." The singer subsequently performed the song in the other cities during the Asian and Oceanian legs of the Rebel Heart Tour. The live performance of the song was released as a bonus track on the Japanese DVD/Blu-ray edition of "Rebel Heart Tour" (2017). An acoustic version of "Take a Bow" was performed on Madonna's one-off concert in Melbourne, .


title: Take a Bow (Madonna song)

text: Hong Kong pop singer Sandy Lam recorded a version of the song for her 1997 English language covers album "Wonderful World (美妙世界)". Serbian pop singer Bebi Dol released Serbian language-cover literally titled "Pokloni se", on her 1995 album "Ritam srca". Philippine bossa nova singer Sitti recorded a cover of this song for her second album "My Bossa Nova". Korean rock band Jaurim covered the song on their album "The Youth Admiration". Trisha Yearwood and Babyface covered the song on CMT's "Crossroads", which aired on September 21, 2007. Melissa Totten did a Hi-NRG cover for her 2008 dance album "Forever Madonna". American pop folk singer Matt Alber plays an acoustic cover on his 2011 album "Constant Crows". "Take a Bow" was featured in the final episode of the first season of "Friends", "", when Rachel goes to the airport to tell Ross that she knows he is in love with her. "Take a Bow" was used in promos for the final season of "Beverly Hills, 90210".


title: Otherworld

text: The concept of an otherworld in historical Indo-European religion is reconstructed in comparative mythology. Its name is a calque of "orbis alius" (Latin for "other Earth/world"), a term used by Lucan in his description of the Celtic Otherworld.


title: Otherworld

text: Comparable religious, mythological or metaphysical concepts, such as a realm of supernatural beings and a realm of the dead, are found in cultures throughout the world. Spirits are thought to travel between worlds, or layers of existence in such traditions, usually along an axis such as a giant tree, a tent pole, a river, a rope or mountains.


title: Otherworld

text: Many Indo-European mythologies show evidence for a belief in some form of "Otherworld" and in many cases such as in Persian, Greek, Germanic, Celtic, Slavic and Indic mythologies a river had to be crossed to allow entrance to it and it is usually an old man that would transport the soul across the waters. In Greek and Indic mythology the waters of this river were thought to wash away sins or memories whereas Celtic and Germanic myths feature wisdom-imparting waters, suggesting that while the memories of the deceased are washed away a drinker of the waters would gain inspiration. The wayfarer will commonly encounter a dog either in the capacity of a guardian of the Otherworld or as the wanderer's guide. Examples of this are the Greek Cerberus, the three-headed hound of Hades, and the Indic सर्वरा Sarvarā, one of the hounds of Yama, whose names may derive from an Indo-European "*ḱerberos" meaning ""spotted"". In Indo-European mythologies the Otherworld is depicted in many ways, including peaceful meadows, islands and buildings making it hard to determine how the original Proto-Indo-European Otherworld was viewed. The ruler of the dead was possibly Yemo, the divine twin of Manu, the first man.


title: Otherworld

text: The Chinvat Bridge (Avestan Cinvatô Peretûm, "bridge of judgement" or "beam-shaped bridge") or the Bridge of the Requiter in Zoroastrianism is the sifting bridge which separates the world of the living from the world of the dead. All souls must cross the bridge upon death. The bridge is guarded by two four-eyed dogs. A related myth is that of Yama, the ruler of Hell in Vedic mythology, who watches the gates of Hell with his two four-eyed dogs.


title: Otherworld

text: The Irish Otherworld is more usually described as a paradisal fairyland than a scary place. Many Celtic Immrams or "voyage stories" and other medieval texts provide evidence of a Celtic belief in an otherworld. One example which helps the reader understand the Celtic concept of the otherworld is The Voyage of Saint Brendan. Another Classic example of a Celtic "otherworld" is the Voyage of Bran. The Otherworld is often portrayed as an island to the west in the Ocean in Celtic oral tradition, and even shown on some maps of Ireland during the medieval era.


title: Otherworld

text: The otherworld in the idea of Celtic people became hard to distinguish and sometimes overlapped with the Christian idea of hell or heaven as this was often an analogy made to the Celtic idea of an otherworld or Scandinavian idea of a world tree. This is likely because of Roman and Scandinavian influences on Celtic cultures. An example of Scandinavian influence is apparent in the Voyage of Saint Brendan from the likeness of Lasconius the serpent to the Scandinavian Midgard Serpent. Red and white are the colors of animals in the Celtic Otherworld, and these colors still animate transcendent religious and political symbols today.


title: Otherworld

text: As was the case in the Celtic mythologies, in Germanic myths apples were particularly associated with the "Otherworld". In the Scandinavian tradition mythological localities are featured, as in Irish mythology; however, unlike Irish mythology, an attempt was made to map the localities of the Otherworld rather than list locales associated with it. In the Edda many locations are named including the dwellings of the gods such as Odin's hall of "Valhalla" or Ullr's dwelling of "Ydalar" (""Yewdale""). The "Gylfaginning" and the later Norwegian poem the "Draumkvaede" feature travels into the Otherworld.


title: Otherworld

text: The Early Slavs believed in a mythical place where birds flew for the winter and souls went after death; this realm was often identified with paradise and it is called Vyraj. It was also said that spring arrived on Earth from Vyraj. The gates of Vyraj stopped mortals from entering. They were guarded by Veles, who sometimes took the animal form of a raróg, grasping in its claws the keys to the otherworlds. Vyraj was sometimes also connected to the deity known as Rod - it was apparently located far beyond the sea, at the end of the Milky Way. It was usually imagined as a garden, located in the crown of the cosmic tree. Whereas the branches were said to be nested by the birds, who were usually identified as human souls. When the Slavic populations were gradually turning to Christianity (e.g. during the Christianization of Kievan Rus' and the Baptism of Poland), a new version of this belief became widespread in which there were two of these realms - one analogous to the original myth, a heavenly place where birds departed, and the other an underworld for snakes and zmeys, often associated with the Christian idea of hell.


title: Otherworld

text: In Greco-Roman mythology the Gods were said to dwell on Mount Olympus whereas the dead usually went to the Underworld or Fortunate Isles after death.


title: Anh Do

text: He has appeared on Australian TV shows such as "Thank God You're Here" and "Good News Week", and was runner-up on "Dancing with the Stars" in 2007. He studied a combined Business Law degree at the University of Technology, Sydney. He is the brother of film director Khoa Do and has acted in several of Khoa's films, including "Footy Legends", which he co-wrote and produced. In 2012, his TV show "Anh Does Vietnam" began airing. He has been four times a finalist in the Archibald Prize and won the 2017 People's Choice Award. Since 2016, Do has hosted "Anh's Brush with Fame" on ABC TV in which he concurrently interviews and paints a portrait of prominent Australians.


title: Anh Do

text: Anh Do and his family fled to Australia as refugees in 1980. In his 2010 autobiography, "The Happiest Refugee", Do tells of how his family survived five days in a leaky fishing boat nine and a half metres long and two metres wide. During the trip his family and the rest of the passengers were attacked by two different bands of pirates. The first group stole one of the two engines and the second group of pirates stole the second engine, which had been broken but repaired by Do's father using a piece of rubber from a thong. It was reported that as the second band of pirates left, one of them threw a gallon of water onboard which kept all but one of the refugees alive, until they were finally rescued by a German merchant ship. The boat was packed with 40 Vietnamese refugees fleeing across the Indian Ocean. "We were crammed in like sardines," he said. "The Happiest Refugee" has won awards, including the 2011 Australian Book of the Year, Biography of the Year and Newcomer of the Year, as well as the Indie Book of the Year Award 2011, Non-fiction Indie Book of the Year 2011, and it was shortlisted for the 2011 NSW Premier's Literary Awards, Community Relations Commission Award.


title: Anh Do

text: Do attended St Aloysius' College in Milsons Point for his secondary education. When he was 14 he started a small business breeding tropical fish. While studying his first year of law at the University of Technology, Sydney, he owned a stall which sold American Indian artifacts, which he later expanded to four franchised stores. Six months before finishing his combined Business Law degree, law firms offered him jobs which required 60 hours of work a week. He opted to take up stand-up comedy instead. Since 2013 Do has cut back on comedy to focus on painting full-time. He was a finalist in the Archibald Prize in 2014, 2017 and 2019.


title: Anh Do

text: Since 2016, Do has hosted "Anh's Brush with Fame" on ABC-TV, with the fourth season airing from April to July 2019. In this popular program, Anh Do concurrently interviews and paints a portrait of prominent Australians.


title: Anh Do

text: Do is married to Suzanne (Suzie) Do and they have three sons and a daughter. His mother, Hien, played the role of Van Nguyen's mother, Kim, in "Better Man", a film which was produced by Khoa Do.


title: Anh Do

text: The Australian Entertainment Mo Awards (commonly known informally as the Mo Awards), were annual Australian entertainment industry awards. They recognise achievements in live entertainment in Australia from 1975 to 2016. Anh Do won one award in that time.


title: Edward Jones Investments

text: Edward D. Jones & Co., L.P., (since 1995, d.b.a. Edward Jones Investments), simplified as Edward Jones, is a financial services firm headquartered in St. Louis, Missouri, United States. It serves investment clients in the U.S. and Canada, through its branch network of more than 15,000 locations and 19,000 financial advisors. The company currently has relationships with nearly 8 million clients and $1.7 trillion in assets, under management worldwide. The firm focuses solely on individual investors and small-business owners. Edward Jones is a subsidiary of The Jones Financial Companies, L.L.L.P., a limited liability limited partnership owned only by its employees and retired employees and is not publicly traded. Edward Jones appointed Penny Pennington as managing partner, effective January 2019, making her the firm's sixth managing partner and the only woman to lead a major U.S. brokerage firm.


title: Edward Jones Investments

text: Edward Jones was founded by Edward D. Jones in St. Louis, Missouri in 1922. (A "different" Edward D. Jones was a co-founder of Dow Jones.) Edward Jones' son Edward D. "Ted" Jones was responsible for the creation of the individual branch network, which has spread across rural communities and suburbs throughout the US and Canada. The first single broker office was opened by Ted, and staffed by Zeke McIntyre, in Mexico, Missouri. Ted opened another branch office in Pueblo, Colorado, with his brother-in-law Bill Lloyd as manager of the multi-broker office. When Edward D. Jones Sr., found the teletypewriter line bill, he insisted Ted either shut the office down, or find some way to pay for it. Ted Jones paid for it by opening one-broker offices on either side of the teletypewriter line, stretching from St. Louis, Missouri, to Pueblo, Colorado. That is why some of the earliest Edward Jones offices were Dodge City, Hays, Great Bend, Manhattan in Kansas, and Jefferson City in Missouri. Small town branch operations took "Wall Street to Main Street" and created a high volume of sales for the company and its brokers. About 10% of its business in the 1960s was in commodity trading due to many clients being cattle farmers.


title: Edward Jones Investments

text: Edward Jones Investments had the naming rights for the Edward Jones Dome in Saint Louis, Missouri. After the St. Louis Rams decided to move to Los Angeles, Edward Jones Investments exercised its right to terminate its sponsorship, and the facility is now known as The Dome at America's Center.


title: Edward Jones Investments

text: On December 22, 2004, the Securities and Exchange Commission, NASD and the New York Stock Exchange settled enforcement proceedings against Edward Jones, related to allegations that Edward Jones failed to adequately disclose revenue sharing payments that it received from a select group of mutual fund families that Edward Jones recommended to its customers. The company paid a $75 million fine and disclosed the revenue sharing payments on its website.


title: Edward Jones Investments

text: On August 13, 2015, the Securities and Exchange Commission required Edward Jones to pay a $20 million fine for overcharging retail customers.