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"Wannabe" is the debut single by the English girl group the Spice Girls, released on 26 June 1996. It was written by the Spice Girls, Matt Rowe and Richard "Biff" Stannard and produced by Rowe and Stannard for the group's debut album, Spice, released in November 1996. "Wannabe" is a dance-pop song that features Mel B and Geri Halliwell rapping. The lyrics, which address the value of female friendship over heterosexual relationships, became a symbol of female empowerment and the most emblematic song of the group's Girl Power philosophy. It was written and recorded quickly. The result was considered lacklustre by their label and was sent to be mixed by Dave Way. The Spice Girls were not pleased with the result, and the recording was mixed again, by Mark "Spike" Stent.

"Wannabe" was heavily promoted. Its music video, directed by Johan Camitz, became a success on the British cable network the Box, which sparked press interest in the group. Subsequently, the song had intensive radio airplay across England, while the Spice Girls performed it on television and began doing interviews and photo shoots for teen magazines.

Responding to the wave of interest, Virgin released the song as the Spice Girls' debut single in Japan in June 1996 and in the United Kingdom the following month, well ahead of the planned release of the Spice album. "Wannabe" topped the UK Singles Chart for seven weeks and has received a triple Platinum certification by the British Phonographic Industry (BPI). The song was released in the United States in January 1997, topping the Billboard Hot 100 for four weeks. It was the group's only number-one single in that country. By the end of 1996, "Wannabe" had topped the charts in 22 nations, and by March 1997 this number had climbed to 37.

Despite mixed reviews from critics, "Wannabe" won for Best British-Written Single at the 1997 Ivor Novello Awards and for British Single of the Year at the 1997 Brit Awards. "Wannabe" became the best-selling single by a girl group, with 1,385,211 copies sold in United Kingdom by 2017, 2,910,000 in the United States by 2014, and more than 7 million copies worldwide by the end of 1997. In a 2014 study, it was found to be the most recognisable pop song of the last 60 years. An EP titled Wannabe 25 was released in 2021 to mark the single's 25th anniversary.

Background
In March 1994, father-and-son team Bob and Chris Herbert, together with financer Chic Murphy, working under the business name of Heart Management, placed an advertisement in The Stage, which asked the question: "Are you street smart, extrovert, ambitious, and able to sing and dance?" After receiving hundreds of replies, the management had narrowed their search to a group of five girls: Victoria Adams, Melanie Brown, Melanie Chisholm, Geri Halliwell, and Michelle Stephenson. The group moved to a house in Maidenhead and received the name "Touch". Stephenson was eventually fired because she lacked the drive of the other group members. She was replaced by Emma Bunton. In November, the group—now named "Spice"—persuaded their managers to set up a showcase in front of industry writers, producers, and A&R men at the Nomis Studios in Shepherd's Bush, London. Producer Richard Stannard, at the studio for a meeting with pop star Jason Donovan, attended the showcase after hearing Brown, as she went charging across the corridor. Stannard recalled:
More than anything, they just made me laugh. I couldn't believe I'd walked into this situation. You didn't care if they were in time with the dance steps or whether one was overweight or one wasn't as good as the others. It was something more. It just made you feel happy. Like great pop records.
Stannard stayed behind after the showcase to talk to the group. He then reported to his songwriter partner, Matt Rowe, that he had found "the pop group of their dreams". Chris Herbert booked the group's first professional songwriting session with the producers at the Strongroom in Curtain Road, East London, in January 1995. Rowe recalls feelings similar to Stannard's: "I love them. Immediately. ... They were like no one I'd met before, really." The session was productive; Stannard and Rowe discussed the songwriting process with the group and talked about what the group wanted to do on the record. In her autobiography, Brown recalls that the duo instinctively understood their point of view and knew how to incorporate "the spirit of five loud girls into great pop music".

Writing and inspiration
The first song the Spice Girls wrote with Stannard and Rowe was called "Feed Your Love", a slow and soulful song that was recorded and mastered for the group's debut album; the song was not used because it was considered too sexually explicit for the target audience. The group next proposed to write a track with an uptempo dance-pop rhythm. Rowe set up a drum loop on his MPC3000 drum machine. Its fast rhythm reminded Stannard of the scene in Grease. Stannard commented that the only pre-planned concept for the song was that it should represent the essence of what they were. The group then added their own contributions to the song, Rowe recalls:
They made all these different bits up, not thinking in terms of verse, chorus, bridge or what was going to go where, just coming up with all these sections of chanting, rapping and singing, which we recorded all higgledy-piggledy. And then we just sewed it together. It was rather like the way we'd been working on the dance remixes we'd been doing before. Kind of a cut-and-paste method.
"Wannabe" was completed in 30 minutes—mainly because the group had written and composed parts of the song beforehand—in what Brown describes as a "sudden creative frenzy". During the session, Brown and Bunton came up with the idea of including a rap near the end of the song. At this point the group became highly motivated, and incorporated the word "zigazig-ah" into the lyrics. Chisholm told Billboard: "You know when you're in a gang and you're having a laugh and you make up silly words? Well we were having a giggle and we made up this silly word, zigazig-ah. We were in the studio and it all came together in this song."

Recording and production
While most of the other songs on the Spice album required two or three days of studio time, "Wannabe" was recorded in less than an hour. The solo parts were divided between Brown, Bunton, Chisholm, and Halliwell. Adams missed most of the writing session and communicated with the rest of the group on a mobile phone. In her autobiography, she wrote: "I just couldn't bear not being there. Because whatever they said about how it didn't matter, it did matter. Saying 'Yes, I like that' or 'Not sure about that' down the phone is not the same." She contributed backing vocals and sings during the chorus. Rowe stayed up all night working on the song, and it was finished by morning, the only later addition was the sound of Brown's footsteps as she ran to the microphone.

The group parted with Heart Management in March 1995 because of their frustration with the management company's unwillingness to listen to their visions and ideas. The girls met with artist manager Simon Fuller, who signed them with 19 Entertainment. The group considered a variety of record labels, and signed a deal with Virgin Records in July. The original mix of "Wannabe" was considered lacklustre by Virgin executives. Ashley Newton, who was in charge of A&R, sent the song to American producer Dave Way for remixing; the result was not what the group had hoped to achieve. As Halliwell later described it, "the result was bloody awful". She elaborated in her second autobiography, Just for the Record: "Right at the beginning of the Spice Girls, ... Ashley Newton had tried to turn us into an R&B group ... He brought us jungle versions and hip-hop mixes and I hated them all. Although Mel B was a big fan of R&B, she agreed with me that these versions just didn't work so we exercised our Spice veto!" Fuller gave the song to audio engineer Mark "Spike" Stent, who thought that it was a "weird pop record". Stent remixed it in six hours, in what he described as "tightening it up" and "getting the vocals sounding really good."

Composition

"Wannabe" is a dance-pop song with influences of hip hop and rap. Written in the key of B major, it is set in the time signature of common time and moves at a moderate tempo of 110 beats per minute. It uses the sequence B–D–E–A–A♯ as a bass line during the refrain, the chorus, and the bridge, and uses a chord progression of F♯–G♯m–E–B for the verses. The song is constructed in a verse-pre-chorus-chorus form, with a rapped bridge before the third and final chorus. Musically, it is "energised" by a highly syncopated synthesised riff, and by the way the repetitive lyrics and rhythm are highlighted during the bridge. "Wannabe" presents a different version of the traditional pop love song performed by females; its energetic, self-assertive style expresses a confident independence that is not reliant on the male figure for its continuance.

The song opens with Halliwell's laugh, followed by "undislodgeable piano notes" inspired by the Grease "Summer Nights" bassline. The first lines of the refrain are rapped in a call and response interaction between Brown and Halliwell. The words "tell", "really" and "I wanna" are repeated, so that the vocal tone and lyrics build up an image of female self-assertion. The refrain ends with the word "zigazig-ah", which musicologist Sheila Whiteley compared to the neologisms created by Lewis Carroll; other writers have considered it a euphemism for female sexual desire, which is ambiguously sexualised or broadly economic. The first verse follows; Chisholm, Bunton, Brown, and Halliwell sing one line individually, in that order. In this part, the lyrics have a pragmatic sense of control of the situation; they begin, "If you want my future, forget my past." This, according to Whiteley, taps directly into the emotions of the young teenage audience.

During the chorus, the lyrics—"If you wanna be my lover/You gotta get with my friends"—address the value of female friendship over heterosexual relationships, while the ascending group of chords and the number of voices creates a sense of power that adds to the song's level of excitement. The same pattern occurs, leading to the second chorus. Towards the end, Brown and Halliwell rap the bridge, which serves as a presentation to each of the girls' personalities. The group repeats the chorus for the last time, ending the song with energetic refrains— "Slam your body down and wind it all around"—and the word "zigazig-ah".

Release and promotion

After signing the group, Virgin Records launched a major campaign for their debut song to promote them as the new high-profile act. There was a period of indecision about what song would be released as the first single; the label wanted to get everything right for the campaign, because the all-girl group format was untested. The group, led by Brown and Halliwell, was adamant that the debut song should be "Wannabe", they felt it served as an introduction to their personalities and the Girl Power statement. Virgin's executives believed that the first single should either be "Say You'll Be There", which they considered a much "cooler" track, or "Love Thing". At the beginning of 1996 the impasse between the group and their record label about the release of the single was temporarily solved. In March, Fuller announced that he agreed with Virgin in that "Wannabe" should not be the first single. The label wanted a song that appealed to the mainstream market, and nothing considered too radical. Halliwell was shocked and furious; she told Fuller, "It's not negotiable as far as we're concerned. 'Wannabe' is our first single." Fuller and the executives at Virgin relented, and the song was chosen as their first single.

The trigger for the Spice Girls' launch was the release of the "Wannabe" music video in May 1996. Its quick success on the British cable network The Box sparked press interest, despite initial resistance to the all-girl group idea. The same month, their first music press interviews appeared in Music Week, Top of the Pops, and Smash Hits, and their first live TV slot was broadcast on LWT's Surprise Surprise. A month after the video's release, the song was receiving intensive airplay on the main radio stations across the UK, while the group started to appear on television—mainly on kid's programmes such as Live & Kicking—and doing interviews and photo shoots for teen magazines. A full-page advertisement appeared in the July issue of Smash Hits, saying: "Wanted: Anyone with a sense of fun, freedom and adventure. Hold tight, get ready! Girl Power is comin' at you". The group appeared on the television programme This Morning with Richard and Judy, and performed at their first Radio One road show in Birmingham.

"Wannabe" was first released in Japan on 26 June 1996 as a maxi CD. In the United Kingdom, the song was issued on 8 July 1996 in two single versions. The first one, released in two formats—a standard CD single and a cassette single—included the radio edit of the track, the Motiv 8 vocal slam remix, and the B-side, "Bumper to Bumper". The group wrote "Bumper to Bumper" with Paul Wilson and Andy Watkins—the songwriter-production duo known as Absolute—and British singer-songwriter Cathy Dennis. The second version, released on maxi single format, featured the radio edit, an instrumental version, the Motiv 8 dub slam remix, and the Dave Way alternative mix. This version came with a fold-out postcard inlay and a stickered case.

During the weeks following the UK release, the group began promotional visits abroad. They did three trips to Japan and brief visits to Germany and the Netherlands. On a trip to the Far East, they visited Hong Kong, Thailand, and South Korea. In January 1997 they travelled to North America to do a promotional campaign that Phil Quartararo, president of Virgin Records America, described as "absolutely massive". In Canada, the group did interviews for newspapers and radio stations, appeared in television programmes such as Hit List, and MusiquePlus, and attended an autograph signing at Montreal's HMV Megastore. During their visit to the US, the group met with influential radio programmers, TV networks, and magazines. In addition, the music video was placed into heavy rotation by MTV.

Critical reception
"Wannabe" received mixed reviews from UK music critics. Paul Gorman of Music Week called the group "smart, witty, abrasive and downright fun". He described the song as a "R&B-lite debut single", and noted influences from Neneh Cherry in it. In a review conducted by the British pop band Deuce for Smash Hits magazine, the group described "Wannabe" as "limp", "awful", and "not strong enough for a debut single." Kate Thornton, editor of Top of the Pops magazine, commented that the all-girl group idea was "not going to happen;" she considered it too threatening. In her review for The Guardian, Caroline Sullivan called it a combination of "cute hip pop and a vaguely feminist lyric", she was also surprised that "considering the slightness of 'Wannabe,'" the group had an overwhelming amount of offers from record companies.

NME characterised the song as "a combined force of Bananarama, Betty Boo and Shampoo rolled into one." Dele Fadele of the same magazine called the rap during the song's bridge "annoying", and added, writing of the group's music: "It's not good. It's not clever. But it's fun." The magazine named "Wannabe" the worst single of the year at the 1997 NME Awards. Conversely, it won for Best Single at the 1997 BRIT Awards, and for International Hit of the Year and Best British-Written Single at the 1997 Ivor Novello Awards presented by the British Academy of Composers and Songwriters. The song was ranked at number 33 in VH1's "100 Greatest Songs of the 90s", and at number 111 on NME's 2011 list of "150 Best Tracks of the Past 15 Years".

In the United States, reaction to the song was also mixed. In a review of the group's debut album, Edna Gundersen of USA Today said that "Wannabe" is "a melodious but disposable tune that typifies this debut's tart bubblegum and packaged sexiness." Greg Kot of the Chicago Tribune called it "insidiously snappy, ... [that] is shaping up as this year's 'Macarena.'" Karla Peterson of The San Diego Union-Tribune said that "'Wannabe' has UGH written all over it," adding that it was "relentlessly catchy and horrifyingly hummable". The Buffalo Newss Anthony Violanti called it "irresistible". Sarah Rodman of The Boston Globe described it as a "maniacally zippy single", and Stephanie Zacharek of Salon referred to it as an "unapologetically sassy dance hit". Melissa Ruggieri of the Richmond Times-Dispatch commented that "based on their efficacious American debut single, ... the Spice Girls might be expected to deliver more of that zingy pop on their debut album," but she felt that "aside from 'Wannabe,' the album's dance tracks are color-by-numbers bland." Larry Flick of Billboard magazine said that "fans of the more edgy girl-group ... may find this single too fluffy" but added that "everyone else with a love of tasty pop hooks, lyrical positivity, and jaunty rhythms is going to be humming this single for months to come."

Some reviewers noticed the combination of musical genres. Christina Kelly from Rolling Stone magazine criticised the group's image, and added that their songs, including "Wannabe", were "a watered-down mix of hip-hop and cheesy pop balladry, brought together by a manager with a marketing concept." Matt Diehl of Entertainment Weekly said that it was "more a compendium of music styles (from ABBA-style choruses to unconvincing hip hop) than an actual song," and Sara Scribner of the Los Angeles Times described it as "a bubblegum hip-hop confection of rapping lifted off Neneh Cherry and Monie Love albums." Charles Aaron of Spin magazine called it "a quickie, mid-'80s teen paperback come to life ... so gooey it melts in your hands, not in your mouth" (an apparent reference to the M&M's slogan "melts in your mouth, not in your hands"). The song ranked at fifteenth in the American Pazz & Jop, a nationwide critics poll published by The Village Voice and conducted by its music editor Robert Christgau, who called it "a classic".

Present-day reviews from critics, however, are mostly positive. Stephen Thomas Erlewine of AllMusic said that "none of the girls have great voices, but they do exude personality and charisma, which is what drives bouncy dance-pop like 'Wannabe,' with its ridiculous 'zig-a-zig-ahhh' hook, into pure pop guilty pleasure." Dan Cairns of The Sunday Times said that the song "leaves a bad taste in the mouth: [because] the true legacy of Girl Power is, arguably, a preteen clothing industry selling crop tops and other minimal garments to young girls," but added that it "remains the same two minutes and 53 seconds of pop perfection that it ever was." In a review of their Greatest Hits album, IGN said that after ten years it "still sound reasonably fresh", while Digital Spy's Nick Levine said that "Wannabe" still remained an "exuberant calling card". Billboard named the song #5 on their list of 100 Greatest Girl Group Songs of All Time and the Best Pop Song of 1997.

Chart performance

As part of Virgin's strategy to make the group an international act, "Wannabe" was released in Japan and Southeast Asia two weeks before its British release. After the song was placed into heavy rotation on FM stations in Japan, the Spice Girls made promotional tours in May, July, and September 1996. The group received major press and TV exposure, appearing in programmes such as Space Shower. The single was released by Toshiba EMI on 26 June 1996, and sold 100,000 copies by October 1996.

"Wannabe" debuted on the UK Singles Chart at number three, six days after its physical release, with sales of 73,000 copies. It climbed to number one the next week, and spent seven weeks at the top, the second-longest stay by an all-female group, only behind Shakespears Sister's "Stay". With eighteen weeks in the top forty and twenty-six weeks in the top seventy-five, it became the second-biggest selling single of the year, and as of November 2012 has sold over 1.38 million copies, the biggest-selling single by a female group in the UK.

"Wannabe" was commercially successful in the rest of Europe. On 4 September 1996 the song reached the top of the Eurochart Hot 100, where it stayed for nine consecutive weeks, when it was replaced by the group's second single, "Say You'll Be There". "Wannabe" topped the singles charts in Belgium (both the Flemish and French charts), Denmark, Finland, France, Germany, Hungary, Ireland, the Netherlands, Norway, Spain, Sweden, and Switzerland, and peaked inside the top five in Austria, the Czech Republic, and Italy. The song was a success in Oceania. In Australia, it debuted at number sixty-four, reached the top of the ARIA Charts for eleven weeks, and ended at number five on the 1996 year-end chart. In New Zealand, it debuted on 1 September 1996 at number thirty-eight, reaching the top position ten weeks later. It spent one week at the top and seventeen consecutive weeks inside the top ten. "Wannabe" also topped the singles charts in Hong Kong and Israel.

In Canada, it debuted at the eighty-ninth position of the RPM singles chart on the week beginning 16 December 1996, a full month before it hit the US charts. It peaked at nine in its eighth week, and ended at number sixty-eight on the year-end chart. The song performed better on the dance chart, where it reached the top for three weeks, and ended at the top of the year-end chart. In the US, the song debuted on 25 January 1997 at number eleven. At the time, this was the highest-ever debut by a British act, beating the record previously held by the Beatles for "I Want to Hold Your Hand" at number twelve. It reached the top of the chart in its fifth week, and stayed there for four consecutive weeks simultaneously with the group's fourth single ("Mama"/"Who Do You Think You Are") being at number one in the UK. "Wannabe" reached the sixth position of the Hot 100 Airplay chart, and topped the Hot 100 Singles Sales chart for four consecutive weeks, selling over 1.8 million copies as of January 1998. It peaked at four on the Mainstream Top 40, and was a crossover success, topping the Rhythmic Top 40, peaking at twenty on the Hot Dance Club Play and at nine on the Hot Dance Singles Sales chart. New remixes of the song were produced in 2007 in conjunction with the release of their Greatest Hits CD and these rose to number 15 on the Billboard Dance Charts. "Wannabe" also remains the best selling song by a female group in the United States with 2,910,000 physical singles and downloads combined, according to Nielsen SoundScan in 2014.

Music video

Background

The music video for "Wannabe" was the first for director Johan Camitz. Camitz was hired on Fuller's recommendation because of his commercials for Volkswagen, Diesel, and Nike. His original concept for the video was a one-take shoot of the group arriving at an exotic building in Barcelona, taking over the place, and running riot—the same way they did when they were looking for a manager and a record company. A few days before the shoot on 19 April 1996, Camitz was unable to get permission to use the building, and the shoot was relocated to the Midland Grand Hotel in St Pancras, London.

The video features the Spice Girls running, singing, dancing, and creating mischief at an eccentric bohemian party. Because the video was intended to be filmed in one shot, the group rehearsed the routine several times through the night, while a Steadicam operator followed them. The final video was cut together from two takes. Halliwell wrote: "The video I remember as being very chaotic and cold. It wasn't very controlled—we didn't want it to be. We wanted the camera to capture the madness of the Spice Girls." Virgin's executives were horrified; Newtown recalled that "the girls were freezing cold, which showed itself in various different ways". The video was banned in some parts of Asia because of Brown's erect nipples. The lighting was considered too dark; the best takes showed the girls bumping with the furniture and looking behind them. Virgin was concerned that old people appeared in the video, and worried that the scenes of the Spice Girls jumping on a table and Halliwell's showgirl outfit might be considered threatening by music channels. Virgin began discussions about a re-shoot or creating an alternate one for the US, but the Spice Girls refused. The video was sent for trial airing in its original form in January 1997.

Reception
When the music video first appeared on the British cable network the Box, it was selected so frequently that it reached the top of the viewers' chart within two hours. It stayed at number one for thirteen weeks until it was replaced by the Spice Girls' next music video, for "Say You'll Be There". At its peak, up to fifteen percent of the 250,000 weekly telephone requests to the Box were for "Wannabe", and it was aired up to seventy times a week, becoming the most requested track in the channel's history. "Wannabe" won Best Dance Video at the 1997 MTV Video Music Awards, and Best Video at the 1997 Comet Media Awards. It was also nominated for Best British Video at the 1997 BRIT Awards and was ranked at number forty-one in the 100 Greatest Pop Videos of all time by Channel 4.

In 2015, Billboard included the video for "Wannabe" in their list of the Top Ten Most Iconic Girl Group Music Videos of All Time, noting: "They were basically unknown to U.S. audiences when the video for debut single 'Wannabe' -- a riotous, one-shot stroll through the Girls gleefully messing up some posh U.K. soiree -- premiered, but by the end of the four-minute clip, we knew absolutely everything we needed to know about the Spice Girls. You get the individual personalities of all five members, the infectious togetherness of the group at large, and most importantly, the sense that they were coming to absolutely blast through American pop music and mess up everything we previously thought we knew."

To coincide with the Spice25 release on 29 October 2021, the Spice Girls released a lyric video for "Wannabe", set inside the Midland Grand Hotel.

Live performances

The Spice Girls were in Japan when "Wannabe" went to number one in the UK. The group made their first appearance on Top of the Pops by satellite link from Tokyo, where they used a local temple as a backdrop for their mimed performance. They performed the song several more times on the show, including the programme's 1996 Christmas special. It was performed many times on television, in both Europe and the US, including An Audience with..., the Bravo Supershow, Sorpresa¡ Sorpresa!, Fully Booked, Live with Regis and Kathie Lee, The Oprah Winfrey Show, and Saturday Night Live. The performance at Saturday Night Live on 12 April 1997 was featured in the 5-part TV musical special "SNL: 25 Years of Music", and was the first time the group ever performed "Wannabe" with a live band—their previous performances had all been either lip-synched or sung to a recorded backing track.

The group performed it at awards ceremonies such as the 1996 Smash Hits! Awards, the 1996 Irish Music Awards, the 1997 BRIT Awards, and the 1997 Channel V Music Awards held in New Delhi, where they wore Indian costumes and entered the stage in auto rickshaws. In October 1997 the group performed "Wannabe" as the last song of their first live concert at the Abdi İpekçi Arena in Istanbul, Turkey. The performance was broadcast on Showtime in a pay-per-view event titled Spice Girls in Concert Wild!, and was later included in the VHS and DVD release Girl Power! Live in Istanbul.

The Spice Girls have performed the song on their four tours, the Spiceworld Tour, the Christmas in Spiceworld Tour, the Return of the Spice Girls Tour and the Spice World - 2019 Tour. After a breast-cancer scare led Geri Halliwell to leave the team at the end of the European leg of the Spiceworld Tour, her parts were replaced by Melanie Chisholm (refrain), Victoria Adams (verses), and Bunton (bridge). The performance at the tour's final concert can be found on the video Spice Girls Live at Wembley Stadium, filmed in London, on 20 September 1998. The group performed the song on 12 August 2012 at the 2012 Summer Olympics closing ceremony in London as part of a medley with the song "Spice Up Your Life". It was also performed as the closing song on the Spice World - 2019 Tour.

Legacy
As the Spice Girls' debut single, "Wannabe" has been credited for catapulting the band to global stardom and ushering in "Spicemania" in the late 1990s. Commentators have noted that the song and its accompanying video, both now considered modern pop classics, served as a wonderful introduction to the band. The Metro's Jon O'Brien concluded that: "From its lyrical themes of female solidarity to its insanely catchy pop hooks and mischief-making promo, the worldwide chart-topper encapsulated everything that made the group so spellbinding in the space of just two minutes and 52 seconds." Digital Spy's Lewis Corner agreed, adding: "It's hard to imagine any other pop act managing to make this much of an impact so quickly and effortlessly ever again."

"Wannabe" has also been credited with changing the mid-1990s pop music landscape, pioneering the teen pop boom of the late 1990s and early 2000s. Robert Copsey, editor at the UK's Official Charts Company explained: "There was nothing else quite like Wannabe on the radio back in summer 1996. Rock and dance music had been dominating the airwaves and charts for quite some time by that point. The Spice Girls struck at just the right moment with Wannabe; a gutsy, enthusiastic and unashamed pop song we'd all been craving without even realising it."

"Wannabe" has been hailed as an "iconic girl power anthem". In 2016, the United Nations' Global Goals "#WhatIReallyReallyWant" campaign filmed a global remake of the original music video to highlight gender inequality issues faced by women across the world. The video, which was launched on YouTube and ran in movie theatres internationally, featured British girl group M.O, Canadian "viral sensation" Taylor Hatala, Nigerian-British singer Seyi Shay and Bollywood actress Jacqueline Fernandez lip-syncing to the song in various locations around the world, including a set of stairs reminiscent of the Midland Grand Hotel steps from the original music video. The campaign also encouraged people from all over the world to use the hashtag "#WhatIReallyReallyWant", taken from the song's lyrics, to share what they wanted for girls and women by 2030. In response to the campaign, Beckham said, "How fabulous is it that after 20 years the legacy of the Spice Girls' girl power is being used to encourage and empower a whole new generation?"

In 2014, a study at the University of Amsterdam with the Museum of Science and Industry in Manchester, found that "Wannabe" is the most recognisable and catchy pop song of the last 60 years. The study found that "Wannabe"'s simple and relentless melody was the key to its success, with lead musicologist Dr John Ashley Burgoyne concluding, "I would describe the song as truly relentlessly catchy. It's not that it has this one hook per se. It's quite ingeniously composed." On Spotify, "Wannabe" was the mos -streamed 1990s song by a female group or artist in 2020.

An EP, Wannabe 25, was released on 9 July 2021 to mark the 25th anniversary of "Wannabe". The EP included the previously unreleased demos of "Wannabe" and "Feed Your Love".

Cover versions
Cover versions of "Wannabe" have been included in the albums of various musical artists. In 1998 American retro-satirist duo the Lounge-O-Leers did a kitschy, lounge-inspired rendition of "Wannabe" for their debut album, Experiment in Terror. British intelligent dance music producer µ-Ziq recorded a cover for his fourth album, Lunatic Harness. The London Double Bass Sound recorded an instrumental version in 1999, a dance remix was recorded by Jan Stevens, Denise Nejame, and Sybersound for the 1997 album Sybersound Dance Mixes, Vol. 2, while an electronic version was recorded by the Street Girls for the 2005 album The World of Hits of the 80's. In 1999 the song was used in "Weird Al" Yankovic's polka medley, "Polka Power!", for his tenth album, Running with Scissors. Covers of the song in a punk style include a thrash parody version by British punk rock band Snuff for their 1998 EP, Schminkie Minkie Pinkie, a punk rock version by Dutch band Heideroosjes for their 1999 album, Schizo, and a pop punk cover by Zebrahead for their 2004 EP, Waste of MFZB. In 2013, Brazilian funk carioca singers , MC Mercenária, MC Baby Liss and DZ MC released a version of the song, called "Mereço Muito Mais" (en: "I Deserve More"), and a music video inspired by the original. The 2019 single "Spicy", by Diplo, Herve Pagez and Charli XCX, is a reworking of "Wannabe".

"Wannabe" has also been covered in live concert sets by numerous musical artists, including Australian duo the Veronicas, American rock band the Foo Fighters, Filipina superstar Regine Velasquez and American pop rock band DNCE. K-pop girl group Girls' Generation covered the song on the popular South Korean radio program Super Junior Kiss the Radio in 2009 and did a live performance of the song on the South Korean television music program Kim Jung-eun's Chocolate in 2010. In 2013, American girl group Fifth Harmony dressed up as the Spice Girls for Halloween and performed "Wannabe" at their New York show. The performance was also uploaded on their official YouTube channel. In April 2017, indie punk band the Tuts recorded and filmed a music video for their cover of "Wannabe".

"Wannabe" has also been performed by the characters of various films. The cover versions of the song were included in the official soundtracks of Disney's 2005 animated film Chicken Little, DreamWorks Animation's 2012 animated film Madagascar 3: Europe's Most Wanted and the 2004 American teen film Sleepover.

"Wannabe" has also been covered in numerous TV shows. The characters Brittany (Heather Morris), Tina (Jenna Ushkowitz), Marley (Melissa Benoist), Kitty (Becca Tobin) and Unique (Alex Newell) dressed up as the Spice Girls and performed the song on the 17th episode of the fourth season of Glee. In 2015, the song was sung by Ed Helms and the Muppets in the fourth episode of the first season of The Muppets TV series. The song was also performed by Peter Griffin in the Family Guy episode "The New Adventures of Old Tom", and used in the ITV2 TV adverts for the programme's 14th season. The cast of Netflix's Fuller House also performed the song in the season one finale "Love Is in the Air". "Wannabe" was performed, along with another Spice Girls song, "Say You'll Be There", with revised lyrics, in the second episode of the 41st season of Saturday Night Live by host Amy Schumer and cast members Cecily Strong and Taran Killam. "Wannabe" has also been used in three episodes of Fox animated series The Simpsons; the song was sung by Homer Simpson in the episodes "Maximum Homerdrive" and "Fraudcast News", and sung by Ralph Wiggum in the episode "How the Test Was Won". The 2007 season four finale of One Tree Hill featured the female characters dancing as a group to the song. It was also used in the trailer for the film Excess Baggage (1997). On 3 October 2012, Geri Halliwell performed the song as a solo during a breast-cancer care show. (She had resigned from Spice Girls as a result of a breast-cancer scare, as noted above.) Her solo version was an acoustic ballad with several lyrics changed, such as "you've gotta get with my friends" being changed to "you've gotta be my best friend".

In 2016, American actress Eva Longoria performed a comedic dramatic reading of "Wannabe" in honour of the 20th anniversary of the album Spice. For the 21st anniversary of the song in July 2017, W magazine had various celebrities perform "Wannabe", including Nicole Kidman, James Franco, Riz Ahmed, Milo Ventimiglia, Millie Bobby Brown and Keri Russell.

Formats and track listings

UK CD1; Australian CD; Brazilian CD; European CD; Japanese CD
"Wannabe"  – 2:52
"Bumper to Bumper" – 3:43
"Wannabe"  – 6:20

UK CD2
"Wannabe"  – 2:52
"Wannabe"  – 3:27
"Wannabe"  – 6:25
"Wannabe"  – 2:52

European 2-track CD; US CD
"Wannabe"  – 2:52
"Bumper to Bumper" – 3:43

UK and Australian cassette
 "Wannabe"  – 2:52
 "Bumper to Bumper" – 3:43
 "Wannabe"  – 6:20

European 12-inch vinyl single
A1 "Wannabe"  – 6:20
B1 "Wannabe"  – 6:25
B2 "Wannabe"  – 6:20

US 12-inch vinyl single
A1: "Wannabe"  – 9:20
A2: "Wannabe"  – 6:20
B1: "Wannabe"  – 9:20
B2: "Wannabe"  – 6:25
B3: "Wannabe"  – 2:52

Digital EP
 "Wannabe"  – 2:54
 "Bumper to Bumper" – 3:42
 "Wannabe"  – 6:25
 "Wannabe"  – 6:21
 "Wannabe"  – 3:25
 "Wannabe"  – 2:52

Wannabe 25 EP
 "Wannabe" – 2:56
 "Wannabe"  – 5:57
 "Wannabe"  – 2:58
 "Feed Your Love" – 5:13

Credits and personnel
Spice Girls – lyrics, vocals
Matt Rowe – lyrics, producer, keyboards and programming
Richard Stannard – lyrics, producer, keyboards and programming
Mark "Spike" Stent – audio mixing
Adrian Bushby – recording engineer
Patrick McGovern – assistant
Published by Windswept Pacific Music Ltd/PolyGram Music Publishing Ltd.

Charts

Weekly charts

Year-end charts

Decade-end charts

All-time charts

Certifications

Release history

References

Bibliography

1995 songs
1996 debut singles
1997 singles
Billboard Hot 100 number-one singles
Brit Award for British Single
Dutch Top 40 number-one singles
European Hot 100 Singles number-one singles
Irish Singles Chart number-one singles
Music videos shot in London
Number-one singles in Australia
Number-one singles in Denmark
Number-one singles in Finland
Number-one singles in Germany
Number-one singles in Hungary
Number-one singles in New Zealand
Number-one singles in Norway
Number-one singles in Scotland
Number-one singles in Spain
Number-one singles in Sweden
Number-one singles in Switzerland
Number-one singles in Zimbabwe
SNEP Top Singles number-one singles
Song recordings produced by Richard Stannard (songwriter)
Songs with feminist themes
Songs about friendship
Songs written by Emma Bunton
Songs written by Geri Halliwell
Songs written by Matt Rowe (songwriter)
Songs written by Mel B
Songs written by Melanie C
Songs written by Richard Stannard (songwriter)
Songs written by Victoria Beckham
Spice Girls songs
UK Singles Chart number-one singles
Ultratop 50 Singles (Flanders) number-one singles
Ultratop 50 Singles (Wallonia) number-one singles
Virgin Records singles


Some games take the sting out of defeat by making deaths memorable. Who can forget the first time they encountered the sound and animation of a Frogger squished beneath a car's tires? Other games are carefully orchestrate various aspects of play to make inevitable failures entertaining for players and spectators alike.
"For games that are still enjoyable when you're playing poorly, my nomination would be Dark Souls," says Bennett Foddy, creator of the masterpiece of excruciating frustration QWOP. "In fact, I found that once I started to get really good at it, a huge chunk of the enjoyment disappeared. I have a reverse-power-fantasy when it comes to those games."
"The rope mechanic in the Worms franchise is the worst and best thing ever invented in gaming," says Chris Figueroa of Kinifi games, developers of equestrian snowboarding game Snow Horse. "The rope mechanic isn't the best way to get to one location or another, but if you do it successfully, IT FEELS AMAZING. You fail 99.1% of the time using the rope, but whenever you do, it's hilarious to watch."
TAKEAWAY: Step back and ask yourself, how can I give player space to create even more fun ways to fail?


After completing my Law degree at Strathclyde University, I took a detour to London and earned a second degree in Financial Services and a Diploma in Marketing Financial Services whilst working for a major bank. I made use of the return ticket, though, and moved back to Edinburgh in 2000. In 2003 I was ready for another change of direction and completed the Diploma in Legal Practice at Edinburgh University, undertook my traineeship and qualified as a solicitor in 2006. With the exception of a career break to raise my two young sons, I have specialised in Private Client work since then.
Outside of work, I am a keen swimmer, avid reader and founding member of a long running book group, as well as an enthusiastic filmgoer.
My role as a Private Client solicitor covers a wide range of matters, including Wills, Powers of Attorney, Executries, Trusts, tax planning, elderly care. What they have in common is their focus being very much on the individual. I am happy spending time getting to know clients, their individual, family and financial circumstances, and guiding them through what can sometimes be a difficult time, or a complex decision. Making sure the legal aspects are dealt with professionally and efficiently, whilst being open and approachable, can ease the worries that clients often feel. It is a very rewarding role and, I feel, a privilege to be involved with clients to such a level.


text:
Learn more about what it's like to live in Greater Burlington
New Year's Eve Comedy Night, Roy Wood Jr. & Sarah...
New Year's Eve Comedy Night, Roy Wood Jr. & Sarah Tiana
December 31, 2016, 7:00 PM - 10:30 PM
Megan Bell ( megan.bell@ThePzazz.com )
PZAZZ! Convention & Event Center, 3001 Winegard Dr., Burlington
New Year's Eve Comedy Night - Featuring Roy Wood Jr. and Sarah Tiana
Roy Wood Jr. is a correspondent on The Daily Show with Trevor Noah and has been described as the show's "breakout star". Roy's thought-provoking comedy crosses cultural lines and has entertained millions nationwide by stage, radio and television.
Sarah Tiana's act emphasizes the thrills of growing up after "The War of Northern Aggression" and trying to survive in the current battle of the sexes. Sarah is a regular on @Midnight on Comedy Central and The Josh Wolf Show on CMT.
VIP Table Package For 6 - $400
Each VIP Table Package includes:
Seating for Six Guests
Hot & Cold Appetizer Platters
Domestic Beer Bucket
Please note: Only one table ticket will be issued per package purchase.
This table ticket must be redeemed at Will Call the night of the show for six wristbands. Choose wisely when designating your Ticket Guardian. Individual table seats not available for purchase.
Individual Reserved Seating
Individual reserved seating is available at the door. Tickets are $35/person in advance, $40 at the door. Price does not include food or beverage.
21 and over event, will call: 5 PM, doors open: 6 PM, Showtime: 7 PM
Reserved Seating: $35/person in advance, $40/person at the door. Price does not include food or beverage.

redpajama_set_name: RedPajamaCommonCrawl


Fed up of misinformed old wives tales about sleeping with a pink ribbon under your pillow for girl, or determining that your energetic Kung-Fu foetus must be a boy owing to the amount of kicks and jabs your ribs receive on a daily basis? We don't blame you.
However, in a recent nationwide survey; conducted by the ONS, data was collected on the number of male and female births in each town and county. In conjunction with journalistic.org, we created gender-coded maps to reveal the likelihood people would have a boy or girl across the UK.
The data was collected over the period of one year and took individual districts into consideration. Considering that thousands of births were recorded at each maternity unit; the gender gap was very tight indeed, with just one birth swaying certain districts as being a 'pink' town or a 'blue' town.
However, a few towns proved to offer a greater divergence between genders. Although the difference remains relatively small, the findings make for an interesting debate regarding whether the baby's gender is solely determined by genetics, or whether certain genders prevailing over others would be indicative of other environmental and lifestyle factors.
Map A (Interactive): This map uses a colour gradient which corresponds with the difference in gender percentages. It offers a technical representation of how likely you are to have a girl or boy across certain counties.
Map B: This map uses an exaggerated colour gradient, which allows for a clearer (albeit simplified) representation as to how likely you are to have a girl or boy across certain counties.
Map C: This map only considers whether the statistics are in favour of a girl or a boy, no matter how small the percentage difference is. It also notes the two areas which recorded the largest difference in male to female births. It is important to realise that even though it would appear that the vast majority of the UK see more male births; the difference may be minimal. However, the sheer quantity of areas that show a greater percentage of males born to females is nonetheless fascinating.
This table offers a 'zoomed out' representation of the UK; looking at larger areas such as Scotland, Wales and the East. When analysing the gender trends of larger areas across the UK, it becomes apparent that male births outweigh female births in most larger areas.
This table offers a 'zoomed in' representation of the UK; looking at smaller areas such as boroughs, cities, council areas and towns such as; Barnet, Newport and Glasgow City. When analysing the gender trends of smaller areas across the UK, male births still outweigh female births in most areas however, there are a greater number of areas that can be identified as having more female births to males.
This table offers a 'zoomed out' representation of the UK; looking at larger areas such as Poole, County Durham and Torbay. This table goes some way to affirm the popular belief that the chance of having a girl is roughly 50:50, with a slight weighting towards boys. Unlike the exaggerated colour gradient used for maps B & C; this table displays how in the majority of areas, the difference in male to female births is negligible.
This table offers another 'zoomed in' representation of the UK; looking at smaller areas such as Tamworth, Wrexham and Barnsely. Again, the table affirms the popular belief that the chance of having a girl is roughly 50:50 with a slight weighting towards boys.
The survey also tallied the number of babies found to be of a low birth weight, and tracked the fertility score of the areas surveyed. To determine whether there was any correlation between low birth weight and the fertility of the area, we examined both areas of study in turn, looking at the top ten cases at each end of the scale.
What is a typical birth weight?
Infants born with a low birth weight may require additional support from neonatal staff due to potentially lowered immune systems and their bodies not having the full time desired to finish developing.
To assume that the difference in fertility rates between the aforementioned areas is in any way related to local pollutants (such as air quality from traffic, or industrial waste making its way into water systems) would be misinformed and tantamount to scaremongering. Realistically, the differences in fertility are likely to lie in lifestyle choices and even property prices. With a London flat averaging a monumental £492,707 (rightmove.co.uk), and a terraced property fetching £633,746 (rightmove.co.uk), those looking to move to a larger property may find it hard to finance such price tags, and may even opt to move elsewhere. Cambridge's average price tag similarly worked out at £496,730. Whereas, the average Oldham house price was a meagre £120,765 (rightmove.co.uk), and £119,039 (rightmove.co.uk), for a house in Bradford. Cheaper living is often important to families owing to the sheer cost it can take to raise a child.


text:
Q: GetFileAttributes on (locked) system file Calling GetFileAttributes for a file such as C:/pagefile.sys returns INVALID_FILE_ATTRIBUTES, and GetLastError returns ERROR_SHARING_VIOLATION. Yet it should definitely be possible to retrieve information about system files - e.g. being able to tell if it is a file or a directory. Is there a workaround?

A: Using FindFirstFile you can get information of pagefile.sys file. You can get the file's other information from ffd.
WIN32_FIND_DATA ffd;
HANDLE hFind = FindFirstFile( "C:\\pagefile.sys", &ffd );

if ( INVALID_HANDLE_VALUE == hFind )
{
    return 0;
}

if ( !( ffd.dwFileAttributes & FILE_ATTRIBUTE_DIRECTORY ) )
{
    _int64 filesize = ffd.nFileSizeHigh;
    filesize <<= 32;
    filesize |= ffd.nFileSizeLow;
    printf( "%s is %I64u bytes", ffd.cFileName, filesize );
}

FindClose( hFind );

redpajama_set_name: RedPajamaStackExchange


I would love to hear from you. Please fill out this form if you are interested in a workshop, a presentation, if you want to buy prints of my work or if you have any other question.
If you want to subscribe to one of my workshops please mention the date and city you are interested in.


CUE (PFL) (per channel) Press these buttons to send each channel to the Headphones Output channel.
COLOR FX PARAMETER. Adjust the parameter of the selected COLOR FX for each channel. When in middle position, the COLOR FX has no effect on the sound.
INPUT SELECTORS. Define the source of each Channel. Put the switchers to USB A or USB B position for software mixing.
BOOTH MONITOR. Adjust the level of the Booth Output of the DDJ-1000. Hardware operation, not visible on the VirtualDJ GUI.
MASTER CUE (PFL). Send the Master Output of the unit to the Headphones Output channel. Please note that in order to hear the Master Output on your headphones you must also turn the HEADPHONES MIXING (17) knob to the desired position.
SAMPLER PFL. Send the sound of VirtualDJ Sampler to the Headphones Output channel.
SOUND COLOR FX. Select one of the predefined Color Effects (Dub Echo, Pitch, Noise and Filter).
*As of Firmware 1.05 released in June 2018 from Pioneer, hardware effects are always applied on analog sources, while software effects are always applied on digital sources. Devices with older firmware will not be able to use ANY effects on analog sources with the default mapper of VirtualDJ and will have to upgrade their Firmware to version 1.05 or greater.
BEAT FX LCD SCREEN: Shows information about the selected effect.
BEAT: Use these buttons to half/double the Beats Parameter of the selected Effect (for the Effects that are beat-aware). The beats value is displayed on the LCD screen.
BEAT FX SELECT: Use this selector knob to select one of the available Beat FX. The name of the selected Effect is displayed on the LCD screen.
BEAT FX ASSIGN: Use this selector knob to select to which source the effect will apply to. (Decks, Master, Mic or Sampler). The selected source will be displayed on the LCD screen.
BEAT FX LEVEL: Use this knob to adjust the 1st Parameter of the selected Effect.


April 23 - 25, 2019 will be the 10 th International Specialized Exhibition " URALEXPOSTONE 2019: mining, factory, processing and use of natural stone". The exhibition will be held in the exhibition center "URAL DESIGN CENTER".
The organizer of the exhibition is the Association Stone Industry of Russia "Stone Center" with the participation of the Ural State Mining University.
The exhibition URALEXPOSTONE 2019 will be attended by companies from various Russian regions and other countries, demonstrating their exposure in the field of mining, processing and use of natural stone.
• Annual General Meeting of the "Center Stone" Association members.
Take part in the exhibition " URALEXPOSTONE 2019"!


The Jewish World | My Passover scavenger hunt is almost over! Did I get enough eggs?
(Kveller via JTA) – When I see the giant gefilte fish and matzah display at Costco in late February, it sends me into a panic. I think, is it time for gefilte fish already? I think that finding the holiday foods, including that gigantic jar of gefilte fish, is not easy and maybe I should stockpile now. I start thinking about how many people I'm having for Passover — a lot or a little? One manageable table or an impossible four?
Most of the year I'm a pretty normal American woman. I look normal. I dress in a fairly normal manner. I walk in grocery stores and have a vaguely normal shopping list. Yes, there are certain Jewish holidays here and there where I'm maybe shopping for 20 pound bags of potatoes in the winter, apples and honey, round challahs and smoked fish in the fall, or poppy filling in March. All might be considered odd by others.
Costco, of course, can only satisfy a few needs for this holiday. Though I'm willing to bounce back and forth between its kosher smoked fish case and the Passover display, both forming a miniature Pale of Settlement in the store for Jewish shoppers to cling to, eventually I must venture out to the Jewish section of the regular grocery stores, to their Pesach tables, and to the kosher stores to get everything else I need.
Shopping for Passover is like being on the worst scavenger hunt ever. My grocery list looks like it was written in medieval Poland. I need a really big brisket. Like maybe an entire cow. And chicken livers. Like the whole chicken.
I need horseradish — red and white. I need fish and potatoes, matzah and parsley. Coconut and carrots. Apples and walnuts and honey and wine. Oh, and they wouldn't happen to have four shankbones hanging around, would they? One time when my mother was alive, she had a craving for real kishke. I went to the store with her instructions: I needed rendered fat and casings. The butcher seemed mystified.
How did I become my mother? Or, rather, my grandmother, great-grandmother and great-great-grandmother, all the way down the line? How did I get so fascinated with the butchers at all the grocery stores in town, interrogating the staff about their briskets, their chicken livers, the weights and when they're expected?
When I've bought everything on my list, I start cooking very meticulously. I cling to the idea that if I'm organized about this, I can be ready.
I can't really be ready.
Sometimes while I'm out shopping, I run into the rest of the world. There they are, happy normal people, out shopping for regular groceries, like bread, or in the Easter aisle buying chocolate eggs, squishy Peeps and giant chocolate Easter bunnies. I'm somewhat surprised that the world is just ticking along as normal, and there's not an emergency in their kitchens like there is in mine. Because no matter how far ahead I start, no matter how much I'm sure I'm finished the night before, it never fails that two hours before the seder I have to call my sister for emergency backup, for parsley sprig placement or peeling boiled eggs.
Back at the store, I find the last thing on my list, horseradish root for the seder plate — a gnarled, primitive-looking thing that I grasp in my matching gnarled hand — and I head home.


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What is Technical Writing?
Published on 22 November 17
Andy Follow
What is technical writing all about? Learn what technical writing is and whether it's the right career choice for you.
Technical writing (often called "tech writing") is a diverse and omnipresent genre of professional writing that is usually filled with writers, essay coaches, engineers and other sorts of subject matter experts. Not known for its creativity or flair, the impact that technical communications has on the every day lives of billions of people is often misunderstood and underestimated.
Technical writing is just about any writing that is designed to teach, instruct, explain or communicate some type of information. This information can range from how make toast to how to build a nuclear reactor, and after marketing it is probably the most widespread form of written communication in existence. From recipes and user manuals to bus schedules and business forms, just about everyone uses some form of technical documentation every single day.
Unlike fiction writing, the purpose of technical writing is to clearly and concisely relay information to a user in such a way that it is easy to understand and follow. The most important role of technical documentation is to be of service to the reader, and any documentation that does not help the reader understand what he or she is supposed to do is, in essence, a failed document.
Although good technical writing does take a degree of creativity, the majority of technical writing is marked by a professional (if bland) tone, and is intended to assume a voice of authority and expertise. This tone can become much more informal for particular brands and product types, however, especially if written for a younger, less formal audience (like video game users).
What Do Technical Writers Do?
Although technical communications specialists are used in fields as diverse as manufacturing, engineering, chemistry, hardware and software development, finance, biotechnology, health industries and much more, in general, technical writers are responsible for the same general duties regardless of industry. These duties include:
Gathering information from existing documentation, first-hand use and subject matter experts on a particular topic.
Analyzing subject matter and audience needs to plan and produce clear, concise and comprehensive product and/or process documentation.
Ensuring documentation is factually, grammatically and graphically accurate.
Ensuring that documentation is easy to use and understand.
Ensuring that documentation is organized in a logical, structured manner.
Ensuring that documentation meets all in-house and external standardization guidelines.
In general, technical communicators need to have strong research, critical thinking, writing, language and technical skills, and they should have a solid understanding of how people learn and use information. In addition, technical writers who find themselves in high demand often have advanced illustration, information design, information architecture and specialized technical knowledge.
What Does Tech Writing Look Like?
Since technical writing is (technically) just about any writing that's sole purpose is to inform, technical writing can take the form of just about anything. Common sorts of technical documentation include user manuals, training guides, blueprints, text books, diagrams, flowcharts, recipes, schedules, help manuals, online help, white papers, tutorials, how-to instructions, bank forms, office paperwork, donation forms and much, much more. In fact, there probably isn't a single industry that doesn't use technical documentation at some level, either for internal or external clients.
Because effective technical writing is reader-focused, depending on the needs of the target audience, technical documentation can range from highly complex to surprisingly simple, and it can be as short or as long as is necessary to accurately and completely achieve its objective.
Career Outlook for Technical Writing
According to U.S. News & World Reports and the U.S. Department of Labor Occupational Outlook Handbook (2010-11 Edition), future employment opportunities for technical writers are quite good, especially for writers with strong technical, web and multimedia skills. Not only are technical writing positions expected to grow by over 18 percent over the next seven years, experienced technical writers can expect salaries ranging from roughly $60,000 to over $100,000. As with any high-tech career, keeping up with changing technology and market demands is essential, as is taking on more complex assignments and moving into managerial and training roles.
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121 On Market situated in Fairland, Johannesburg, offers accommodation in four bedrooms with en-suite bathrooms. Two bedrooms have DSTV, tea and coffee making facilities, mini fridge, separate entrances, and queen or twin size beds.The Rose Room has a queen size bed, kitchen, stove, microwave, fridge, and freezer.The fourth bedroom has a private entrance, lounge, patio, and double size bed. 121 On Market offers breakfast included in the room rates, transfers, tours, laundry services, a garden, swimming pool, patio, and secure parking. It is close to various restaurants, bars, shopping centres, and businesses. Activities and attractions include the Cradle of Humankind, Maropeng Visitor's Centre, Sterkfontein Caves, Rhino and Lion Park, Johannesburg Zoo, Pilansberg National Park, hiking, mountain biking, game drives, fishing, walking trails, Constitution Hill, Hector Peterson Museum, and the South African National Museum of Military History.Pretoria is a short drive away and offers the Union Buildings, Voortrekker Monument, National Botanical Gardensand Smuts House Museum.


The unique polymer blend is electrically conductive and because of resistance in the material, heat develops. The element is self-regulating which means that when the ambient temperature increases, the electrical resistance increases and the consumption of electricity decreases. For this reason, the element cannot overheat.
STEP Warmfloor® is a strong, thin, plastic mat, 3/64 inch (1.2 mm) thick. It comes in a roll, in different widths, and can be cut to the desired length and field-wired on site.
STEP Warmfloor® radiant heating elements are based on nano-technology. The nano-material modifies its behavior of conduction when electrically charged. A function of the structural homogeneous blend with other materials makes the element naturally self-regulating.
STEP Warmfloor® radiant heating elements use only the energy necessary to maintain an even temperature. They cannot overheat. When the ambient temperature increases, the morphology of the polymer structure changes and the particles separate reducing the points of contact between each other. As the electrical resistance increases less current can pass and the emission of heat decreases. When the ambient temperature is low, these particles are closer to one another permitting a greater passage of electrical current and thereby generating more calorific power.
STEP Warmfloor® self-regulating heating elements act like a floor sensor, supplying more wattage when cold and less wattage as they warm up. The radiant heating elements are flat and cover a large surface, and because the material acts as a floor sensor it pulls less energy as it gets warm. The unique self-regulating technology makes that the heating element maintains an even temperature over the whole surface and cannot overheat. Depending on the the thermal insulation and the floor covering, floor surface temperature with the STEP Residential™ elements will not raise above 78-82°F, which is more than sufficient to heat most rooms. Actually, a floor temperature over 82°F is not recommended for health considerations in Europe. In the US the maximum floor temperature is 85°F.
Most manufacturers of building materials limit temperature to 85°F to increase the longevity of the building materials. For Hardwood floors the maximum temperature is normally between 78-82°F, just within the temperature range of STEP Residential™ elements.
Typically a heating system with cables are installed with 12 watts per square foot. STEP Warmfloor® is typically installed with only 4.5 watts per square foot to have the same heat output. When operating a cable heating system continuously, you will need a thermostat with a floor sensor to control the temperature. STEP Warmfloor® does not require a floor sensor due to the self-regulating ability of the element. Even though STEP Warmfloor® does not require a floor sensor it is recommended to use a thermostat with the system to control the ambient temperature. Cable heating systems require a floor heating sensor and most manufacturers recommend to also use a thermostat. STEP Warmfloor® systems do not require a floor sensor, but for energy efficiency an air or floor sensor is recommended.
As you can see from the illustration above STEP Warmfloor® is installed with 4.5 watts per square foot, but as the element heats up the self-regulating ability reduces the wattage used to approximately 3 watts per square foot. The cable system will totally rely on the on/of functionality of the thermostat to reduce the floor temperature making it less energy efficient. With STEP Warmfloor® you can provide an even and energy efficient heating experience.
For efficiency, it will also be necessary to take in consideration the location and type of construction, including thermal insulation and flooring installed.


text:
Leicestershire & Rutland
Northamptonshire League
4NCL Harborough Cuatro
A perfect score for Harborough 2
By Alistair Geear
Thursday 30th September.
Conservative Club. MH2 – Kirby 2
More than 500 days have elapsed since the wide acceptance of a global pandemic, and it is roughly the same amount of time since the Market Harborough Chess Club has seen over-the-board competitive chess. It is in this time we have been shook by death, loneliness and a total disruption to our everyday lives (not to mention longwinded Bond film delays). To chess players, the loss of chess-in-person has been balanced by the gain of many new players who have re-discovered this beautifully ancient game. This week, after many months of online chess, both sides of this coin received the experience of competitive OTB chess.
While not the first match back, as Harborough's no.1 team played in Syston two evenings prior but as a first home match, the 2nd team made acquaintance with a cosy space in the upstairs of the conservative club. In my own case, I was completely new to playing OTB competitively and soon fumbled with my opponent over the 3rd board as we switched an extended hand to a friendly elbow bump. Fellow seasoned teammates: René Butler, Mike Garland, and Mark Waterfield (boards 4, 2 & 1, respectively) did not suffer the same mild awkwardness and the clocks started counting down.
Full concentration had begun, I had Black against my opponent who opted for 1.e4, I replied with 1… c5 (the Sicilian) which he followed with the unusual 2. c4. I would later learn this to be the Staunton-Cochrane Variation, but it wasn't a choice I saw often, which made me question if this gentleman knew something I didn't – as often the question with unexpected openings. Nonetheless, I aimed to play solid moves and caught my opponent with some tactical combinations utilising my fierce bishop pair down the a1-h8 and b1-h7 diagonals. My opponent resigned by move 18 as he was about to be down too much material. Having finished much earlier than the other 3 boards and without the usual virtual barrier, we were able to sit downstairs to indulge in an instructive post-mortem and friendly chat.
The early end to my match allowed me to closely watch the other games still at hand. On board 2 Mike Garland Jr. as White was equally bewildered by his opponent's unusual choice of opening, with 1.e4, b6 2. Nc3, e6.
It's worth noting that no more than 15 minutes had passed in our silent battle of the minds (around move 13 for Mike) when the pool players next door started playing early millennium rock tunes and Britney Spears. Mike and René stepped out to have a polite word with them, unfortunately the best we got was a closed door.
Mike had a strong start up a Rook for a knight. Black had expanded on the Queenside and due to a tender king-side also opted for a long castle. Queens were off the board by move 25 and the position became more and more complicated with scattered pieces and weak pawns all over. In what can only be described as a mental blink Mike failed to recapture a bishop but received 2 pawns in the process. Black made inefficient use of his time making insubstantial moves with the occasional checks while Mike's h-passer and active king play became a growing threat. With barely minutes on the clock, Black attempted to resecure his position but ultimately fell to a simple knight fork losing a bishop. The advantage was made clear but Mike won on time.
On first board Mark Waterfield as Black and his opponent blitzed through typical London theory, trading Queens on move 7, gifting Mark the semi-open a-file in the process. With a central pawn blockade and all 4 rooks tied up in a struggle over White's passed a-pawn, it was time for the kings to march up the board for support. The contest for passage to the other side is often too prosaic for the likes of many a chess player, however this occasion should not be mistaken as such. The necessary consideration to the many minutiae of moves at hand gave way to endless tension.
At some point in this endgame Mark turned down a draw offer, his opponent could only have been wearing tired as his defence faltered. While the White King finally got access to the 5th rank, he also allowed Mark's rook to penetrate behind enemy lines. White unexpectedly drops a bishop. He tries to leverage his King's activity by grabbing a pawn only to get trapped in the empty space of Black's territory. Desperate, White gives up a rook to try and get some initiative with the advancement of his a-pawn, but Mark calmly makes way for the bishop to blockade. Game over for Kirby's top board.
On fourth board René Butler as White rolled out another London. Both players developed similarly, momentarily there was an almost perfectly symmetrical position with White a move ahead. Into the game, the pawn structure had mostly closed down, leaving each side to shuffle their pieces to prod at each other's defences. In building pressure against the castled King, René diverts his force from the queenside. The Kirby player manages to successfully repel any potential for attack by White while maintaining pressure of his own against White's queenside pawns.
Stretched thin, Black snags the a-pawn. René swings his Queen and knight across the board to quench the rogue rook with a trade. Black declines only to discover the rook has wandered too far from support and is doomed to be taken by the knight. In vain, Black gives up the rook for a pawn immediately followed by a knight sacrifice. Drastically low on time, living on increment, he checks White's king but his initiative doesn't take him far.
A queen trade is secured, although it was at this moment that René's opponent makes a 2nd illegal move of the game.
A first illegal move earlier gave a bonus 2 minutes on the clock, but a second forfeits the game. To his credit, being both a significant amount of material and time up we can safely say Harborough was expecting a final win to finish the night at 4-0. Irrespective of the means the satisfaction was equal. With a stunning start to the season, Harborough 2 can only hope to go on in a similar fashion. However, after such a hiatus from OTB chess, we agree it is better to have played and lost than to never have played at all.
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Feeling quite experimental and more Fringe worthy than anything else, a free-spirited, bohemian Cosmosia danced her way onto the stage (at length), without introduction or fanfare for a "boogie on down" live opening to gaily herald a lightly designed "conference "of theatre on the subjects of fear and love.
Loosely executed, yet well crafted and enhanced with long character changes, there are two points which make the final performances of I Am Already Well, at the Lounge Theatre, worth seeing.
I guess the first would be the promise of "free therapy" delivered in the form of real life psychologist Dr. Denee Jordan's personal mea culpa for exacting a very destructive, until now, "Sybil-like" inner life upon herself. Each emotion has a personality which she names and gives an anthropomorphic life. Each one attempts to justify its raison d'être and why its behaviors are meant to protect Denee from hurting herself, even though they ultimately hurt her more.
The second would be the elements of the presentation itself. The character work was, in fact, quite fantastic, with the added delight of costumes and wigs. And, the appended dance/movement piece inserted a sophisticated emotional groundswell that only a professional dancer who was also the creative director/choreographer of her own dance company, on the highest level of her craft, could have offered. That's where it became outstanding.
Dr. Denee is a medical expert used to public speaking. I will say, there was never a moment where she faltered. As a play however, I Am Already Well needs work where timing is concerned. The story also loses its way at the beginning and becomes briefly tangential but then recovers. The transitions are slow. To be fair, this is a one woman show, so everything from beginning to end rests solely on herself. It is on the other hand, a well thought out dissertation on the many faces of our internal selves conducted by a well-informed, degreed professional who also happens to be a highly skilled creative. I'd call it a directional problem, a lack of strong stage guidance which is easily adjusted.
Apart from that, it's a low-key, light fare, colorful panoply. If you are seeking an easy night at the theatre without a lot of commitment, I Am Already Well is your stop.


text:
Q: PouchDB: What to expect on a remote url of the database? I am trying to create an offline first mobile app using PouchDB as a database.
After creating an instance of PouchDB, it says to create a remote database, I should provide the remote database url.
var remoteDB = new PouchDB("http://sampleurl.com/sampledb");

Now, my question is, what should I do to setup the URL (in this case: http://sampleurl.com/sampledb) that I provided to run a remote database from PouchDB?
Are there any setup needed to do or I just provide a URL and I am good to go?
Thanks. Appreciate the help!

A: Just provide the URL and you are good to go! Now all of the PouchDB API is available for you to communicate with the remote database.
There are some useful options and configuration available when creating a new instance of PouchDB, such as setting headers and default authentication. You can read more about that here: https://pouchdb.com/api.html#create_database


Wayfarer Worlds team living north of the Arctic Circle!!
... Uncle Al and Russ Burrell. Al has since learned not to overbend his mast!!!!!
The champions: John Doerr and his wife, Stevie, win race 5 just ahead of Alan Neville with Neil Harvie.
Defending champions, Colin and Iain Wilson, took series 2nd.
Alec Stone edges out Uncle Al.
Uncle Al and Russ smile for the camera being operated by Russ' wife, Jenny.


Cut 12 dates and soak for 10 minutes.
Add 1 packet of white beans. Mix the beans and dates using a hand held mixer.
Add all other ingredients apart from the grated coconut flakes. Mix well. If it is too dry, add a little extra water.
Wet your hands and roll into balls. Roll the balls in 100 ml / 3 1/2 oz grated coconut flakes.
Keep the balls in the refrigerator or freezer.
Take a few moments to plan mindfulness when you finish eating. Plan something fun. An activity, a trip, to read a good book. Plan in something positive that you want to do. Take a few deep breaths. Do what you planned.
This entry was posted in All year, For vegans (just greens and beans), Recipes: Snacks, Under 30 min and tagged agave syrup, chocolate, chocolate balls, chocolate rolls, chocolate snack, cocoa powder, coconut, coconut flakes, fibre oats, sugarfree candy, sugarfree snack, vanilla extract, white beans by teadrinker7. Bookmark the permalink.


Looking for the best property in Shirdi to BUY or RENT..???
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From 04-07—1980 onwards, if the property is not covered under the Co-operative Society Act, you are required to pay stamp duty on market value. This payment is required at the time of execution of the document. However, prior to 04-07-1980 there was no market value concept hence agreement value was accepted for stamp duty payment.
'Instrument' includes every document by which any right or liability is or purports to he created, transferred, limited, extended, extinguished or recorded, but does not include a bill of exchange, cheque, promissory note, bill of lading, letter of credit, policy of insurance, transfer of share, debenture, proxy and receipt."
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Ph: 266 4589, 266 4585.


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The Standard American Diet (SAD) focuses on simple carbohydrates that break down into an excess of glucose that our bodies can't use. This excess glucose damages our organs and is stored as fat around our bellies and hips. These extra fat cells produce a hormone cascade that increases our insulin resistance and damages our ability to process sugar.
We can work with you to eliminate simple carbohydrates from your diet to reverse this fat storage process. By building a healthy and comfortable meal plan, we can help you reduce your weight and normalize your blood sugar, thus targeting your type II diabetes and overall health.
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Every aspect of our life has an affect on our wellbeing and health. For example, chronic stress and fatigue can be a significant factor in your diabetes and cardiovascular disease and can impair your ability to manage it.
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text:
2015, The Orchard
Jake Johnson, Rosemarie DeWitt, Brie Larson, Sam Rockwell, Anna Kendrick
[not yet rated]
Opens:
About the Movie / Studio Press Release
THE ORCHARD TAKES NORTH AMERICAN RIGHTS
TO JOE SWANBERG'S DIGGING FOR FIRE
Film Made Its World Premiere at 2015 Sundance Film Festival
PARK CITY, UT, January 29, 2015 - The Orchard announced today that the company is acquiring North American rights to Joe Swanberg's Digging for Fire. The film is co-written by Jake Johnson and Swanberg and it stars Jake Johnson, Rosemarie DeWitt, Orlando Bloom, Brie Larson, Sam Rockwell, Anna Kendrick and Mike Birbiglia. Digging for Fire was produced by Swanberg, Alicia Van Couvering and Jake Johnson. The film had its world premiere at the 2015 Sundance Film Festival.
The film follows the discovery of a bone and a gun which sends a husband and wife--each full of doubts about their future and anxiety about the present--on separate adventures over the course of a weekend. At the premiere's Q&A, Swanberg explained that the movie was about the realization that a marriage should be "two individuals agreeing to be in a relationship, rather than two people melting into one thing."
The picture was filmed in LA on 35mm film, with a sprawling ensemble cast that also includes Sam Elliot, Judith Light, Ron Livingston, Melanie Lynskey, Jenny Slate, Tim Simons, and Jane Adams.
"After admiring Joe's films for a long time, it's a dream for us to have the opportunity to work with him," said The Orchard's SVP of Film & TV, Paul Davidson. "We think audiences will flock to Digging for Fire for its engaging and comedic look at adult relationships and we're excited to work with Joe, Jake and Alicia to make that a reality." Said Swanberg, "I came to Sundance to find the company that loved my film the most, and would do the smartest and most aggressive job releasing it. I have found that company in The Orchard and can't wait to start this new relationship."
This is Swanberg's second collaboration with Jake Johnson, following Drinking Buddies, and his second film in two years at Sundance, following Happy Christmas. "I wanted to work on Digging for Fire to get another opportunity to work with Joe Swanberg," said Jake Johnson. "He is a true collaborator. His movies are essentially written by the ensemble and he wants everyone at their best. As a director, he is a true artist, and I love having the chance to work with him."
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`git reset HEAD –hard` : Revert your index / working copy to the state of the last commit.
`git reset HEAD~1 –soft` : Undo the last commit, but keep the changes in your index.
>Revert your index / working copy to the state of the last commit.
>Undo the last commit, but keep the changes in your index.
Sounds like you really want "git commit –amend" – you are just about to commit again, aren't you?
Right. Would be much better named "unstage".
Yeah, that would mostly do the same thing. I use `git reset –hard` when I just want to dump my changes, without needing to keep them.
> Sounds like you really want "git commit –amend" – you are just about to commit again, aren't you?
Yeah, if I'm intending to just change the commit that's what I do as well. I guess I only use `git reset HEAD~1 –soft` when doing some history rewriting, which isn't recommended if you're not certain you're the only one working on a branch.
> My tip: never name any remote "origin" ever. Name them all after their Github username.
Heh, i've also learned not to do that.'origin' is completely confusing. As git is a distributed SCM, the notion of 'origin' is shaky at most. It's not quite clear why it is encouraged. On the other hand, that branch names aren't treated specially is a good thing, it allows the user to decide on a naming scheme.
So "Remote-branched" are remote, the "tracking" ones, not.


text:
using System;
using System.Collections.Generic;
using System.Linq;
using System.Text;
using System.Text.RegularExpressions;
using System.Threading.Tasks;

namespace _03.Football_League
{
    class Program
    {
        static void Main()
        {
            var key = Console.ReadLine();
            key = Regex.Escape(key);
            var regex = new Regex($@"{key}(.*?){key}.+?{key}(.*?){key}.+?(\d+):(\d+)");
            var line = Console.ReadLine();

            var goals = new Dictionary<string, long>();
            var scores = new Dictionary<string, long>();

            while (line != "final")
            {
                var matches = regex.Match(line);
                var firstTeam = matches.Groups[1].Value.Reverse().ToArray();
                var secondTeam = matches.Groups[2].Value.Reverse().ToArray();
                var firstTeamName = new string(firstTeam).ToUpper();
                var secondTeamName = new string(secondTeam).ToUpper();
                var firstTeamGoals = int.Parse(matches.Groups[3].Value);
                var secondTeamGoals = int.Parse(matches.Groups[4].Value);

                if (!scores.ContainsKey(firstTeamName))
                {
                    scores[firstTeamName] = 0;
                }
                if (!scores.ContainsKey(secondTeamName))
                {
                    scores[secondTeamName] = 0;
                }

                if (!goals.ContainsKey(firstTeamName))
                {
                    goals[firstTeamName] = 0;
                }
                if (!goals.ContainsKey(secondTeamName))
                {
                    goals[secondTeamName] = 0;
                }
                goals[firstTeamName] += firstTeamGoals;
                goals[secondTeamName] += secondTeamGoals;

                if (firstTeamGoals > secondTeamGoals)
                {
                    scores[firstTeamName] += 3;
                }
                else if (firstTeamGoals < secondTeamGoals)
                {
                    scores[secondTeamName] += 3;
                }
                else
                {
                    scores[firstTeamName]++;
                    scores[secondTeamName]++;
                }

                line = Console.ReadLine();
            }

            int positon = 1;
            Console.WriteLine("League standings:");
            foreach (var team in scores.OrderByDescending(s => s.Value).ThenBy(s => s.Key))
            {
                Console.WriteLine($"{positon}. {team.Key} {team.Value}");
                positon++;
            }
            Console.WriteLine("Top 3 scored goals:");
            foreach (var team in goals.OrderByDescending(s=>s.Value).ThenBy(s=>s.Key).Take(3))
            {
                Console.WriteLine($"- {team.Key} -> {team.Value}");
            }

        }
    }
}

redpajama_set_name: RedPajamaGithub


text:
CPR now Mandatory in Ontario High School Curriculum
TORONTO, ONTARIO, 04/03/99
Thursday, March 4, 1999 — Ontario's Minister of Education the Hon. David Johnson unveils, today, the new secondary school curriculum with CPR as required learning for the first time ever in physical education and health! Beginning in September 1999, the program will be integrated at the Grade 9 level, involving 150,000 students every year.
This announcement follows the success of the ACT Foundation's CPR pilots in Toronto, Ottawa and Prescott-Russell, involving 18,000 students in 80 schools. Ontario is the first stop in ACT's cross-Canada campaign to see CPR as required learning in every high school.
"By integrating CPR into the heart of the high school curriculum, all Ontario youth will be equipped with the skills and knowledge to save the life of a family member or friend," says Sandra Clarke, Executive Director of the ACT Foundation. "Students take this knowledge to their present and future families."
"The program equips our youth to act in an emergency rather than stand by helplessly. This empowers teens, builds confidence and self esteem and will save lives," says Dr. Justin Maloney, Medical Director of the Base Hospital Program for Ottawa-Carleton.
In fact, the program is already saving lives. Sixty-year-old Nick Weatherston suffered a cardiac arrest from heart attack following a game of tennis in Halifax, Nova Scotia. Kasia Smetny-Sova, a 17-year-old Ottawa student who was vacationing in Halifax at the time, used her school-based CPR skills and saved his life.
"I applaud the Ontario government in this commitment to bring CPR to Ontario youth," says Gerry McDole, CEO of Astra Pharma. "As long standing supporters of ACT and CPR training, my colleagues and I urge business and community leaders across Ontario to support the initiative to outfit local schools with CPR mannequins. It is a tremendous investment in young people and in health care."
The ACT Foundation plays a key role in helping schools establish the program and in finding local partners to outfit schools with CPR mannequins and other resources. In Toronto, the National Post and Subway donated 500 mannequins for this year's program expansion. The National Post also printed the student CPR manual.
Service clubs are also supportive. "Over 50 per cent of the Ontario Kiwanis Club divisions are enthusiastically committed to the high school CPR project and are exploring ways and means of ensuring that as many schools as possible are fully equipped with mannequins as soon as possible," says immediate past Governor Jim Rowney on behalf of present Governor Ken Cotterill.
The ACT Foundation is a national non-profit organization dedicated to making CPR required learning in every Canadian high school. ACT's corporate health partners are companies in the research intensive pharmaceutical industry: Astra Pharma Inc., Hoechst Marion Roussel Canada, Merck Frosst Canada and Parke-Davis, a Division of Warner-Lambert.


text:
Q: Why MA model order is from acf but not pacf For MA model in Arima, why the order references acf, but not pacf? The emphasize is why not PACF.
In https://towardsdatascience.com/significance-of-acf-and-pacf-plots-in-time-series-analysis-2fa11a5d10a8
It mentions

Why would that be? Since our series is linear combination of the
  residuals and none of time series own lag can directly explain its
  present (since its not an AR), which is the essence of PACF plot as it
  subtracts variations already explained by earlier lags, its kind of
  PACF losing its power here

I don't still get why PACF cannot be used here, anyone can give a better intuition why it should be ACF but not PACF for giving the order for MA model?

A: They are saying that an AR is something like $y_{t}=y_{t-1}b+e_{t}$ so that each $y_{t-1}$ has an influence on $y_{t}$. Therefore, it make sense to look at the corr between $y_{t-2}$ and $y_{t}$ which is not explained by $y_{t-1}$. In a MA instead you never have $y_{t-1}$ in the independent variables (right hand side). In other words, you can think also about the following: one of the most likely use of the PACF is that it helps you identify the order of a model (like the q in an AR(q)). But for a MA(q) the ACF goes to 0 after q lags, so you immediately see that:

*

*the process is not autoregressive otherwise you would have exponential decay,

*and you immediately get an intuition of the order.
So why drawing a PACF?
To answer your comment: ACF instead captures MA because MA(1) for example is $y_{t}=e_{t-1}b+e_{t}$ so $cov(y_{t}, y_{t-1})= cov(e_{t-1}, be_{t-1})=bVar(e_{t-1})$ so it will be non-zero up to lag 1, for lag 2 then ACF decays to 0 as you have no common white noise terms.