John Brown was born at Braintree, Essex in 1780. He died at Stanway, Essex on 28th November 1859 and was buried at St. Albright's church Stanway on 16th December 1859. A photograph taken in 1856 shows him with a penetrating gaze. He had a strong bespectacled face, hefty large hands and sported a brown curly wig. He was a keen observer and kind to the poor. John Brown mainly lived in Essex. Brown was born at Braintree, and later worked in Norwich and Colchester before retiring to Stanway where he died, aged 79 of chronic liver disease.
John Brown had a sister Mary Goodchild. He married Jane Byford, of Whepstead, Suffolk at St. James, Colchester on 9th February 1818. She died on 21st May 1818, aged 30 and was buried at Whepstead. John Brown later married Elizabeth Eagle, widow, of Stanway at Colchester on 31st July 1820. She died, aged 54, on 11th June 1830. There were no children from either marriage.
Brown was a stonemason. He was apprenticed for 8 years and worked as a journeyman in Colchester and Norwich before establishing himself as a master stonemason on East Hill, Colchester. Brown retired about 1830 and purchased a small farm at Stanway. He was a communicant of the Church of England and regularly attended services at Stanway. Brown was well travelled, mainly in Essex, and also Kent, London, Suffolk and Sussex. The education he received in early life was limited to that imparted in a dame school, together with moral training from his mother. John Brown was elected a Fellow of the Geological Society in 1836. He was also a member of the Ray and Palaeontographical Societies. Brown was also a member of the Geologists Association. His main geological work was carried out in his native Essex. He collected Pleistocene fossils from Ballingdon, Beaumont, Copford, Clacton, Colchester, Grays, Stanway and Walton-on-the-Naze. Probably his most important work was at Clacton. Further a field he collected fossils from the Oldhaven Beds of Grove Ferry, near Canterbury, Kent. He published more than 35 papers, mainly in the Magazine of Natural History, Annals of Natural History and Essex Literary Journal between 1829 and 1859. He was friends with Edward Charlesworth, John Henslow, Professor Richard Owen and the elder Searles Valentine Wood. John Brown formed a large collection of fossil mammals and fossil shells as well as modern shells. These were crammed into his property, Judd's Farm, Stanway. He attended meetings in London and lectured on his favourite subject of Essex geology to the Colchester Mechanics Institute, Colchester Literary Institute and Bures Institution. He donated fossils to the Geological Society, British Museum and museums in Ipswich, Oxford and York. In his will he bequeathed his remaining books, philosophical instruments and specimens to Richard Owen who later passed them to the British Museum. Brown's work is still of relevance. No less than six are cited by David Bridgland in his Quaternary of the Thames Geological Conservation Review Series (1994).
D.R. Bridgland. 1994. Quaternary of the Thames. Geological Conservation Review Series. ISBN 0 412 48830 2. 441 pages.
C. Edwards. 2001. The Parish of Stanway: People & Places c1700-c1840. ISBN 0 9541896 0 4. 172 pages.
J.C. Thackray. 2004. John Brown (1780-1859). Oxford Dictionary of National Biography,.
A.P. Wire,. 1890. Memoir of the Late John Brown, F.G.S. of Stanway. Essex Naturalist. Vol. 4. pp. 158-168.
His personal estate was valued at £ 7,000 at his death.


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February 27

Better Things to Come

But [God's grace] is now made
manifest by the appearing of our Saviour Jesus

Christ,
who hath abolished death, and hath brought life and immortality to light
through the gospel

2
Timothy 1:10

Have you ever wondered what it
will be like when your body dies and you go on to heaven? Well, according to
the Word, when that time comes, this flesh and blood tent you live in will die,
but you won't feel a thing. You'll just take off the cloak of your flesh, lay
it down, and go to a better place.

Believers who have died and come
back say that they have no sensation of loss--no sting. Their minds stay
intact, and they even have arms and legs, but they are spirit and not flesh.
One man said he couldn't even tell he wasn't in his body until he tried to
grasp something. His hand would just go right through the material object. He
was spirit and not flesh.

According to the Apostle Paul, to
be absent from the body is to be present with God (2 Corinthians 5:8). So, when
God calls you home, you'll just abandon your fleshly body and go to be with Him
forever.

It's interesting though. God
doesn't even refer to our old, abandoned bodies as being dead. He says they're
just asleep. Why? Because He knows that just as sleep is temporary, so is the
death of the body. He's planned a day when our sleeping bodies will be awakened
and raised up in glory just like Jesus' was.

Hallelujah! There's coming a day
when not only our spirits have victory over death, our physical bodies do too!

Death is not the end for you.
It's only a change to a better place!

Scripture Reading: 2 Corinthians 5:1-9

redpajama_set_name: RedPajamaGithub


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Facebook wanted out of politics. It was messier than anyone expected
by Politixia January 15, 2023, 12:44 am 2k Views
The results of the effort are gradually reshaping political discourse on the world's biggest social-media platform, even though the company backed off the most aggressive approach: hitting the mute button on all recommendations of political content.
The company's sometimes tortured efforts over the past 18 months to play down politics and other divisive topics on the platform are outlined in internal documents reviewed by The Wall Street Journal.
At first, Facebook overhauled how it promoted political and health-related content. With surveys showing users were tired of strife, the platform began favoring posts that users considered worth their time over ones that merely riled them up, the documents show. Debates were fine, but Facebook wouldn't amplify them as much.
Meta's leaders decided, however, that wasn't enough. In late 2021, tired of endless claims about political bias and censorship, Chief Executive Mark Zuckerberg and Meta's board pushed for the company to go beyond incremental adjustments, according to people familiar with the discussions. Presented with a range of options, Mr. Zuckerberg and the board chose the most drastic, instructing the company to demote posts on "sensitive" topics as much as possible in the newsfeed that greets users when they open the app—an initiative that hasn't previously been reported.
The plan was in line with calls from some of the company's harshest critics, who have alleged that Facebook is either politically biased or commercially motivated to amplify hate and controversy. For years, advertisers and investors have pressed the company to clean up its messy role in politics, according to people familiar with those discussions.
It became apparent, though, that the plan to mute politics would have unintended consequences, according to internal research and people familiar with the project.
The result was that views of content from what Facebook deems "high quality news publishers" such as Fox News and CNN fell more than material from outlets users considered less trustworthy. User complaints about misinformation climbed, and charitable donations via the company's fundraiser product through Facebook fell in the first half of 2022. And perhaps most important, users didn't like it.
One internal analysis concluded that Facebook could achieve some of its goals by heavily demoting civic content—coverage of political, community and social issues—in the newsfeed, but it would be at "a high and inefficient cost."
At the end of June, Mr. Zuckerberg pulled the plug on the most extreme plan. Unable to suppress political controversy through blunt force, Facebook has fallen back on more gradual changes to how its newsfeed promotes what the company deems "sensitive topics," such as health and politics.
"As Mark said almost two years ago, people wanted to see less politics overall on Facebook while still being able to engage with political content if they want to, and that's exactly what we've been doing," said Dani Lever, a spokeswoman for the company. "Over the last several years, we tested various approaches, ultimately implementing changes that reduce politics, while giving people the experiences they want."
The current approach still reduces how much of that content users see. Meta now estimates politics accounts for less than 3% of total content views in users' newsfeed, down from 6% around the time of the 2020 election, the documents show. But instead of reducing views through indiscriminate suppression or heavy-handed moderation, Facebook has altered the newsfeed algorithm's recommendations of sensitive content toward what users say they value, and away from what simply makes them engage, according to documents and people familiar with the efforts.
"It turns out that maybe the way we recommend political content shouldn't be the same way we recommend entertainment," said Ravi Iyer, a former Meta data-science manager who worked on this issue before leaving in September to become a managing director of the University of Southern California's Psychology of Technology Institute. Mr. Iyer said Meta's current approach is a departure from the engagement-focused model long used not just by Facebook but by many other big social-media platforms.
Mr. Iyer said there should be more focus on the way platforms allow certain content to go viral, rather than subjective decisions about what to leave up or take down. "Having employees judge good vs. bad speech often creates more problems than it solves," he said. "Our goal should be fewer judgment calls."
Meta's recent moves risk alienating some digital publishers who built businesses around catering to the newsfeed's algorithms.
Courier Newsroom, a network of eight digital publications that describes itself as "the largest left-leaning local news network in the country," said it struggled for traction on Facebook as it revved up for the 2022 midterms. Despite increasing its output of articles by 14.5% in October, the company found that its organic impressions on Facebook—meaning those not boosted by paid advertising—fell by 42.6% from a month earlier.
"Facebook remains one of the most powerful and far-reaching distribution platforms in the world," said Tara McGowan, Courier Newsroom's publisher. "By further limiting the reach of trusted news publishers on their platform, they will only exacerbate the information crisis in America they've helped to create."
At the progressive-leaning news site Mother Jones, which primarily covers politics and social issues, total Facebook content views in 2022 were roughly 35% of what they were in the year-earlier period. "It's grim to see in such stark terms how much power a single tech company has over the news that people can access," said Monika Bauerlein, Mother Jones CEO.
For Dan Bongino, a conservative commentator whose Facebook page is one of the most popular on the platform, user engagement—a measure of likes, comments and shares—has continued to grow, according to analytics tool CrowdTangle. He, too, thinks Facebook's strategic shift away from politics is misguided, in part, he said, because its user base skews older and tends to be interested in political issues.
"They could have used their older audience to fund their younger, cooler Meta," he said. "Instead they said, 'I've got an idea. Let's take our gravy train of older users that like conservative content and wipe them off the platform.' "
Facebook for years has had a conflicted relationship with politics, given that there are few other topics that get users as riled up—and as engaged on social media.
Speaking at Georgetown University in 2019, Mr. Zuckerberg defended social media's role in politics and society. "I believe people should be able to use our services to discuss issues they feel strongly about—from religion and immigration to foreign policy and crime," he said, contending that Facebook's role in public discourse was ultimately healthy.
A Journal article in 2021 cited internal company research showing that steps to promote engagement had favored inflammatory material, with publishers and political parties reorienting their posts toward outrage and sensationalism.
Facebook said that it had an integrity team in place to address efforts to exploit its algorithm, and that it wasn't responsible for partisan divisions in society.
Researchers continued to document Facebook's preferential treatment of toxic content even after the articles' publication. An October 2021 presentation noted that Facebook's algorithm had long provided incentives for the creation of "outrage-inducing, untrustworthy content."
In the wake of the 2020 election and the Jan. 6 riot, pressure mounted on the company to address the widespread perception that it was either toxic or biased.
The company's postelection surveys showed users believed Facebook had unhealthy effects on civic discourse, and that they wanted to see less politics on the platform. Lawmakers grilled company executives in congressional hearings.
Mr. Zuckerberg appeared to be tiring of the topic. "Politics has kind of had a way of creeping into everything," he said on a January 2021 earnings call, weeks after the riot. Users were sick of politics, he said, not just in the U.S. but around the globe. For the first time publicly, he said Facebook was looking at ways to de-emphasize political content in the newsfeed. "I just don't think that it's serving the community particularly well to be recommending that content right now," he said.
That February, Facebook announced it would temporarily begin showing less political content to "a small percentage of people" as it experimented with ways to better serve its users. The goal wasn't restricting political discussion, the company said, but "respecting each person's appetite for it."
It began the experiment in the U.S., Brazil and Canada, a departure from its usual practice of testing major changes in secondary markets.
Six months later, the company said it had made progress toward identifying "what posts people find more valuable than others," and that it would put less emphasis on reshares and comments in the future.
The announcement played down the magnitude of the change. Facebook wasn't just de-emphasizing reshares and comments on civic topics. It was stripping those signals from its recommendation system entirely.
"We take away all weight by which we uprank a post based on our prediction that someone will comment on it or share it," a later internal document said.
That was a more aggressive version of what some Facebook researchers had been pushing for years: addressing inaccurate information and other integrity issues by making the platform less viral. Because the approach didn't involve censoring viewpoints or demoting content via imprecise artificial-intelligence systems, it was deemed "defensible," in company jargon.
Views of civic content in newsfeed fell by nearly a third, internal data showed. With the company no longer amplifying posts it predicted were most likely to draw lots of replies, comments on civic posts dropped by two-thirds. Anger reactions fell by more than half on civic content, and nearly a quarter platform-wide. Bullying, inaccurate information and graphic violence fell, too.
But there was a cost. Although users told Facebook that their feeds were more "worth your time," they also logged on to the platform 0.18% less. Although the company had previously abandoned changes that had resulted in smaller reductions, this time it accepted the cost.
The board, however, remained worried about what was referred to internally as political "salience"—the degree to which people associated Facebook with high-controversy topics, according to documents and people familiar with the matter.
Users reported to Facebook that civic content continued to cause bad experiences, generating profanity, bullying and misinformation reports at disproportionate rates. User surveys showed that people were convinced that the platform had an unhealthy societal effect.
The board and Mr. Zuckerberg settled on broadly suppressing civic content in newsfeed. But turning off the politics wasn't as easy as flipping a switch. The newsfeed algorithm has 30,000 lines of code, and inaccuracies in content detection meant Facebook would be able to reduce views of civic content by only 70%. Nor would the changes directly address controversies arising from forums of like-minded users, called Facebook Groups, a recurring hot-spot for issues such as incorrect vaccine information and election denial.
The company planned to roll out the changes in the summer of 2022, before the U.S. midterm elections. Documents show the company planned to inform users of the change and was considering how to offer them choices.
The company tried to predict the fallout by testing variations on the algorithm change on more than a quarter of Facebook's U.S. users. The tests showed that for many news publishers, the effects were going to be severe.
Depending on the mix of suppression features deployed, projected Facebook traffic to Fox News, MSNBC, the New York Times, Newsmax, the Atlantic and The Wall Street Journal would initially fall by as much as 40% to 60% beyond the already enacted reductions, with the effects likely diminishing as publishers found ways to adapt.
That wasn't seen as a problem. An accompanying analysis noted Facebook hoped to "reduce incentives to produce civic content."
Just testing the broad civic demotion on a fraction of Facebook's users caused a 10% decline in donations to charities via the platform's fundraising feature. Humanitarian groups, parent-teacher associations and hospital fundraisers would take serious hits to their Facebook engagement.
An internal presentation warned that while broadly suppressing civic content would reduce bad user experiences, "we're likely also targeting content users do want to see….The majority of users want the same amount or more civic content than they see in their feeds today. The primary bad experience was corrosiveness/divisiveness and misinformation in civic content."
Even more troubling was that suppressing civic content didn't appear likely to convince users that Facebook wasn't politically toxic. According to internal research, the percentage of users who said they thought Facebook had a negative effect on politics didn't budge with the changes, staying consistently around 60% in the U.S.
All that data persuaded Mr. Zuckerberg, in late June, to abandon the most far-reaching planned changes, leaving the company to once again rethink how to promote sensitive content. It built a way to cordon off civic and health posts from its near-constant efforts to boost engagement.
The company is still debating whether it should also restrict how it promotes other types of content. When newsfeed dialed back the reward for producing inflammatory posts on politics and health, some publishers switched to more sensationalistic crime coverage.
"This opens the door to think about what the lines for sensitive and nonsensitive content should be," said Mr. Iyer, the former Facebook data-science manager. "It would be great for the world to weigh in on this conversation."
A few weeks after Mr. Zuckerberg dropped plans for the broad changes, the company issued a terse addendum to its February 2021 blog post in which it announced plans to experiment with showing users less political content.
"Our tests have concluded," the company wrote, that "placing less emphasis on shares and comments for political content is an effective way to reduce the amount of political content people experience in their Feed. We have now implemented these changes globally."
A current planning document lists "Reducing Bad Experiences with Sensitive Topics" as a "can't fail priority" for Facebook's newsfeed integrity team.
"We need to accelerate progress across Facebook in this area," the document said.
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redpajama_set_name: RedPajamaCommonCrawl


Has anyone else started watching this? Content aside (in brief: I enjoy it, but can see how others would not), I can of get over how clean the computer animation is. Like, we have crossed the Uncanny Valley. Amazing stuff.


Del. Secilil Eldebechel announced his intention to run againto represent the state of Ngchesar in House of Delegate of the Olbiil Era Kelulau. From Palau 2012 Facebook Group Palau 2012 on May 3o, he made public his declaration and election platform.
Please allow me to share my campaign message and my platform for the 2012 election. I welcome any comments, questions, and even constructive criticism.
The questions below were posed by Merv Melatk on May 3o followed by Sen. Akitaya's answers.
1. How should Palau approach its economic woes? What are you views on the current policies, and what should be done to improve Palau's economy?
A Bishop once told his congregation, "On your shoulders, dear young people of the entire earth, weights the responsibility to transform tomorrow's world into a society where peace, harmony and fraternity reign". The Bishop's captivating words highlights just how important it is to harness the power of youth here inPalaubecause the future of this nation lies in their hands. In our quest to build a vibrant economy,Palau's youth is our greatest asset and the future pillars of our country.
During the two years in Palau, he has participated in a lot of customary events and concludes that Palau is a society of pay backs. "You keep records of people who give money at your customs so that when it is their turn, you go to give back what they have given to you. The giving is not out of the heart to help, but it obligates you to return the favor someday. In this way, it becomes a burden for many. It is wrong attitude for giving." I sat there silently nodding to his observations of our customs and thinking to myself- he is right, giving should proceed from a desire to alleviate a burden, to provide for a need, to quench a longing, to offer friendship, but most of all to communicate love to others. So why do practice obligatory giving? Is it out of insecurity, control, or what?
Palau Airways is the newest bird flying over our airspace marking another milestone achievement for our fledging nation and a vote of confidence for Palau's hospitality industry. The new airline made a spectacular splash inTaiwan's media as well as in Asia's aviation community with the maiden flight of its Boeing 757 from Taipei to Palauan May 6th. The airline is based in Palauwith its high profile headquarter located in Koror's central business district.Palau salutes the investors of this airline for their bold action, despite the risks and uncertainties associated with start-up ventures. Mr. Ho and his group deserve a standing ovation and support from us all.
In tribute to the mothers of Palau a friend of mine who I deeply respect showed his poems that he wrote in 1987 on day that surely will burn in our history as people and nation. I knew right away that I would use them to celebrate the woman and the mother. Like a mother Palau has gone through great pains in the past up to today just so she can take care of us her children, the Palauan people.
There are so many words and still they are being coined in every discovery, recovery or accidentally. Do you ever wonder why some words are pronounced the way they are spelled while some don't; like spelling, cat, bowl, kitchen, greetings and silly sally etc? Other words contain some letters which pronunciations are not permissible. I am talking about tongue, harangue, fatigue, and dialogue. Yet words like barbecue, and queue need an e to permit the sound of u.
Henry Kissinger once said, "Power is man's ultimate aphrodisiac". With democracy alive and well inPalau, every citizen has the right to wield power through the ballot box. It is election year so aspiring politicians are wooing voters with bold promises, social engineering, and political strategies to improve the lives of every Palauan citizen. But the road to high offices will also be paved with propaganda, rhetoric, finger pointing and even mud slinging, as the candidates complete for every votes. But that is perfectly fine. It is a big component of our democratic machinery. However, the ultimate determinants of electoral outcomes inPalauremain kinship and family ties. Voters must have the moxie to look beyond the BBQs, money and emotional speeches for the sake of our economy.
When you travel on the main road of Koror State either from Malakal or Meyuns to Top Side you see so many mom and pop stores on both side of the main road, managed or operated by group of Bangladesh nationals and when you step in you see a business license on the wall in the name of the local person. So often we hear members of public safety, policemen, members of the OEK and other key leaders and officials referring to Palau local licensee as "front" of the Bangladesh. But in reality, such business enterprises violates Foreign Investment Act, 28 PNC § 101, et seq., and should be stopped.
The Palau Visitors Authority (PVA) has released the flight schedule for the month of May. Based on the schedule, there are a total of 28 flights per week for this month, served by 8 airlines including United Airlines, Asiana, China Airlines, Delta, Japan Airlines, TransAsia Airways, Korean Airline, Palau Airways.
A friend of mine was lamenting (ngoumekngingit el reng) when he prayed during a gathering with friends and was harshly criticized. He was upset when another friend who was covered by the same prayer said to him afterwards that "how can anybody who is so sinful like you should pray?" The sinful man retorted (a milekingang) to his friend that if the plate was cracked but was able to hold the food he should have just paid attention to the food because he was not going to eat the crack after all. I suppose the prayer critic represents the majority of us when we size up other people and tally their faults against any possible chance of being worthy to stand among us. I am beginning to believe that this is one of the main reasons why people would rather remain silent on wrongdoing in our social group, family, clan, church, or government for fear of being evaluated to the pulp (medirk el di mo techel).
History has it that the ancient Romans, under the reign of Caesar Trajan over 2,000 years ago, were the first to institute a Food Stamp Program (FSP), to feed the Plebeians or lower class citizens who fell into the "cracks and crevices" of poverty. Free breads were distributed to the poor, elderly and disabled, as means to alleviate hardships for those economically straddled on the fringes of theRome's prosperous society. Critics called Trajan's welfare as a form of bribery. However, Trajan sealed his place in history as the first ruler to initiate a government welfare program.
Klio is now a young man, and recently had a baby of his own. He has no money, education, and his family does not participate much in his life, so his baby lives with the mother while he visits regularly. He used to attend school when he was a young boy, but eventually dropped out and his parents didn't care to walk him back to school. Instead they scolded him and withheld food from him so he began to steal to fill his stomach. First he grabbed little things here and there, but when his appetite developed, he snatched wallets and purses. Eventually, the law caught on and he has been in and out of jail. In many ways, Klio has been invisible to his family – they know that he exist, but they just don't care to see him. And his young child,…….well….
April 2012 is another monumental (klou el olangch) milestone in my life when I found myself struggling for words to explain myself to one eighteen years old young man and a forty one years old lady. For those who know me struggling for words got to be an irony (sel diak desang el kmo sebechel dubech) in my life. These two persons were perfectly normal and were obviously amused by my difficulty in speaking to them as they were smiling and giggling at my disability. They happened only to be deaf and mute out of the group of people with other forms of disability. I just did not know their language and they are Palauans. I do not do sign language and I have never felt so inadequate (olengesonges) to help people that I thought I was going to help during a three days workshop on Human Rights for persons with disability in Palau.


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"What It Feels Like for a Girl" is a song recorded by American singer Madonna for her eighth studio album Music (2000). It was released as the third and final single from the album on April 16, 2001, by Maverick Records. Madonna and Guy Sigsworth wrote and produced the song with David Torn as co-writer, and Mark "Spike" Stent as a co-producer. "What It Feels Like For a Girl" is a mid-tempo electronic and synth-pop song. Lyrically, it conveys society's double standard toward women, addressing hurtful myths about female inferiority. To emphasize the message, the song opens with a spoken word sample by actress Charlotte Gainsbourg from the 1993 British film The Cement Garden. A Spanish version of the track, "Lo Que Siente la Mujer", was translated by Alberto Ferreras and included in the Latin American edition of Music.

The song received acclaim from most music critics, who declared it as a highlight from the album, while also remarking it as one of the most mature musical ventures of Madonna's career. Commercially, "What It Feels Like for a Girl" reached the top-ten of the record charts in Australia, Canada, Denmark, Finland, Romania, Spain, Scotland and the United Kingdom. In the United States, it peaked at number 23 on the Billboard Hot 100 and number-one on the Dance Club Songs chart.

An accompanying music video for the song was directed by Madonna's then-husband Guy Ritchie and premiered on March 22, 2001. It features the singer as a reckless woman on a crime spree. The video was criticized for its depiction of violence and abuse, which caused MTV to ban it before 9:00 pm. The single was also released on DVD and became the highest weekly sales for a DVD release in the United States. Madonna performed the track on the promotional concerts for Music  in November 2000 and on her 2001 Drowned World Tour, where a remixed version was used as a video interlude and also performed in Spanish. The song was covered by the actors of television series Glee, during the episode "The Power of Madonna", and was included in the accompanying EP.

Background and development

After the critical and commercial success of her seventh studio album, Ray of Light (1998), Madonna had intended to embark on a concert tour in September 1999, but the tour was cancelled due to the delay of her film The Next Best Thing (2000). She released one-off singles like "Beautiful Stranger" (1999) and a cover of Don McLean's "American Pie" (2000).  The singer also became pregnant with her son Rocco, from her relationship with director Guy Ritchie.  Wanting to distract herself from the media frenzy, Madonna concentrated on the development of her eighth studio album, Music.

In April 2000, it was announced that French musician Mirwais Ahmadzaï was creating a melding of dance and pop songs with a disco feel for the album. Later, it was also announced that Madonna enlisted Guy Sigsworth to work with her on the album. The singer had followed Sigsworth's work, admired his love of understated technology in music, and contacted him for adding an ambient feel to her record. Madonna played him the rough demo tracks developed for Music, including the songs created with Ahmadzaï. The idea for "What It Feels Like for a Girl" came to Madonna when she was halfway through her pregnancy and was trying to keep the media from finding out. Sigsworth sent her a demo backing track containing a sample from the 1993 British film The Cement Garden, directed by Andrew Birkin, in which the voice of actress Charlotte Gainsbourg speaks softly, "Girls can wear jeans and cut their hair short, wear shirts and boots. 'Cause it's OK to be a boy. But for a boy to look like a girl is degrading. 'Cause you think that being a girl is degrading. But secretly you'd love to know what it's like... Wouldn't you? What it feels like for a girl".

Madonna listened to the phrase uttered by Gainsbourg and started writing the song and the melody, resulting in "What It Feels Like for a Girl", a track described by her as a complaint about the politics of sexes. She was going through some emotional turmoil due to living on a different continent than her husband Guy Ritchie. Due to her pregnancy she decided to move to England to be close to him. "Being the girl, I made the first compromise. It's that extra thing that [women] have. I don't think that we're better than men, but I believe there's an extra accommodating chromosome", she told Interviews Ingrid Sischy. Madonna reflected on how her generation of women had been encouraged to be independent, be educated and take over any opportunity life bestowed upon them. But she had realized that being a smart and accomplished woman can come across as threat to men, thereby making them a casualty. Madonna questioned, "Why didn't somebody tell me? Why didn't somebody warn me?' And that's also what that song is about—swallowing that bitter pill... It was a combination of that, and also just feeling incredibly vulnerable that inspired the song."

Recording and composition

Sigsworth demo track was the second of two sketches presented to Madonna, and she chose the one with the sample from The Cement Garden. It was almost finished but was still kept unpolished so that the singer could continue writing on top of it. He recorded the track at Sarm West Studios rather than his own studio since he did not want to "fuck up" working with Madonna. The song was finished quickly and within four days they were able to create the final version. From the first day onward Madonna and Sigsworth decided to keep all the musical noises from the demo. So the producer had to find a way to reposition Madonna's vocals around the segments, utilizing Pro Tools on a SSL 9000 J console. Madonna insisted Sigsworth to give her a rough approximate sound, rather than work on the music for two-three hours. That way they would know if it can be kept or rejected and save time on production. During recording, Sigsworth noticed that the verses were out of sync with the music and wanted to add extra bar which would help them be coherent. However Madonna dismissed it, and he had to cut up the individual music to put it in his computer for accompanying her vocals. Sigsworth thought it made the song sound more "fluid and magical" and commended Madonna for not taking the cop-out solution.

"What It Feels Like for a Girl" is an electronic, synth-pop and glitch pop semi-ballad. Madonna and Sigsworth were listed as songwriters and producers on the track with additional production by Mark "Spike" Stent. American guitarist David Torn was credited as an additional songwriter after Madonna found out Sigsworth had sampled from Torn's 1987 album, Cloud About Mercury. Stent recorded "What It Feels Like for a Girl" using a Sony 3348 HR and a BASF 931 tape. He mixed it at London's Olympic Studios using SSL G Series Quantegy magnetic tapes. Tim Young mastered the track at Metropolis Studio at Westminster, London.

According to the sheet music published by Musicnotes.com, the song is set in common time, with a tempo of 104 beats per minutes. It's set in the key of E major, with Madonna's vocals spanning from the lower octave of G3 to the higher note of B4. The song has a sequence of Dmaj9–E–E/F–A during the verses and F9sus4–A–Dmaj9–E during the chorus as its chord progression. The track begins with Gainsbourg's monologue which is followed by drum sounds, a rhythm section supported by string pads, and the chord sequence which highlights the melody. Madonna sings over a synth line the first verse, "Silky smooth lips as sweet as candy, baby/Tight blue jeans, skin that shows in patches" in a mellow and feminine tone, which is driven by a "cool beat" and filtered bass licks. The ambient production has a number of sounds floating in-and-out of the track, long echos and vocals being pulled back.

As the pre-chorus ends, the drums are pulled out and added immediately the chorus starts, washed over by tidal keys and pads, and Madonna asking the question, "Do you know what it feels like for a girl?". Phil Dellio from The Village Voice noticed the presence of "gossamer-like" synthesizer in the background, while author Rikky Rooksby highlighted the equalized bass guitar in the center of the production. Another characteristic Sigsworth feature is the sound of a CD player "skipping" during the song. A Spanish version of the track, titled "Lo Que Siente la Mujer" (English: What a Woman Feels), was translated by Alberto Ferreras and included as the B-side of the US CD maxi single release, as well as on the bonus disc of the 2001 Special Tour edition of Music and as a bonus track on the Mexican and Latin American editions. Stan Hawkins, author of Critical Musicological Reflections, felt that by switching "girl" to "woman" in the Spanish version, Madonna had "upgraded" its nature. Lyrically, "What It Feels Like for a Girl" condemns male chauvinism by addressing hurtful myths about female inferiority and female role-playing in society, with the singer inviting men to imagine themselves as girls.

Release and remixes

"What It Feels Like for a Girl" was initially planned to be the album's second single, but "Don't Tell Me" was chosen instead. The song was eventually released as the album's third single on April 16, 2001. Upon release, several remixes were commissioned, created by Above & Beyond, Victor Calderone, Richard "Humpty" Vission, Paul Oakenfold and Tracy Young. The "Velvet Masta Mix", created by Richard Vission, gave the song a bass-heavy intro and a funkier groove. Vission recalled that Madonna had turned down his first mix and asked him to redo it again. Calderone's "Dark Side Mix" was more mellow, relying more on percussions while Tracy Young's mix included stringed harp instrumentation. AllMusic's Jose F. Promis praised in particular the Oakenfold version for "transforming the song into a massive, deep arena club stomper". The Above & Beyond remix, which was used for the music video, features "hard and rhythmic" pumping beats and removed Madonna's verses, leaving only the chorus and repeating the Charlotte Gainsbourg sample several times in the middle. It peaked at number 14 on the VG-lista in Norway.

Production duo Thunderpuss was hired to do an official remix of "What It Feels Like for a Girl". However, when they were almost finished, an unofficial remix, credited as "The Thunderpuss Mix", leaked on the internet. During an interview with About.com, Barry Harris from the group recalled that they had been working on the remix and were waiting for it to be approved when they received a call from Warner Bros. Records, informing them that the remix was circulating in the internet. Both Chris Cox and Harris tried to find out the issue and concluded that someone had retitled the original with their group's name and released it. Thunderpuss tried to convince the record label executives but failed and the remix was canceled.

Critical reception

Upon release, the song received general acclaim from music critics. Rikky Rooksby wrote in his book, The Complete Guide to the Music of Madonna (2004), that "What It Feels Like for a Girl" was the best track on Music. Author Lucy O'Brien described the song as having a "beautifully executed sense of anger" in her 2007 biography, Madonna: Like an Icon. Likening it to Madonna's 1989 single "Express Yourself", O'Brien called it a "femme-pop" song. AllMusic's Stephen Thomas Erlewine picked it as one of the album's highlights, calling it a "terrific midtempo cut". Slants Sal Cinquemani felt that "Madonna has revealed more of herself than ever [in Music]. No longer shrouded with pedantic spirituality, she has become even more human [...] revealing her soul on 'What It Feels Like For A Girl'". However, on his review of GHV2 (2001), Cinquemani felt the track was "largely lost amid the conventional sonics of Musics final single" and called it that compilation's least dynamic offering, giving a C− rating. Eric Henderson, from the same magazine, wrote that "occasionally, and only occasionally, Madonna's reach exceeds her grasp. 'What It Feels Like for a Girl' is one of those cases. Its intentions feel more fully fleshed out in the controversial music video than they do in the song itself".

Nathan Smith from Houston Press opined it was "one of the realest and most mature vocal performances of her career as she gently explores the double standard faced by ambitious women". From Gay Star News, Joe Morgan called it a "clear reminder that Madonna can write some incredible lyrics". Writing for Entertainment Weekly, journalist David Browne relegated the track as "an older, wiser 'Into the Groove'", highlighting its "softly padding beat and genuinely empathetic lyrics". Q magazines Danny Eccleston picked it as a standout track, claiming it had "the vaguest melodic echo of Basement Jaxx's terrific 'On & On'". Cynthia Funchs of PopMatters picked the song as her favorite on the album, calling it "outstanding" with "sweet, enchanted beats". Eamon Sweeney of Hot Press, found it similar, in tone and texture, to Natalie Imbruglia's 1998 single "Smoke". Jon Pareles of The New York Times called it "Madonna's quasi-feminist statement". Rolling Stones Barry Walters called it "as musically gentle as it is lyrically barbed".

Garry Mulholland of The Guardian, praised its "melancholy atmosphere and ambiguous air". Also from The Guardian, Maddy Costa thought that the track was "exquisite", adding "on 'What It Feels Like for a Girl' you feel is the Madonna of old, talking about being a pop bitch and making you tingle even with its hackneyed lyrics". Writing for Billboard, Larry Flick hailed it "a hook-laden midtempo jam [...] that should give the Britney/Christina generation of teenage female listeners a little food for thought", highlighting its "motherly, nurturing perspective". Also from Billboard, Chuck Taylor named it "one of the more substantive – and mature – musical ventures of [Madonna's] career", while panning its remix version for "reduc[ing] the song to a mindless trickle of beats without any hints of the verses". Alex Pappademas from Spin, pointed out that the song "flaunts the sexiest synth shimmer this side of [Aguilera's] 'Genie in a Bottle'". The Village Voices Phil Dellio found the song to be "the perfect answer record to [the novel] The Virgin Suicides (where boys indeed stand on the side of the street looking uncomprehendingly towards girls)". In a retrospective review of its parent album, Pitchforks Shaad D'Souza characterized "What It Feels Like for a Girl" as "something like Madonna's take on a Dido ballad, with plush synths wrapped around the album's purest, most traditional hook" and a "beautiful yet slightly baffling song", concluding: "Then again, it's not a song of empowerment so much as a plea. [...] The lyrics are universal, but still hard to separate from the memory of the brazen, armored pop star who debuted in 1982, so consciously invulnerable to the standards of the world around her."

On a more critical note, Medium's Richard LaBeau opined that "with better production it could have been a true classic". Online magazine Queerty felt the Spanish version, "Lo Que Siente la Mujer", was "an effort, we assume, to prove she can speak Spanish, damn it! Or at least memorize enough words to sound like she speaks Spanish".

Accolades
While listing "The 100 Greatest Madonna Songs", Louis Virtel from The Backlot ranked "What It Feels Like for a Girl" at number 45, saying that "its tenderness and power resonated like no Madonna ballad since 'Take a Bow'". In 2013, Scott Kearnan of Boston.com included it at number 26 on his list of "30 Ultimate Madonna Singles"; he wrote that "Madonna's covered plenty of ground about how women are treated in the world, but she's rarely this unfiltered". The same year, Edward Cheung from PopMatters ranked it as the sixth best production by Guy Sigsworth, writing that "an excellently placed spoken word sample (delivered by Charlotte Gainsbourg) and a keening synth line immediately set the tone for Madge's track as fashionably lonely".  Matthew Jacob's from The Huffington Post ranked the track at number 51 on his list "The Definitive Ranking of Madonna Singles", pointing out its "meaningful lyrical accomplishment". While ranking Madonna's singles in honor of her 60th birthday, in August 2018, Jude Rogers from The Guardian placed the track at number 37 and wrote that "it sounds like a Saint Etienne song accidentally covered by a superstar". Entertainment Weeklys Chuck Arnold called it "one of Madonna's artistic peaks" and her "most underappreciated" release; he listed it as her 14th best single. In 2019, Samuel R. Murrian from Parade ranked it at number 16 on his list of the singer's 100 greatest songs: "Lyrically barbed but sonically soft, one of Madonna's most radical tracks explores the brutality of being a woman in a man's world. [...] Though it was recorded nearly two decades before the #MeToo movement, this track feels like an anthem for it. Madonna was, and is, ahead of her time".

Chart performance
"What It Feels Like for a Girl" debuted at number 73 on the US Billboard Hot 100 chart of May 5, 2001, and moved to number 46 the following week, becoming in the biggest leap of that week. The release of the DVD single, CD maxi and 12-inch vinyl prompted the song to debut at number 15 on the Hot 100 Singles Sales chart with 6,600 copies (majority being from the DVD single). The song peaked at number 23 on the issue dated May 19, 2001, becoming that week's greatest gainer in sales. The same week, it also reached the top of the Dance Club Songs chart. At the year-end ranking for 2001, the song placed at number 24 on Dance Club Songs. According to Madonna's official website since only a maxi single was released commercially, it hindered the chart placement on Billboard Hot 100. In Canada, the song debuted at number 14 on the Canadian Singles Chart, and reached a peak of number two after two weeks later.

In Australia, "What It Feels Like for a Girl" debuted and peaked at number six on the ARIA Charts, on May 6, 2001, and was present in the top-fifty for nine weeks, and was ranked number 84 on the year-end placements. The track also reached the top of the Australian dance charts. It was certified Gold by the Australian Recording Industry Association (ARIA) for shipment of 35,000 copies of the single. The song debuted at number 50 on the New Zealand Singles Chart, and reached a peak of number 15 after six weeks.

In the United Kingdom, "What It Feels Like for a Girl" managed to become the third song from Music to peak inside the top-ten, reaching number seven on April 28, 2001. According to the Official Charts Company, it has sold 86,771 copies in the country as of August 2008. The song was successful across Europe, reaching the top-ten of the charts in Denmark, Finland, Italy, Netherlands and Spain. However, in some countries, "What It Feels Like for a Girl" failed to reach the top-twenty. In Austria and Sweden, the song reached numbers 26 and 22, respectively, becoming her lowest-charting single since "Nothing Really Matters" (1999) in both countries. In France, the song debuted and peaked at number 40 on the French Singles Chart, and descended rapidly. The track managed to reach the top-ten of the European Hot 100 Singles chart, reaching number eight on May 5, 2001. It was also the most played song on European radios, holding the top position for five weeks.

Music video

Background and synopsis

In February 2001, English filmmaker Guy Ritchie, Madonna's then husband, said that they were planning to work together on her new music video; "creatively, we like the same sort of things, so it just makes sense". One month later, Madonna revealed to Ingrid Sischy that the video would be for "What It Feels Like for a Girl", which she found "ironic because [Ritchie]'s such a macho man, and his movies are so testosterone-driven, but I asked him a long time ago what song on the album he responded to the most, and that's the one". Filming took place in Los Angeles, including on the Olympic Boulevard. According to Madonna she portrayed a "nihilistic pissed-off chick" in the clip, doing things that girls are generally recommended against. The video did not feature the original version of the song but the Above & Beyond remix since the singer "wanted a matching visual to it and an edgy dance mix".

The clip starts with the singer in a motel room getting ready to go out, her hair is straight, chin length and parted down the middle. She then hot-wires a yellow 1978 Chevrolet Camaro from the parking lot, with the license plates reading "Pussy" and "Cat" on the front and back, before driving to the "Ol Kuntz Guest Home" to pick up a semi-catatonic elderly woman. At a traffic light, they stop next to a car with three young men, one of whom blows her a kiss, which prompts Madonna to spin her car around and collide them. She parks at an ATM, tasers a man and steals his money, and later gives it to a waitress at a burger place, watched by two policemen. The singer drives alongside and scratches their police car and then squirts water in their faces from a fake pistol before driving backwards into their car, triggering their air bags. She then mows down a pack of street hockey players before stealing a red muscle car from a gas station while a man fills its tank, spilling gasoline all over the pavement. Madonna then throws a lighter out of the window causing an explosion, all while still accompanied by the old woman. The final shot depicts her slamming the stolen car head-on into a telephone pole in an apparent act of murder–suicide.

Release and banning

Upon release, the video was criticized for its violent content. Music channels MTV and VH1 said that it would not be added to their regular US rotation and would air it just once, during a news segment, before being completely banned.

Due to the excessive violence where Madonna's character went on multiple killing sprees, "What It Feels Like for a Girl" became Madonna's fourth music video to be banned by TV channels (and her third banned by MTV), following "Like a Prayer" (1989) due to blasphemy, "Justify My Love" (1990) and "Erotica" (1992) for nudity and bisexuality. "What It Feels Like for a Girl" aired on March 20, 2001, at 11:30 pm, following an introduction by MTV News anchor Kurt Loder. Liz Rosenberg, Madonna's publicist, released a statement urging the channels "to make a very strong commitment to playing this video [...] there are many other possibilities that we can explore but our first choice has always been for VH1 and MTV to play [the video], and more than once". In 2002, the video was aired in its entirety on MTV2 as part of a special countdown of the year's most controversial videos.

Three days later, the clip was shown several times on Oxygen as part of its "Daily Remix" music series. A spokeswoman for Oxygen said that the decision to air the video multiple times was because "our demographic is of 18–49 year old women [...] older than MTV's". Canadian music channel MuchMusic followed and aired the video several times throughout the day and night. Norm Schoenfield, US VP of programming for MuchMusic, released a statement saying "[the video] is no more or less violent than what kids see on TV everyday. We weren't offended by it, and treating it just like any other Madonna video. Just because MTV isn't playing it, doesn't mean we can't". Schoenfield also criticized the decision of releasing an advisory warning alongside the video because "it's the artist's responsibility to do that". Nonetheless, other Canadian networks aired it only after 9 pm accompanied by a warning. There were also talks of airing the video on HBO but it never happened.

Following the controversy with MTV, Warner Bros. Records signed a deal with AOL to air the video online on its music forums. "Our job as a record company is to get exposure for the video, So when the label couldn't get Viacom to commit to showing the video, it started talking to other outlets", explained Rosenberg. On April 24, 2001, the video was released as a DVD single with the disc having linear PCM sound quality. It debuted on Billboards Top Music Video sales chart at number two with 6,200 copies sold, the highest sum for a DVD single since Madonna's clip for "Music", which had sold 4,200 copies in September 2000. The clip was later included on Madonna's 2009 compilation, Celebration: The Video Collection. Regarding the violent content, Madonna said that her intention was to "make people ask questions and open dialogues". Instead of banning the music video, Madonna's publicist Liz Rosenberg called for an open conversation for why Madonna's character went out of control. Rosenberg explained to New York Daily News that the clip told the story of a woman who had probably been abused, and called it a "kind of an anti-violence film. I can't imagine anyone would want to duplicate it". The apparent suicide at the end had references from Greek mythology, according to Ritchie.

Reception and analysis
David Bianculli from the New York Daily News felt that "Madonna has always kept her videos and images at least as fresh as her music. 'What It Feels Like for a Girl', though, is a bad attempt to chase attention by promising controversy". Similarly, Billboards Carla Hay concluded that the video did not live up to its hype. George Lang from The Oklahoman, called it as the singer's worst clip and criticized Ritchie's directing abilities; "he has great visual sense, but his work often is lacking depth. Both his asset and his debit were in ample evidence in [the video]". Entertainment Weeklys Nicholas Fonseca gave the video a rating of C and opined that "Thelma and Louise it ain't. In fact, little girls can probably find more empowerment copying Britney Spears' provocative chair dance from her 'Stronger' video". But he criticized MTV's decision to ban the clip when they aired much more violent videos on the channel. Eden Miller from PopMatters echoed this sentiment, adding that MTV aired videos such as Eminem's "Stan", in which the main character drives his car off a bridge with his pregnant girlfriend tied up in the trunk, or Robbie Williams' "Rock DJ", in which the singer strips his skin off in graphic detail. Critics argued the gender double standards where violent music videos by male singers are largely tolerated by TV networks. Miller relegated the banning of Madonna's music video was because "the idea of a woman taking her aggression out on men is something even an edgy TV network like MTV was unable to accept. That's what is so disturbing. And that really is what it feels like for a girl".

Writing for the San Francisco Chronicle, Neva Chonin accused the video for being a marketing ploy and believed that the singer knew it would result in controversy and drive sales amidst the publicity. Nonetheless, she praised it for being a follow-up to Madonna's aesthetics and changing of her looks from her early career. Chonin realized that by making the violent video, Madonna proved the song's concept further by making a girl behave violently in place of a boy. Louis Virtel from The Backlot ranked it as the singer's 12th greatest video, calling it "the ultimate (read: solely tolerable) Madonna/Guy Ritchie collaboration [...] She's both chilling and totally confident. It's her most frightening performance in a music video, and when she plows that car into a group of strangers, her stoic response makes for her greatest video moment of the 2000s".

Andrew Morton opined that the video was "entirely consistent with the themes [Madonna] has been exploring for the last twenty years, namely the relationship between the sexes, the ambiguity of gender, and the unresolved conflict, for women in a patriarchal society of being fully female and sexual while exercising control over their lives". According to Santiago Fouz-Hernández and Freya Jarman-Ivens, authors of Madonna's Drowned Worlds, the video represented the female fantasy of behaving like a "bad boy" and doing things associated with men. They pointed out the scene in which Madonna winks at three men at a traffic light just before crashing their car, as they felt that on this particular shot she was "turning the tables of violence back on the men for whom such behavior is considered normal and putting them on the receiving end of violence, a position usually reserved for women". They noticed that unlike previous Madonna videos which were banned for religious themes or sexuality, MTV found violence as an offence. Even using the remix in the clip changed the song's feminine and bittersweet nature to something faster and harder, adjectives usually reserved for boys. The authors concluded that as always, Madonna inverted the traditional roles and characterization of male and female in the clip.

Live performances and cover version

"What It Feels Like for a Girl" was performed on the promotional concerts for Music in November 2000 at New York City's Roseland Ballroom and at London's Brixton Academy. On New York, Madonna dedicated the song to singer Britney Spears, while wearing a tank top with Spears' name printed on it. For the London performance, she wore a different top imprinted with the names of son Rocco and daughter Lourdes. Around 3,000 fans attended the concert in London, which was streamed over the internet. More than nine million people watched the concert according to Nicky Price, a representative for Microsoft's MSN, the webcast's producer. It became the most-viewed webcast of all time, beating Paul McCartney's performance of "50s rock and roll classics" at Liverpool's The Cavern Club in December 1999, which was viewed by an audience of about three million.

For the Drowned World Tour of 2001, a remix of the track was used as a video interlude. Dancers wearing anime and manga inspired costumes swung from wires in a Japanese-inspired sequence as the backdrops featured scenes of a naked girl being pursued, trapped and sexually abused. The clips were taken from Satoshi Kon's 1997 film Perfect Blue interspersed with footage of the hentai anime Urotsukidōji. Writing for MTV News, Rob Mancini opined that the interlude video "upped the [show's] grim factor further". On that same tour, Madonna performed the Spanish version of the song, "Lo Que Siente La Mujer", atop a rotating black leather podium, dressed in black trousers and a backless black blouse. The female dancers were decked in masculine attires while the male dancers wore long wigs and corsets. Academic Georges Claude Guilbert, author of Madonna As Postmodern Myth, praised the performance for its "gender-bending and further sense of ambiguity" while Sal Cinquemani from Slant Magazine found it to be "anticlimactic". The performance on August 26, 2001, at The Palace of Auburn Hills, outside of Madonna's hometown of Detroit was recorded and released in the live video album, Drowned World Tour 2001.

In 2010, "What It Feels Like for a Girl" was featured in an episode of American television series Glee, called "The Power of Madonna". In the episode it was performed by actors Cory Monteith, Kevin McHale, Chris Colfer, Mark Salling, Harry Shum Jr. and Matthew Morrison. The song was released as digital download to the iTunes Store, and was also included on the soundtrack EP, Glee: The Music, The Power of Madonna. It charted at number 125 on the UK Singles Chart. In his review of the soundtrack, Fraser McAlpine from BBC News felt that "the decision to get all the boys to sing 'What It Feels Like for a Girl' is inspired, and represents a genuinely powerful musical moment that doesn't need the television show's plot to make it fly".

Track listings and formats

JP / US Maxi-CD single
 "What It Feels Like for a Girl" (Paul Oakenfold Perfecto Mix) – 7:18
 "What It Feels Like for a Girl" (Richard Vission Velvet Masta Mix) – 8:08
 "What It Feels Like for a Girl" (Calderone & Quayle Dark Side Mix) – 6:42
 "What It Feels Like for a Girl" (Tracy Young Club Mix) – 8:45
 "What It Feels Like for a Girl" (Above & Beyond 12" Club Mix) – 7:27
 "What It Feels Like for a Girl" (Tracy Young Cool Out Radio Mix) – 4:45
 "What It Feels Like for a Girl" (Richard Vission Velvet Masta Edit) – 3:39
 "What It Feels Like for a Girl" (Above & Beyond Club Radio Edit) – 3:45
 "Lo Que Siente La Mujer" – 4:43

EU CD single
 "What It Feels Like for a Girl" (Album Version) – 4:43
 "What It Feels Like for a Girl" (Above & Beyond Club Radio Edit) – 3:45

EU / UK 12" vinyl
 "What It Feels Like for a Girl" (Above & Beyond 12" Club Mix) – 7:27
 "What It Feels Like for a Girl" (Paul Oakenfold Perfecto Mix) – 7:18EU VHS single / US DVD single "What It Feels Like for a Girl" (Video) – 5:00EU DVD single "What It Feels Like for a Girl" (Video) – 5:00
 "What It Feels Like for a Girl" (Calderone & Quayle Dark Side Mix) – 6:42
 "What It Feels Like for a Girl" (Richard Vission Velvet Masta Mix) – 8:08Digital single "What It Feels Like for a Girl" (Radio Edit) – 4:03
 "What It Feels Like for a Girl" (Paul Oakenfold Perfecto Mix) – 7:19
 "What It Feels Like for a Girl" (Richard Vission Velvet Masta Mix) – 8:06
 "What It Feels Like for a Girl" (Calderone & Quayle Dark Side Mix) – 6:43
 "What It Feels Like for a Girl" (Tracy Young Club Mix) – 8:56
 "What It Feels Like for a Girl" (Above & Beyond 12" Club) – 7:25
 "What It Feels Like for a Girl" (Tracy Young Cool Out Radio Mix) – 4:46
 "What It Feels Like for a Girl" (Richard Vission Velvet Masta Edit) – 3:39
 "What It Feels Like for a Girl" (Above & Beyond Club Radio Edit) – 3:44
 "What It Feels Like for a Girl" (George Best Saturday Night Mix) – 5:23
 "What It Feels Like for a Girl" (That Kid Chris Caligula 2001 Mix) – 9:51
 "Lo Que Siente la Mujer" – 4:43U.S. CD-R PROMO'''
 "What It Feels Like for a Girl" (Tracy Young Instrumental) – 8:52

Credits and personnel
Credits adapted from liner notes of 12-inch single.

Management
Recorded at Sarm West Studios, Notting Hill, London
Mixed at Olympic Studios, London
Mastered at Metropolis Studios, London
Webo Girl Publishing, Inc., Warner Bros. Music Corp (ASCAP), 1000 Lights Music Ltd, Warner-Tamerlane Publishing Corp. (BMI)

Personnel

 Madonna – vocals, songwriter, production
 Guy Sigsworth – songwriter, production, guitar, keyboards, programming
 Mark "Spike" Stent – production, mixing, mastering
 David Torn – songwriter
 Kevin Reagan –  art direction, design
 Matthew Lindauer – design
 Ray Janos – lacquer cut
 Jean-Baptiste Mondino –  photography
 Caresse Henry – management

Charts

Weekly charts

Year-end charts

Certification and sales

See also
List of number-one singles of 2001 (Spain)
List of number-one dance singles of 2001 (Australia)
List of number-one dance singles of 2001 (U.S.)

References

Citations

Book sources

External links

2000 songs
2000s ballads
2001 singles
Madonna songs
Madonna video albums
Maverick Records singles
Music video controversies
Number-one singles in Spain
Songs with feminist themes
Song recordings produced by Madonna
Song recordings produced by Guy Sigsworth
Song recordings produced by Spike Stent
Songs written by Madonna
Songs written by Guy Sigsworth
Songs written by David Torn
Synth-pop ballads
Warner Records singles

redpajama_set_name: RedPajamaWikipedia


The Big Train is coming, coming round the bend, and everyone knew when and how. Walter Johnson ranks as the 4th best pitcher in baseball history and gets a whole lot of kudos from baseball historians as deserving of a spot several notches higher. And we can understand the sentiment. Johnson was really the first pitcher in history to dominate the game with the strikeout. He was the pitching version of Babe Ruth. Dominant on the mound in every way, particularly through the age of 32. But Johnson waned near the end of his career, with only three above 10.000 PEVA seasons after that age. But up until that time, there was no doubt to his achievements and dominance. Ranking #2 in All-Time Wins, #3 in Innings Pitched, and #5 in ERA plus adjusted show what many people knew each time they watched him start a game. The Big Train was coming, coming fast, and going to give his team a great chance to win.
Johnson pitched for the old Washington Senators, today's Minnesota Twins, and didn't have the benefit of pitching for a club that won with the tradition of the Yankees or some other teams at the time, so his 0.599 winning percentage is the 2nd lowest of the Top Ten on this list. Washington only had 7 winning seasons in the 21 years he pitched for the Senators, winning the pennant in 1924 and 1925 when Johnson was 37 and 38 years old. It's likely that if he'd been on some better teams, his win total would be even higher. But it was certainly high enough to place Johnson in the Top Ten, particularly when combined with those eleven seasons of an ERA under 2.00. Oh, my.


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Stanice je dvanáctou zastávkou jednokolejné regionální dráhy z Chocně přes Vysoké Mýto, v jízdním řádu pro cestující uváděné pod číslem 018, a to na kilometru 21,4. Je součástí místního integrovaného dopravního systému. Pravidelnou osobní dopravu provozují České dráhy.

Služby
Ve stanici není možné koupit jízdenky, cestujícím je však k dispozici přístřešek. Severně od stanice, na hlavní silnici mezi Litomyšlí a Vysokým Mýtem, je zastávka autobusové linky "Litomyšl, Nedošín, rozc.0.3 ". Jižně od stanice se nachází zastávka linky MHD číslo 10 "Nedošín, na obrátce".

Odkazy

Reference

Externí odkazy

Nedošín


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Image Nation Abu Dhabi's feature 'Scales' wins coveted Bronze Tanit at Carthage Film Festival
3 November 2019: Image Nation Abu Dhabi's latest feature film, Scales, has received the prestigious Bronze Tanit at the Carthage Film Festival in Tunisia following its Middle Eastern premiere last week. This is the second award the film has received during its successful festival run, after it was awarded the Verona Film Club Award at the Venice International Film Festival Critics Week in September.
Honored to have won the first award for a Saudi film making its debut at the festival, writer-director Shahad Ameen extended her sincere gratitude to CFF organizing committee for giving her the opportunity to screen her feature film to Arab audience for the first time: "I'm sure the Tunisian audience appreciated my bold and symbolic directorial approach of highlighting women's social suffering and agonies".
Scales (Sayidat Al Bahr) is now set to screen the Rabat International Author Film Festival (16-22 Nov. 2019) and 41st edition of the Cairo International Film Festival, which will be the first ever Arab film festival to sign on the 50/50 by 2020 Initiative – a global gender parity campaign urging all film festivals to adhere to woman empowerment and fair representation in filmmaking industry by 2020.
The film competed at the prestigious BFI London Festival in October as part of the Sutherland competition, which recognizes the most original and imaginative directorial debut. It continues to travel the globe and had its North American premiere at The New Wave festival at LA's Museum of Contemporary Art last month.
Scales is a mystical, black and white fantasy film about a strong-willed young girl who stands alone against her family to overturn her village's tradition of sacrificing female children to mysterious sea creatures. It was produced by Image Nation Abu Dhabi, the award-winning Abu Dhabi-based film and television company that has built its reputation on breaking boundaries and fostering creativity.
Shot on location in Oman, Scales stars Basima Hajjar as Hayat, alongside Ashraf Barhom (Coriolanus, Clash of the Titans, The Kingdom), Yagoub Alfarhan (Ekhtraq, Bedoon Filter, Love Without Limits) and Fatima Al Taei (star of Image Nation's courtroom drama Justice). The film was produced by Paul Miller and Stephen Strachan of Abu Dhabi-based Film Solutions and Rula Nasser of Imaginarium Films, with executive producers Mohamed Al-Daradji and Majid Al-Ansari.
About Shahad Ameen
Writer-director Shahad Ameen was born and raised in Jeddah, Saudi Arabia. She obtained a Bachelor's degree in Video Production and Film Studies from the University of West London, and also holds a degree in Screenwriting. Her short films include Our Own Musical and Leila's Window (2011), which showed at the Gulf Film Festival and was named Best Film at the Saudi Film Festival.
Her short film Eye & Mermaid (2013) premiered at Dubai International Film Festival 2013 and was selected for competition at Toronto International Film Festival 2014, Stockholm Film Festival 2014 and Kortfilmfestivalen 2014 in Norway. Eye & Mermaid was awarded First Prize in the Emirates Film Competition and Best Cinematography at the Abu Dhabi International Film Festival 2014 and was the winner of the Best Fiction, International Competition at the NDU International Film Festival 2014. Scales was picked as a finalist for the prestigious IWC award at the Dubai International Film Festival 2015. Scales is Shahad's debut feature film.
'Our Own Musical' (2009)
'Leila's Window' (2011)
'Eye & Mermaid' (2013)
'Scales' (2019)
Image Nation Abu Dhabi Overview
Image Nation Abu Dhabi is a leading and award-winning content and entertainment company in MENA. Well-reputed for breaking boundaries and unleashing imagination, Image Nation is specialized in creating feature films, TV series, documentaries and entertainments that meet the needs of spectators world-wide. It is the first UAE company to have multiple productions stream globally on Netflix. It has made a significant success throughout the world as its productions were screened in more than 400 international film festivals and received some of the industry's highest honors and awards including two Academy Awards, a BAFTA and an Emmy.
Image Nation has a strong track record of producing high-quality productions combining local talent and international expertise. Committed to supporting innovative thoughts and nourishing young talents, Image Nation launched its inspiring initiative 'Arab Film Studio' that provides filmmaking talents with practical training to achieve their aspirations.
Image Nation's mission is to help build the film and entertainment industry across the GCC and MENA in line with Abu Dhabi Vision to build a competitive, sustainable and globally open economy. Image Nation looks forward to enabling all participants in its productions to become guardians of culture and change leaders.


after any winSCP window minimizing when i open it again, the window has been moved into right corner of the display, all the view has been minimized to some minimum view with one row visible.
why does it not just stay as is? why minimizing the app has that weird influence?
WinSCP does not do that. At least not for most users.
Can you tell us more about your system? What version of Windows are you using? Do you have any desktop-enhancing applications installed? How many displays do you have? Etc.


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Q: Apagar uma pasta do GIT quando estiver ultrapassado 10Gb no projeto Fui realizar um commit em um projeto meu e foi apresentado a mensagem que ultrapassou o limite do projeto de 10Gb, porém, não consegui excluir uma pasta e seus arquivos no git bash e nem diretamente no gitlab. Vi informações que ao excluir os arquivos diretamente no gitlab automaticamente a pasta será excluída, mas tenho mais de 200 arquivos dentro da pasta para excluir, eu quero excluir as pastas que estão acima do limite permitido pelo git.
Mensagem do GIT:

remote: GitLab: Your push has been rejected, because this repository has exceeded its size limit of 10 GB by 33 MB. Please contact your GitLab administrator for more information.

redpajama_set_name: RedPajamaStackExchange


Bring a community together with music.
Free concerts in your neighborhood.
Perform. Offer a venue. Volunteer. Be there.
The September Concert is a series of free musical performances held each September 11th in cities around the world.
The concerts offer a way to commemorate this historic date that focuses on our potential for a better future - a future where acts of hate are replaced by acts of love. Through the joy of music, we bring our communities together, reaffirm our hope for peace, and celebrate life and our universal humanity. Anyone may participate as a musician or a venue, or help by volunteering or making a donation.
The September Concert Foundation was created in April, 2002 for the sole purpose of organizing an annual citywide music festival in New York, in remembrance of September 11th and a celebration of our universal humanity. Our vision is to mark this day as a day of music and prayers for a peaceful world year after year, and build it to become the largest Peoples・Concert in the world, and possibly a multi-city event. The September Concert is based on the principles of musical equality, freedom, and accessibility, and the spirit of giving. Our future activities might expand beyond the yearly September Concert, to include activities that reflect these principles.


We Need The Eggs: How Stupid Are We?
I'm not being cute. Seriously, how stupid are we? What you have to remember about these types of things is that Miller didn't just decided to take a stab in the dark. They tested this concept with people and enough of them told Miller that it was a good idea. Enough of them said, "Yes, if you make the beer swirl into my mouth I will be more likely to buy your product."
Holy hell. It's horrifying, isn't it? I mean, ever lite beer from every brand already tastes basically the same anyway, but you and I live in a world where making crappy beer swirl slightly out of a bottle will earn a company millions and millions of extra dollars.
And it's our fault. We can't laugh at Miller, they're only giving us what we're demanding.
Here in America, We Want Beer That Swirls.


Andy Samberg cried when his new pal Sandra Oh won a prize at the 2019 Golden Globes.
The Hollywood stars presented the annual awards ceremony on Sunday night (06Jan19), and during the evening, Sandra picked up the Golden Globe for Best Performance by an Actress in a Television Series – Drama for her performance as Eve Polastri in Killing Eve.
But even though Brooklyn Nine-Nine actor Andy has only known Sandra for a short time, he became very emotional when she was named as the winner.
"We met briefly, we presented at the Emmys, and then we spent the last week and a half working on the Globes, but we didn't know each other that much. But we just sort of liked each other so much from that one experience we decided to go for it because they asked," he said during an appearance on The Tonight Show Starring Jimmy Fallon on Tuesday night (08Jan19).
And while Andy enjoyed co-hosting the star-studded bash alongside Sandra, he did note that he found the experience a little disconcerting, as he soon discovered that the guests "do not care about the show".
However, Andy admitted that Bohemian Rhapsody actor Rami Malek was a "good dude" and paid attention throughout.


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IV. Table of multilate...
Jaïr van der Lijn
Table 5.2 provides data on the 62 multilateral peace operations that were conducted during 2016, including operations that were launched or terminated during the year.
van der Lijn, Jaïr. "5. Peace operations and conflict management." SIPRI Yearbook. SIPRI. Oxford: Oxford University Press. 2016. Web. 2 Feb. 2023. <https://www.sipriyearbook.org/view/9780198811800/sipri-9780198811800-chapter-5-div1-27.xml>.
van der Lijn, J. (2016). 5. Peace operations and conflict management. In SIPRI, SIPRI Yearbook 2017: Armaments, Disarmament and International Security. Oxford: Oxford University Press. Retrieved 2 Feb. 2023, from https://www.sipriyearbook.org/view/9780198811800/sipri-9780198811800-chapter-5-div1-27.xml
van der Lijn, Jaïr. "5. Peace operations and conflict management." In SIPRI Yearbook 2017: Armaments, Disarmament and International Security, SIPRI. (Oxford: Oxford University Press, 2016). Retrieved 2 Feb. 2023, from https://www.sipriyearbook.org/view/9780198811800/sipri-9780198811800-chapter-5-div1-27.xml


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433: The Mind's Eye
It's time for another new episode of The Flickcast. The pop culture podcast about stuff nerds love. This week it's Episode 433: The Mind's Eye. On this week's episode called, once…
428: Moving On
It's time for another new episode of The Flickcast. The pop culture podcast about stuff nerds love. This week it's Episode 427: Moving On. On this episode Chris and Joe are…
Trailer Time: 'The Falcon and The Winter Soldier'
It's time for another edition of Trailer Time. This time around, we're going bigger with trailers, teasers and more from the upcoming Marvel/Disney+ series The Falcon and The Winter Soldier. Now…
The Flickcast 324: War!
That's right. It's time for a brand new episode of The Flickcast. And because we don't really keep to a regular schedule these days, let's just say this one arrived right…
This Looks Fun: New Trailer for Ron Howard's 'Rush' With Chris Hemsworth
Racing is fun. Racing is cool. Who doesn't like fast cars and action? That's right, nobody. In fact, we're pretty interested and very ready to like the upcoming movie Rush featuring…
It's Clive Owen Versus Evil in the Trailer for 'Intruders'
It was a bit hard to believe that a director could match, or in some ways even improve, on Danny Boyle's 28 Days Later. But that's just what director Juan Carlos…


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Vizag cops mull security action plan for smart city
As Vizag turns into a smart city, cops are chalking out a security action plan to bring the Port City under the surveillance radar. According to sources, the preparation for the action plan has started and it would be completed in a couple of weeks. Cops have already instructed cyber cafes, hospitals and business establishments to set up CCTV cameras. "Around 40% of the city is already under surveillance with the help of cameras. We wish to ensure more than 80% of the city is covered through surveillance cameras. We have been in touch with various welfare associations of different colonies on the outskirts where vigilance was not up to the expected levels," city police chief Amit Garg said.
Sources said that if necessary, special teams would also be formed for dedicated security duties. At present, the city has 128 surveillance cameras at 47 junctions, set up under the first phase. Cops would set up another 130 cameras in the next phase at another 47 junctions to bring the entire city under the surveillance radar.
Cops are now focussing on the security aspect and also monitoring traffic at various places in the city through the command control centre at the police commissionerate, which is presently located at the Police Barracks. A video wall with 130 monitors displaying the CCTV footage at various junctions will be set up in the next 10 days at the new commissionerate building which is under construction, a senior police officer said. The new command control centre is set to start functioning within a week at the new commissionerate building.
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PARIS - A fifth consecutive top-four finish has eluded the Men's Eagles Sevens at HSBC Paris Sevens following a 26-12 Cup Quarterfinal defeat to England Sunday.
Perry Baker scored two more tries to bring his weekend tally through four games to eight in the losing effort, which drops Mike Friday's squad into contention for fifth place at the ninth round of the 2016-17 HSBC World Rugby Sevens Series. Rio 2016 Olympic Summer Games gold medalist Fiji will line up against the U.S. in the Fifth-Place Semifinal at 7:34 a.m. ET, with the live stream available on World Rugby's Sevens Series website.
The Eagles withstood an early England attack in the initial stages of the game after giving away field position to a defensive penalty, and were given a lineout at the attacking 10 due to an unforced error committed by the opposition. England's double-coverage of Baker worked momentarily as the Eagles shuffled the ball to Andrew Durutalo on the opposite touch line before swinging it back Baker's way for a 5-0 lead after four minutes.
England captain Tom Mitchell wasted no time in providing his side's reply, causing the U.S. defense to shift in order to slip through Ben PInkelman's grasp 25 meters from the try line. Folau Niua could not find his footing to stop the ball-carrier from the sweeper position, either, conceding the lead at 7-5.
It appeared the Eagles would enjoy a final possession in the half as Dan Norton lost the ball forward on the restart, but captain Madison Hughes had the ball knocked out of his hands forward from the set piece and the U.S. was penalized in the ensuing scrum to set up an extended attack in dangerous field position. Mitchell saved a pass from being intercepted by Baker, who left space in the defensive shape for Ruaridh McConnochie to feed Charlie Hayter for the try.
Baker diminshed England's two-score advantage of 14-5 in the first minute of the second frame following a clinical passing display by the Eagles across the field. The rate of play allowed Durutalo to run at the defense with pace to get within 10 meters of the line, then the ball was sent to the opposite touch line for Baker to duck under a tackle for the try. Hughes' conversion from a tough angle brought the Eagles within two points at 14-12.
It would be the closest the Eagles would come to regaining their lead despite winning a penalty at midfield to start the next play. Hughes' first pass from Pinkelman's tap was intercepted by Oliver Lindsay-Hague to push the gap back to two scores, 21-12, and Norton broke out of Maka Unufe's tackle on the final play of the Quarterfinal for the 26-12 score line.
Fiji was handedly shut out by Scotland in its own Cup Quarterfinal in Paris, and will look to keep the gap between itself and South Africa in the Series standings close in a Fifth-Place Semifinal matchup with the Eagles at 7:34 a.m. ET. The remaining matches of the tournament can be watched live on World Rugby's Sevens Series website.


Be aware of what kind of data is held, where it is stored and how it is protected. What kind of software and technology is in place to protect data?
Review the current data-related policies and procedures, including encryption, remote access, mobile devices, sensitive information, HR exit procedures, third parties and data breach notifications.
Consider requesting a third-party data security company to carry out an objective assessment.
Are the current systems, policies and procedures adequate to protect data? Are there any risks of data breaches?
Individuals' rights – are there systems in place to transfer personal data to other companies and to delete personal data if requested?
Are requests for permission to use customers' personal data clear on the purpose and period of time?
Research suitable solutions for any identified risks or gaps.
Solutions must be implemented as soon as possible given the GDPR is already in force.
A DPO can be appointed if mandatory for the business, or an internal lead contact person can be appointed for data protection initiatives and to communicate with the Data Protection Authority if required.
The DPO or lead contact should communicate with senior management to discuss data protection strategies and for approval.
Ensure that staff are aware of the importance of data protection and any new/amended processes to comply with the GDPR.
Ensure internal teams communicate with each other to maintain data protection, such as IT, Security, Legal and Compliance teams.


Travel To Israel With Me!
Parsha Ki Tavo retierates a key concept of the book of Deuteronomy, the Torah as a whole, and later Judaism: Israel's chosenness. In Deut 26:18-19 the people are reminded that they are to be a "treasured possession" to their God. I will discuss various meanings and interpretations of this idea of chosenness in the Bible, and in the history of Judaism.
If I had to pick the one biblical book that is the most significant for the history of Judaism, it would be Dvarim (Deuteronomy). Through the lens provided by the concept of covenant, this book looks back at the history of Israel from Abraham to Moses, and then forward to the rise and fall of Israel and Judah, serving as a crux between the first four and the next four books of the Tanakh. In bringing together history, law, and covenant in the way that it does, Deuteronomy establishes the concept of Torah. In aiming to represent an embodiment of Israel's religious tradition superior to that of prophet, priest, or king, Deuteronomy creates the notion of a canon of sacred legislative tradition. The book aims to provide both the framework for a national constitution of Israel and a summary of every citizen's rights and duties, as well as to exhort the proper feelings and attitudes toward God and fellow citizens; it strongly endeavours to bring all of life—its private, social, and more openly religious aspects—under an awareness of obligation and duty toward God. In so doing, Deuteronomy takes the first major step toward promoting Judaism as a religion of a book. We will look at the content and themes of Deuteronomy against a reconstruction of the circumstances in which it was written.
Parashat Ki Tisa tells the story of the Israelites' creation of a golden calf in the wilderness while awaiting Moses' return from atop the mountain. Although at first glance it seems that Aaron has helped the people to break the first two commandments of the ten just received, biblical scholars perceive a more complicated back story. The D'var Torah will tease out this backstory to show the ways in which political polemic intertwines with religious rhetoric in the Golden Calf narrative. With this in mind, after lunch we'll delve into an exploration of the Ten Commandments and what each may have meant in the context of the religion and politics of ancient Israel – as opposed to the ways in which they are commonly understood (in religion and politics) today.
Parshat Korah provides an interesting and difficult narrative on leadership and its challenge(r)s. The d'var Torah will discuss both the literary difficulty of the narrative as well as the content; a somewhat disturbing tale of what can happen to those who challenge Moses' authority over Israel. Questions of politics and power in ancient Israel thematically link Korah with the Haftarah, which is an excerpt from the book of Samuel. The lecture after lunch will discuss this portion of Samuel and the questions and tension in the Haftarah around the institution of kingship in ancient Israel.


The Punjab irrigation department has announced a rotational programme for irrigation through canal water for the rabi season from March 29 to April 5. Channels of the Sirhind canal system would run on priority from the Bathinda branch, Bist Doab, Sidhwan branch, Patiala feeder and the Abohar branch.
A spokesman for the department said direct distributaries of the Bhakra main line in Group A (channels of first preference) would run 'to their indent' and the balance water supply available would be utilised in the Ghaggar branch and its off-taking channels Ghaggar branch and Patiala minor in Group B, respectively.
The spokesman said all direct distributaries of the Sirhind feeder in Group A (first preference) would run 'to their indent' and the balance water supply available would be utilised in the Abohar branch off-taking from the feeder and its distributaries and minors in Group B.
Channels off-taking from the upper Bari Doab canal (Lahore branch) with its distributaries would run 'to their indent' and the balance water supply available would be utilised in the main branch lower, Kasur branch lower, Sabraon branch with their distributaries, respectively.


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Watch KTEN News
Gunter faces Canadian for another state semifinal showdown
Thursday, December 8th 2022, 10:52 PM CST
By Davis Baker
GUNTER, Texas (KTEN) - Once again, Gunter will face Canadian in the UIL state semifinals. These two schools have played each other in six out of the last seven seasons, most recently in 2020.
Gunter has one three of those match ups but lost two. The Tigers know the challenge they will face but this is a supremely confident squad sitting 14-0, and they have a trip to Arlington on their mind.
"Canadian is one of the best programs in the state of Texas, all classifications," said Gunter head coach Jake Fieszel. "It's gonna be a battle, it's gonna be a tremendous challenge but we're excited about it."
"The team that's gonna go win a state championship is the team that's going to continue to get better."
Gunter and Canadian will play Friday at 6 pm at Abilene's Wildcat Stadium.


We ensure the targeted communication of EU research projects funded under the European Commission's Horizon 2020 Framework Programme. Early in the application phase, we join R&D consortia as a member and assume responsibility for the "Communication and Dissemination" work package. For the tailormade communication your project needs!
To ensure a uniform project look, we develop a comprehensive design including logo.
We create flyers and brochures to present the project, as well as templates for presentations, etc.
A well-designed website is central to the project presentation. Access-protected internal areas can be configured where necessary.
Our professional journalists create press releases and report regularly on social media channels.
The BIOCOM film team produces a professional video about the project for integration into the website. More on request.
Our event management team generates content, plans events and makes them a reality.


We would like to welcome you to our practice!
We realize that you have many options when it comes to dental providers so we are pleased that you have chosen us to care for your dental needs. We are committed to providing you with high quality dental care in a caring manner.
Dr. Bae and staff members work closely with each other and with a local team of specialists with the ultimate aim of providing our patients with the individualized care with the highest quality. We are committed to treating our patients as we would want to be treated ourselves. We take great pride in the daily performance, at the highest level, of the art and science of dentistry. We look forward to getting to know you, and we anticipate a successful and friendly relationship. We encourage your questions, and any suggestions you might care to make to enhance your experience with us, and perhaps thereby increase the comfort of our patients as well.


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Иван Иванович Григорьев (1922-1945) — Гвардии старший лейтенант Рабоче-крестьянской Красной Армии, участник Великой Отечественной войны, Герой Советского Союза (1945).

Биография

Иван Григорьев родился в 1922 году на разъезде Уткуль (ныне — территория Алтайского края) в семье железнодорожника. Вместе с семьёй переехал в Барнаул, затем на станцию Баюново, затем в село Контошино Косихинского района. В этом селе окончил школу-семилетку. В 1939 году он поступил на учёбу в Барнаульскую транспортно-техническую железнодорожную школу, одновременно учился в аэроклубе Барнаула, окончил его в 1940 году. В январе 1941 года Григорьев был призван на службу в Рабоче-крестьянскую Красную Армию и направлен на учёбу в Новосибирскую авиационную школу лётчиков, позднее был переведён в Молотовскую военную авиационную школу лётчиков, получил квалификацию лётчика-бомбардировщика. В мае 1942 года Григорьев был направлен в Чкаловскую авиационную школу лётчиков для переобучения на штурмовик «Ил-2». С апреля 1943 года — на фронтах Великой Отечественной войны. Принимал участие в боях на Юго-Западном, 1-м и 3-м Украинских фронтах. Участвовал в Курской битве, Изюм-Барвенковской, Донбасской, Запорожской, Никопольско-Криворожской, Березнеговато-Снигирёвской, Одесской, Львовско-Сандомирской, Сандомирско-Силезской, Нижнесилезской, Верхнесилезской, Берлинской операциях.

К марту 1945 года гвардии старший лейтенант Иван Григорьев командовал эскадрильей 93-го гвардейского штурмового авиаполка 5-й гвардейской штурмовой авиадивизии 2-го гвардейского штурмового авиакорпуса 2-й воздушной армии 1-го Украинского фронта. К тому времени он совершил 155 боевых вылетов на штурмовку и разведку вражеских войск, в воздушных боях сбил 4 самолёта противника лично, 1 — в группе, ещё 4 уничтожил на земле. 8 мая 1945 года Григорьев вылетел на боевое задание из района Котбуса для поддержки наземных советских войск в Пражской операции. Над территорией Польши самолёт был сбит. Воздушный стрелок Гончаров сумел выпрыгнуть с парашютом, следом за ним выпрыгнул и Григорьев, однако для раскрытия парашюта ему уже не хватило высоты. Похоронен на кладбище кладбище Куле в городе Ченстохова (Польша).

Награды
Указом Президиума Верховного Совета СССР от 27 июня 1945 года за «мужество и героизм, проявленные при нанесении штурмовых ударов по врагу» старший лейтенант Иван Григорьев посмертно был удостоен высокого звания Героя Советского Союза. Также был награждён орденами Ленина, Красного Знамени, Александра Невского, Отечественной войны 1-й степени, Красной Звезды, а также рядом медалей.

Память
В честь Григорьева названы улица, парк, школа № 17, установлены бюст и обелиск в Новоалтайске.

Примечания

Литература

 Кузнецов И. И., Джога И. М. Золотые Звёзды Алтая. — Барнаул, 1982.

Лётчики Великой Отечественной войны
Погибшие в боях Великой Отечественной войны
Похороненные на кладбище Куле
Участники Никопольско-Криворожской операции


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El Torneig de Brisbane 2015, també conegut com a Brisbane International 2015, una competició tennística disputada sobre pista dura que pertany a les sèries 250 en categoria masculina i als Premier Tournaments en categoria femenina. La setena edició se celebrà entre el 4 i l'11 de gener del 2015 al Queensland Tennis Centre de Brisbane, Queensland, Austràlia.

El tennista suís Roger Federer va esdevenir el tercer tennista masculí en obtenir la victòria número 1000 de la seva carrera.

Quadre individual masculí

Quadre individual femení

Quadre dobles masculins

Quadre dobles femenins

Referències

Enllaços externs

 Web oficial
 Quadre individual masculí
 Quadre individual femení
 Quadre dobles masculins
 Quadre dobles femenins

2015
ATP World Tour 2015
WTA Tour 2015