is a acura the same as a honda

Acura (/ˈækjʊrə/) is the luxury vehicle marque of Japanese automaker Honda.[1] The brand was launched in the United States and Canada in March 1986, marketing luxury, performance, and high-performance vehicles. It was introduced to Hong Kong in 1991, Mexico in 2004, China in 2006, Russia in 2014 and Kuwait in 2015, and is also sold in Ukraine.[2] Honda's plan to introduce Acura to the Japanese domestic market (JDM) in 2008 was delayed, due to economic reasons,[3] and later withheld as a result of the 2008 financial crisis.[4]

Acura

Acura holds the distinction of being the first Japanese automotive luxury brand.[5] The creation of Acura coincided with the introduction of a JDM Honda dealership sales channel, called Honda Clio, which sold luxury vehicles, joining previously established Honda Verno, followed by Honda Primo the following year. In its first few years of existence, Acura was among the best-selling luxury marques in the US. Though sales were down in the mid-to-late 1990s, the brand experienced a revival in the early 2000s, due to drastic redesigns and the introductions of new models.[5]

In the late 1980s, the success of the company's first flagship vehicle, the Legend, inspired fellow Japanese automakers Toyota and Nissan to launch their own luxury brands, Lexus and Infiniti, respectively. The 1990 launch of the NSX, a mid-engine exotic sports car, offered a reliable and practical alternative to exotic European sports cars, and introduced Honda's VTEC variable valve timing system to the North American market. The 1993 Legend coupé featured Honda's first use of a six-speed manual transmission, mated to a Type II engine. In the late 1990s, Acura produced a Type R version of its compact Integra coupé, which featured a reduced curb weight, a stiffer and lower suspension, and a high-output VTEC engine.

In the early 2000s, Acura introduced new models, including the company's first all-original SUV, the MDX, and two models which replaced the Integra coupÃ© and sedan, the RSX and TSX, respectively. Type-S versions of the RSX, CL, and TL were added to the brand's lineup during that decade. Acura's 2005 RL flagship introduced SH-AWD, a torque-vectoring all-wheel drive system. The 2007 RDX, a crossover SUV, featured the first North American use of a turbocharged Honda engine. In the 2010s, Acura debuted more new models, including the ILX, TLX, and RLX, the latter of which introduced Acura's Jewel Eye LED headlights. A second generation NSX was launched in 2016 and features a twin-turbocharged mid-engine, a nine-speed dual-clutch transmission, and Sport Hybrid SH-AWD.

The brand was created around the same time as Japanese rivals Nissan and Toyota developed their Infiniti and Lexus premium brands. The Japanese government imposed voluntary export restraints for the U.S. market, so it was more profitable for Japanese automakers to export more expensive cars to the U.S.

Following a decade of research, Honda opened 60 new dealerships in North America by 1986, to support its Acura automobile division. Acura was the first Japanese luxury brand, introduced under the slogan, "Acura. Precision Crafted Automobiles."[1] Its initial offering consisted of two models: the executive class Legend and the compact class Integra, available as a five-door and three-door hatchback. The Legend was the result of Project XX, a joint venture Honda entered into with the UK's Austin Rover Group. It was mechanically related to the Rover 800 series, while the Integra was an improvement of the Honda Quint hatchback.[6]

The success of these models, particularly the Legend, led to competing Japanese luxury brand ventures (Toyota's Lexus that began development in 1983 as the F1 project, and Nissan's Infiniti who began development in 1985 by revising their Japan-only flagship Nissan President; in the late 1990s Mazda planned but never launched its own Amati luxury division). The goal of the Legend was to compete with rivals Toyota Crown and the Nissan Cedric and Gloria, but due to its 1986 introduction worldwide, Toyota, Nissan and other companies like Lincoln took notice of the markets reaction to the Legend and later the Vigor and offered vehicles that addressed the executive size car. Toyota introduced the Lexus ES, Nissan introduced the Infiniti J30 and Ford utilized the Taurus platform and named their new sedan the Lincoln Continental.

In 1987, Acura's first full year of sales, they sold 109,000 cars with the flagship Legend sedan accounting for 55,000 sales and the rest were of the smaller Integra. By 1990, Acura was selling 138,000 vehicles, including 54,000 Legends, compared to Mercedes-Benz's 78,000 cars and 64,000 each for BMW and Lexus.[5]

In 1990, five years after the debut of the Legend and Integra, Acura introduced the NSX, a midship V6 powered, rear-wheel-drive sports car.  The NSX, an acronym for "New Sports eXperimental", was billed as the first Japanese car capable of competing with Ferrari and Porsche. This vehicle served as an "image car" for both the Honda and Acura brands, heralding the introduction of Honda's VTEC technology. The NSX was the world's first all-aluminum production car, and was also marketed and viewed by some as the "Everyday Supercar" thanks in part to its ease of use, quality and reliability, traits that were unheard of in the supercar segment at the time. With the release of the NSX, Acura introduced the "A-badge", a stylized pair of calipersâ€”a tool used for exacting measurements to imply that Acura vehicles are built to precise and demanding standards.

Despite a strong start in market acceptance for the Acura brand, sales suffered in the mid-to-late 1990s.  Some critics attributed this decline in part to less inspiring designs, which were re-branded Japanese-spec Hondas, such as the Acura Vigor in 1992. Additionally, during this time Acura switched to an alphanumeric nomenclature formula, dropping the Legend, Vigor and Integra titles, following the lead of the NSX sportscar. The 1996 3.5 RL, which replaced the popular Legend, and the Vigor became the 2.5 TL and 3.2 TL, and was regarded by many as the epitome of this problem, namely because the alphanumeric designations were more anonymous than the former Legend, Vigor and Integra titles, which had grown into their own cult followings.[7]

The parent company, Honda, was also feeling the results of the decline of the Japanese economy, due to the Japanese asset price bubble that took place during the 1990s and into the 2000s. This period is known in Japan as The Lost Decade.

During this time, the NSX also lost sales as Acura made few changes from its original 1990 trim. A year later, the Integra sedan was withdrawn from the Canadian market, replaced by the market-exclusive Acura 1.6 EL, a rebadged Honda Civic/Domani. The Integra sedan continued to be sold in the United States until 2001 (in name only, the model it was replaced with, the RSX, was simply a rebadged left-hand-drive version of the JDM DC5 Honda Integra).

Despite these letdowns, Acura gained prominence in the 1990s with a young group of customers: "tuner" enthusiasts.  Parent company Honda's reputation with this demographic as a maker of "easy-to-tune" and "rev-happy" engines rubbed off onto Acura, and the Integra became a popular tuner car.

See Honda NSX second generation

Beginning around the year 2000, Acura experienced a rebirth which was catalyzed by the introduction of several redesigned models. The first of these models was the 1999 Acura 3.2 TL, an upscale sedan. Critics suggested that although 3.2 TL did not outdo its competition in any one area of luxury cars, it offered a well-rounded blend of sportiness and luxury.[8] These characteristics, combined with the TL's competitive price, proved very popular with consumers.  Subsequent Acura models have followed a similar philosophy of offering lots of standard equipment and very few options.

Another refreshed Acura introduced in the early 2000s was the MDX, a popular three-row crossover SUV based on the Honda Odyssey minivan. The MDX replaced the slow-selling SLX, which was little more than a rebadged Isuzu Trooper. The MDX was a car-like crossover SUV with limited off-road capability that catered to the demands of the luxury SUV market.  It was given top honors by Car and Driver in its first comparison test against seven other SUVs.[9] Other cars in Acura's line-up during this time included the 3.2 TL, 3.2 CL, RSX (formerly the Integra hatchback), and the NSX. By the late 2000s, Acura had dropped the inclusion of engine displacement numbers in its vehicle designations, retaining a simpler, two- or three-letter designation instead (e.g. 3.5 RL became RL). The 1999-2003 TL have been plagued by transmission and other problems.[10]

In 2001, a new coupe, badged as the RSX was introduced to the Acura line up. It was a replacement for the outgoing Integra. The RSX is a rebadged Honda Integra (DC5) from the Japanese market. As a result, the RSX is technically a new generation of the outgoing Integra. Much like the Integra, the RSX was a hit in the tuner market. However, at the end of 2006, the RSX was taken out of the Acura line up, subsequently in the Japanese market as well. It is not known why the RSX did not continue to be sold as the Integra in Japan, however, the reason that Acura gave for the cancellation of the RSX is that Acura wishes to move up in the luxury brand, thus cannot sell a car that is mostly driven by teenagers.

A new TL debuted for the 2004 model year, featuring sharp, Italianate styling and a 270 hp (200 kW) V6[11]  measured by the then-current SAE standards. The new TL increased sales dramatically to 70,943 American units in 2005.

Also around the same time the Acura TSX was introduced. It was essentially a re-badged European and Japanese market Honda Accord loaded with features. This model became the only 4-cylinder sedan in Acura's line-up (with the exception of the Canadian market Acura CSX, which replaced the EL in 2006).

In 2005, a new RL was introduced with a 300 hp (220 kW) V6, improved styling, and Super Handling All-Wheel Drive (SH-AWD), a system capable of sending almost all of the RL's power to just one wheel in a turn. The second-generation RL appeared on Car and Driver's Ten Best list for 2005, and also garnered an CNET.com "Editor's Choice" When the RL was introduced, it did not perceive Acura as being on par with its German rivals and expected more value from the Japanese marque. The damage from Honda Japan's alleged hubris was done, even though Honda Canada has since reduced the RL's price.[12]

Acura's new models—particularly the TL and TSX—were well received by the motoring press and became Acura's top selling vehicles. The TSX was on Car and Driver's Ten Best list from 2004–2006.

In 2006 Acura introduced a small SUV which was based on its own unique unibody chassis called the RDX with models becoming available to U.S. consumers in August 2006. It is powered by a turbocharged 240-hp 4-cylinder engine and, like the RL, uses Acura's SH-AWD system. The model is available in two versions: Premium (the standard offering), and Technology Package (an upgraded offering with a GPS navigation system). A completely redesigned MDX became available in the fall of 2006 with a 300 hp (220 kW) V6 engine and Super Handling All-Wheel Drive.

Acura re-introduced the TL Type-S for the 2007 model year. 2009 marked the all new TL and TSX models as well as a mid-year model update for the RL; all three made their debuts in the 2008 calendar year. Acura planned on redesigning the RL by 2011 as well as announced the creation of a brand new luxury crossover vehicle called the ZDX, previewed by the concept of the same name.

The ZDX was the first Acura designed in Acura's design studio located at Torrance in Southern California. The ZDX was designed by Michelle Christensen and based on the Acura MDX using that vehicles 3.7 litre V6 engine (300Â bhp) and SH-AWD system. A common misconception is that it is based on the Honda Crosstour which was based on the Honda Accord rather than the bigger and more complex underpinnings of the MDX. It is also the first Acura to be completely built in North America. The production model of the ZDX made its debut in the Orange County Auto Show in Southern California on October 15, 2009. The concept behind the ZDX is that it is a "four door coupe," and the design emphasis of the body of the car is like a "pulled back slingshot." Another prominent design aspect of the ZDX is the wide rear shoulders above the rear wheels. The ZDX went on sale in December 2009.

Acura initially had plans for the third generation of RL to be a rear wheel drive V8 sedan for its flagship, but shelved the plans in the wake of the 2008 economic downturn.[13]

Acura announced new TSX wagon in the 2010 New York Auto Show and the car is due to go on sale in Fall of 2010. The wagon version of the TSX is based on the wagon version of the Euro-spec Honda Accord which has been in the European market for some time. However, Acura did not announce any plans for the third-generation RL.

For the 2010 model year the MDX models received some slight exterior changes and increased equipment levels. Mechanically the engine remained unchanged but the transmission was updated from the previous 5-speeds to 6-speeds including steering column mounted shift override paddles. This new transmission was shared with the ZDX.

In 2012, Acura introduced a new model called the ILX which is based heavily on the Honda Civic platform. It shares the same 3 power train variants from the Civic: the 2.0L, 2.4L VTEC and a 1.5L Hybrid. It also unveiled the Acura RLX Concept, a replacement for the RL sedan, at the New York International Auto Show. The ILX went on sale in May 2012 in the United States as a 2013 model.

Also in 2012, Acura "reinvented" another model, The RDX concept. For the new model, Acura dropped the 4 cylinder turbo for a 3.5L V6. When the official 2013 Acura RDX was released, it was relatively similar to the concept but had changes in wheels, taillights, and some other cosmetics. A lot of this Acura looks like its brother the ILX. The 2013 RDX doesn't have the SH-AWD system instead it has "AWD with intelligent control", similar to the CR-V's AWD system. The RDX is now available with BASE, BASE AWD, TECH., and TECH AWD.

In 2013, Acura showed a 2014 Concept of the MDX. Shortly after, it was released to the public.  The MDX competes with the Lexus RX, Audi Q7, and many others. For the first time, American buyers of the 2014 MDX didn't have to get the SH-AWD model since Acura released the FWD model of the MDX. However the Canadians will have SH-AWD with the standard model of the MDX due to weather conditions. This model also gets the Jewel Eye LED lights similar to the RLX. The trim levels are BASE, TECH, TECH AND ENTERTAINMENT, and ADVANCE AND ENTERTAINMENT. All of these can be equipped with SH-AWD.

For the 2014 model of the RDX. Acura drops color Amber Brownstone which was really popular for Kona Coffee Metallic from the CR-V. The new color is a little darker. Changes for the 2014 ILX include the 1.5L engine being dropped and leather now being standard on all trims.

In December 2013, at the Los Angeles Auto Show, Acura unveiled a Sport Hybrid SH-AWD version of the flagship RLX sedan. It will be the most powerful and technologically advanced vehicle in Acura's history. This high-end vehicle will come standard with a 310-horsepower 3.5L V6 engine and a pair of electric motors (one for each axle) that generate a combined 377 horsepower through a new 7-speed dual clutch transmission. Acura technology firsts on the 2014 RLX Sport Hybrid SH-AWD also include an electronic gear selector that replaces the conventional, center console-mounted shift lever with an efficiently packaged push-button array allowing the driver to easily select the desired modeâ€”Park, Drive and Reverse, as well as Sport and Normal driving modes. The new RLX Sport Hybrid will go on sale in mid-2014.

In January 2014, at the Detroit Auto Show, Acura unveiled the all-new 2015 TLX sports sedan. This new vehicle will replace the soon to be discontinued TSX and TL sedans. The TLX in the 2.4-liter comes with Acuraâ€™s all new eight-speed dual clutch DCT transmission. Meanwhile, the high-end 3.5-liter V6 model will come with the new nine-speed transmission and Super-Handling All Wheel Drive (SH-AWD). The TLX went on sale in the Summer of 2014.

In 2015, Acura redesigned the ILX for the 2016 model year. Now with a 2.4L 8-speed dual clutch transmission (DCT) instead of the 2.0L 5-speed and 2.4L manual. Added is the signature Acura Jewel Eye LED headlights, LED taillights, updated wheels, suspension modifications, bumper redesign, and new packages such as AcuraWatch Package (includes adaptive cruise control, collision mitigation, lane keeping assist system, road departure mitigation, and forward collision warning) and A-Spec (sportier appearance). Replacing the color Fathom Blue is Catalina Blue Pearl.

Also redesigned is the 2016 RDX. Featured with the same 3.5L 6-speed automatic with some slight adjustments for efficiency and hp/torque boosts. The RDX gets the Acura Jewel Eye LED treatment as well. A new suspension is added to "solve" the shock failures of 2013-2015 models. A new Advance Package is being offered with the inclusion of upgraded wheels, parking sensors (front and rear), rain-sensing windshield wipers, auto-dimming side mirrors, remote start, ventilated seats, and foglights. Acura is making foglight an option for those lower trims such as Technology Package and Premium. AcuraWatch is also now being offered throughout the line.

Almost since its inception, Acura has been involved in American motorsports, specifically in Sports Car Club of America (SCCA) and IMSA GT Championship series.  Starting in 1991, Acura reached an agreement with Comptech Racing to use the V6 motor of the all-new Acura NSX in Comptech's Camel Lights Spice prototype.  Acura would go on to take the Lights championship in its initial year, including a class win at the 24 Hours of Daytona.  Acura and Comptech would take the Lights championships again in 1992 and 1993, as well as another Daytona class win in 1992 and a class win at the 12 Hours of Sebring for 1993.

However a change in the IMSA rules would lead to the demise of the Camel Lights, and so Acura moved to touring car racing, joining Realtime Racing in the SCCA World Challenge with the NSX in 1996, winning the final two races of the season.  In 1997, Acura added Acura Integras to the lower classes, and were successful in taking the championship in both of these classes.  Realtime took the touring championship with the Integra again in 1998, and came within a few points of winning it again in 1999 only to lose it in the final race, then coming back to retake the title in 2000.

Although Realtime had abandoned the NSX program in 1998, the NSXs returned to the top class in 2001.  Although the NSX squad suffered mechanical woes and were unable to take the title, the Integras of the touring class once again took the teams championship.  By 2002, Acura replaced the aged Integra with the new Acura RSX in the final races of the season, scoring good finishes in their debut.  At the same time, Acura finally retired the NSXs from the top GT class.  The RSXs would later be joined by new Acura TSXs in 2004.  Realtime continues to campaign the RSX and TSX in the SCCA Speed World Challenge.  Acura also currently races RSXs and TSXs in the Grand American Road Racing Association's KONI Challenge Series for touring cars.

At the Detroit Auto Show in 2006, Acura announced their plans to enter the American Le Mans Series with multiple teams of Le Mans prototypes in the LMP2 class starting in 2007 season.  The cars would be purchased chassis from existing manufacturers, but use American-built Acura V8s (a first for Acura and Honda).  Acura also announced their initiative to take the cars to the 24 Hours of Le Mans in 2008 and eventually move to the superior LMP1 class with cars built by Acura themselves in 2009.  Later in 2006, Acura announced that the three factory teams would be Andretti Green Racing, Fernández Racing, and Highcroft Racing, and that the chassis would be built by Lola Cars of the UK and Courage Compétition of France.

The three Acura-powered prototypes debuted at the 2007 12 Hours of Sebring, which was the opening round of the ALMS season, and were successful in their debut.  Andretti Green's Acura took second place overall and first in the LMP2 class, while FernÃ¡ndez Racing took third overall, and Highcroft sixth, beating a series of established Porsche teams in their class.  At the same time, Acura began development of their own chassis by heavily modifying their purchased Courage chassis.  The cars now have been so radically changed from their original orientation that they are now named Acura ARX-01a.  Acura will introduce evolved B-spec cars in the 2008 season, with Gil de Ferran launching a fourth Acura team in the ALMS.

In 2009, Acura produced its very first LMP1 car, the Acura ARX-02a.

In 2010, Honda rebadged all Acura prototypes as Honda Performance Development (HPD) cars, and announced that all future prototypes (such as the HPD ARX-03) would be constructed under the HPD name.

Acura did not participate in motorsports again until 2013, where an Acura ILX was unofficially entered in the 25 Hours of Thunderhill by Honda engineers. The car would retire from the race due to engine problems.

The Acura ILX returned to Thunderhill for the 2014 25-hour race. This time the car won its class and finished 8th overall.

The Acura logo, introduced in 1990 for the 1991 model year, is, according to Honda, a caliper - a design tool used for measuring[14] that can also be interpreted as a skewed "H" (for Honda) or a stylised "A" (for Acura). The logo that was originally authorized without approval by Soichiro Honda did not contain the small horizontal bar joining the two vertical pillarsâ€”thus, it did not form the letter "H". Soichiro Honda ordered the 5,000 badges already produced to be destroyed, including prying off the emblems applied to 309 cars already (US-spec Integra, Legend, and NSX models).[15]

Acura's current marketing slogan is "Precision Crafted Performance[16]."[17] Recent models include Technology, Advance, Type-S, and SH-AWD trim levels. Technology and Advance models typically come with the latest hi-tech features such as keyless start and a blind spot information system. Type-S and SH-AWD models are performance-oriented, with a substantial increase in horsepower compared to the lower trim levels. Some models, such as the TL, also combine trim levels (i.e. "SH-AWD with Advance").[18]

Acura began an association with Marvel Entertainment in 2010, upon release of the film Iron Man 2, which featured a ZDX after the ending credits. On April 20, 2011, Acura and Marvel announced a promotional campaign, making Acura the official brand of Marvel's fictional S.H.I.E.L.D. organization.[19] Soon thereafter, several Acura models—such as the MDX, ZDX, RL, and TL—appeared in the films Thor and Captain America: The First Avenger. In the 2012 film, The Avengers, Iron Man (played by Robert Downey, Jr.) drove an exotic sportscar by Acura, made specifically for the film,[20] rather than the Audi R8 he previously drove. It was rumored that the car spotted during filming was a concept for the second generation NSX,[21][22] however, a different-looking 2012 Acura NSX Concept was unveiled at the North American International Auto Show, on January 9, 2012.

From 1995 to 2007, Acura sponsored two WTA Tour tennis tournaments, both named the Acura Classic.

In 2012, Acura was the presenting sponsor and official vehicle of the Sundance Film Festival.[23]

Acura also has a 'Mobility Program' that ensures drivers who are disabled are safe in their vehicles. The program offers cash reimbursement towards the cost of adaptive equipment for disabled drivers.[24]

2009 model year

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2015 model year

2016 model year


when did grant's vodka change to glens

Glen's Vodka was launched in 1972. The brand was originally known as Grant's Vodka, but following a legal challenge [2] was relaunched in 2003 as Glen's Vodka.

Glen's Vodka

Glen's Vodka is a brand of vodka, owned and produced by the Loch Lomond Group, a Scottish company. It is produced from sugar beet at the Catrine Distillery in Ayrshire, Scotland, and is sold by drinks retailers across the UK. It is available in 50ml, 200ml, 350ml, 700ml, and 1 litre bottles.

In July 2014, Glen's Vodka was reported to be the UK's second bestselling spirit.[1]

In 2009, Glen's Vodka came first in a blind-tasting test conducted by British newspaper The Telegraph.[3] The tasting included a variety of premium-brand vodkas including Grey Goose and Absolut.

In 2015, Glen's launched Platinum, a 40% ABV premium grain version of Glen's Vodka.

Glen's Vodka has been among several vodka brands targeted by spirits counterfeiters.

In 2008, the UK’s Food Standards Agency publicised reports of counterfeit 700ml bottles being sold.[4] Counterfeit bottles can be easily identified: unlike authentic Glen’s Vodka bottles, they do not feature the Allied Glass Containers (AGC) stamp on the bottom.

In 2011, UK authorities prosecuted a criminal gang responsible for counterfeiting Glenâ€™s Vodka.[5] Enforcement officers seized 9,000 bottles of fake vodka from an illegal bottling plant in Leicestershire. Manufacturing equipment was also seized. Members of the gang received prison sentences of up to seven years.

Glen's Vodka was drunk and discussed on Alan Carr's Chatty Man by Spanish heartthrob Enrique Iglesias in 2014. Iglesias wasn't very complimentary towards the vodkas quality.[6]

The spirit is also the drink of choice of Eleanor Oliphant in Gail Honeyman's novel Eleanor Oliphant is Completely Fine, which won the 2018 Costa Debut Novel Award.[7]


who wrote whitney houston how will i know

"How Will I Know" is a song recorded by American recording artist Whitney Houston for her eponymous debut album, which was released in February 1985. The song was released by Arista Records in November that year, as the album's third single. Composed by George Merrill and Shannon Rubicam, the song was originally intended for Janet Jackson, but she passed on it. Houston then recorded the song with altered lyrics and production from Narada Michael Walden. The lyrics speak about the protagonist trying to discern if a boy she likes will ever like her back.

How Will I Know

"How Will I Know" received mainly positive reviews. The song became Houston's second number one single on the United States Billboard Hot 100. It spent two weeks atop the chart and also became Houston's first chart topper on the Canadian RPM Singles Chart. Its success was worldwide: it reached the top 10 in Sweden, Ireland, Norway, and the United Kingdom, and the top 20 in the Netherlands, New Zealand, and Switzerland.

The song's music video features scenes of Houston dancing in a setting of video screens and colored partitions. The music video gave Houston exposure to the teens and MTV. It also received nominations at the 1986 MTV Video Music Awards in the categories of Best Female Video and Best New Artist in a Video, winning the former category. The song was performed on many of her tours including Greatest Love Tour (1986) and her Nothing but Love World Tour (2009â€“10). "How Will I Know" is also featured as a remix on Houston's compilation album Whitney: The Greatest Hits (2000), whereas the original version is featured on The Ultimate Collection (2007) and I Will Always Love You: The Best of Whitney Houston (2012; remastered).

Originally, songwriters George Merrill and Shannon Rubicam had written the song's demo for Janet Jackson, employed by A&M Records executive, John McClain.[1] However, after hearing the song, Jackson's management passed on the song, feeling it was too weak in comparison to her other material. In an interview with Fred Bronson, Merrill expressed his feelings after learning of Jackson's decision. "We were pretty upset because we thought it was perfect for her at the time. We had written it with her completely in mind."[1] During this period, Brenda Andrews, at Almo-Irving Music, Merrill and Rubicam's publisher, played the song for Gerry Griffith, the director for R&B music at A&M and Arista Records. Griffith, who was compiling material for Houston's debut at the time, felt the song perfectly matched her sound. He soon contacted Andrews and the song's two writers and implored that they should relinquish the song to him for Houston's debut album.[1] Griffith described his discovery of the song, and what he and Clive Davis thought of it:

"We had a lot of R&B-based tunes, we had a few ballads, but we didn't have a pop crossover song. So when I heard 'How Will I Know,' I said 'this is absolutely perfect.' I played it for Clive [and] he fell in love with it. I wasn't very familiar with her family background; I didn't realize that, even at that time, there was a pretty big industry buzz about her future."[1]

After getting permission to use the song from Merrill, Griffith quickly turned to Narada Michael Walden, who was producing Aretha Franklin's "I Knew You Were Waiting (For Me)", for her album Who's Zoomin' Who?, at the time.[1] After getting in touch with Walden, Griffith frantically implored him to produce the song, describing how important the song would be for Houston's future album. After hearing the song's demo, Walden agreed to fly down to San Rafael, California to arrange it. He was not much impressed with the demo and requested permission to change some of the song's lyrics and chord progression. Flustered by his request, Merrill and Rubicam denied him the right to their song.[1] After a lot of back-and-forth with Griffith, they compromised and allowed Walden to de-construct the song and change the key and tempo. After completing the song, Houston came into the studio to record her vocals. Cissy Houston, the singer's mother, joined her daughter to perform the song's background vocals.  Griffith explained:

"I asked Whitney to sing on the background session. She was reluctant because she wanted to enjoy hearing her mother sing. I said, 'No, get out there and sing,' so she did. The background sounded incredible...Clive Davis heard the mix and immediately gave it a 10, which is outrageous for him, because he doesn't like anything!"[1]

The tenor saxophone is played by Premik Russell Tubbs.[2]

"How Will I Know" is composed in a 1980s dance beat.[3] Rolling Stone described the song as "perky synth-funk".[4] According to Kyle Anderson of MTV, the song found Houston hitting an "incredible groove".[5] It is written in the key of G flat major.[3] The beat is set the time signature of common time and moves at a fast tempo of 120 beats per minute.[3] The song also has the sequence of G♭-B♭m7-G♭/C♭-D♭-E♭m-D♭ as its chord progression.[3] Houston's vocals in the song span from the note of D♭4 to the high note of G5.[3] Lyrically, the song speaks about the protagonist trying to discern whether a boy she likes will ever like her back.[6] She is also hesitant, because her friends tell her "love can be deceiving", and she is so shy that she cannot phone him.[6] Later, she feels that it might be a dream, but realizes that "there's no mistaking", and that what she feels is really love.[6]

The song mainly garnered positive reviews from critics, with some noting it as a standout on the album.[7] Don Shewey of Rolling Stone commented "Although it's awfully reminiscent of the Pointer Sisters' 'He's So Shy', 'How Will I Know' is still irresistibly danceable."[8] Stephen Thomas Erlewine of AllMusic wrote "...what really impresses some 20-plus years on are the lighter tracks, particularly the breakthrough single 'How Will I Know'."[7] While listing Houston's top five songs of the 1980s, Steve Peake of About.com gave the song a positive review, writing, "Houston's boppy, peppy numbers tend to suffer from a particularly dated sound compared to her ballads, but this song still works remarkably well because of its lush melody throughout the verse, bridge and chorus." "[t]his track helps Houston prove that she knows how to interpret, with great skill, tunes that display solid craftsmanship," he added.[9] While reviewing the Deluxe Anniversary Edition of the album, Mikael Wood of Entertainment Weekly commented on the a cappella version of the song noting, "a cappella mix of 'How Will I Know' [that] displays the singer's precision long before the advent of Auto-Tune."[10] While reviewing The Ultimate Collection, Nick Levine of Digital Spy added, "Houston's floor-fillers have aged a little more gracefully, although their clunky, thudding drum sounds are as unmistakably eighties as Joan Collins' Dynasty wardrobe."[11] The song was voted number twelve in VH1's List of Greatest Songs of the 1980s.[12][13]

"How Will I Know" was released by Arista Records in November 1985 as the third single from Houston's self-titled debut. It debuted at number 60 on the US Billboard Hot 100, on the December 7, 1985 issue.[14] Nine weeks later, it peaked at number one on the issue dated February 15, 1986, becoming Houston's second number one single in the US.[1] It displaced Dionne Warwick's "That's What Friends Are For", and was displaced by "Kyrie" by Mr. Mister.[1] It stayed on the peak for two weeks.[1] The song also debuted on the Billboard Hot R&B/Hip-Hop songs at number 60 and later peaked at number one, a peak it maintained for one week.[14] On the issue dated January 25, 1986, "How Will I Know" entered the Hot Dance Club Play charts at number 30 and later peaked at number three on the February 22, 1986 issue.[14] It also peaked at number one on the Adult Contemporary charts.[14] Recording Industry Association of America (RIAA) certified the single Gold on December 6, 1995, for shipments of 500,000 copies or more.[15] It ranked number six on the Billboard Year-End charts. In Canada, the song debuted at number 80 on the RPM Singles chart on the issue dated December 14, 1985.[16] It later peaked at number one on the week dated March 1, 1986, becoming Houston's first number one single in Canada.[17] It was later certified Gold by Canadian Recording Industry Association on May 1, 1986, for shipments of 200,000 copies or more.[18]

The song performed well in other countries. In United Kingdom, the song debuted at number 36, during the week of January 25, 1986, and later peaked at a position of number five.[19] It was also certified Silver by British Phonographic Industry (BPI).[20] According to MTV UK and Ireland, the single has sold about 280,000 copies in the United Kingdom.[21] In New Zealand, the song debuted at number 35 on the Singles chart and later peaked at number 19.[22] In Austria, the song reached a peak position of number 28,[22] while reaching a peak of number 12 in the Netherlands.[22] The song also reached number two in Norway and Sweden, while charting at number 11 in Switzerland.[22] According to Allmusic, "How Will I Know" has sold about 1.5 million copies worldwide.[23]

In Australia, "How Will I Know" was released as the first single from the album, in mid 1985.  It spent a solitary week in the Kent Music Report top 100 chart at number 97 in July 1985,[24] before re-entering the chart in February 1986, eventually peaking at number two.[25]

The music video for "How Will I Know", directed by Brian Grant and choreographed by Arlene Phillips,[26] was filmed prior to the release of the single and album.[27] Unlike her previous music videos, Houston was given the opportunity to move beyond the staged performance settings to demonstrate elementary dance moves.[27] The video is set against a strikingly designed, vividly colored setting of video screens and partitions.[27] Houston's hair is dyed a honey color, and is held up by a dazzling colored bow.[27] She is also seen accented by a tight, sleeveless gray dress made of metal mesh, reaching almost to her knees, accessorized with matching arm-bracelets.[27][28] Houston is also seen interacting with animated dancers, in black outfits and wearing French-style makeup.[28] The video also has a scene of splattering of paint and it's dripping down the screen.[28] Houston's label-mate and family friend Aretha Franklin also makes a cameo appearance in the music video.[28] In 2011, Kyle Anderson of MTV wrote that the video was "eye-opening to watch her cut loose in a fun environment," since her previous songs were ballads.[5]

The music video was her first to receive heavy rotation on MTV.[29] [30] Also, the video was nominated for two awards at the 1986 MTV Video Music Awards, in the categories of Best New Artist in a Video and Best Female Video, winning the latter.[31]

Houston performed the song throughout the entire run of her Greatest Love Tour (1986), Moment of Truth World Tour (1987–1988), Feels So Right Japan Tour (1990), I'm Your Baby Tonight World Tour (1991), The Bodyguard World Tour (1993–1994), and My Love Is Your Love World Tour (1999). She also recently performed the song on her Nothing but Love World Tour (2009–2010). Apart from the concert tour performances, Houston has performed the song on various other occasions like the Third MTV Video Music Awards (1986), where she sang "How Will I Know" and "Greatest Love of All",[31][32][33] Thirteenth Annual American Music Awards (1986),[34] and 1987 BRIT Awards.[35] The latter performance is included in the 2014 CD/DVD release, Whitney Houston Live: Her Greatest Performances.[36]  On May 15, 1987, during her European promotion for then-new album, Whitney, Houston sang the song at the Montreux Golden Rose Rock Festival: IM&MC Gala with two other 1986 released songs, "I Wanna Dance with Somebody (Who Loves Me)" and "Where Do Broken Hearts Go".[37] She appeared on The Mike Douglas Show, taped in Philadelphia, and performed "How Will I Know".[38] On her Moment of Truth World Tour, she participated in the Nelson Mandela 70th Birthday Tribute Concert and performed the song with other seven songs. She also performed the song on "Welcome Home Heroes", a concert dedicated to the US troops, their families, and military and government dignitaries in honor of those returning from the Gulf War, which aired on HBO on March 31, 1991.[39][40] The concert was taped and later released as a VHS on May 14, 1991.[39] She also performed the song on The Concert for a New South Africa, three concerts to honor President Nelson Mandela, in 1994. Houston later performed the song on the closing ceremonies of the 1994 World Cup along with five of her other songs.[41] In 2000, she performed the song on Arista's 25th Anniversary, along with "I Wanna Dance With Somebody (Who Loves Me)".[42]

US vinyl/7"[43]

German vinyl/12"[44]

German vinyl/12"[45]

Japan CD single/3"[46]

How Will I Know[6]

Someone for Me[6]


where is the pac 12 football championship played

After three years of the home-hosting model, the Pac-12 announced a three-year deal to host the game at the neutral site of Levi's Stadium in Santa Clara, California.[12] In 2017, the Pac-12 announced it would keep the game at Levi's Stadium through 2019 with an option for 2020.[13]

Pac-12 Football Championship Game

The Pac-12 Football Championship Game is an annual college football game held by the Pac-12 Conference to determine the season's conference champion. The inaugural game was held on December 2, 2011.[3]

The game pits the champion of the Pac-12 North Division against the champion of the Pac-12 South Division. Since 2014, the game has been played at Levi's Stadium in Santa Clara, California.[2] The first three games were held at the home stadium of the division winner with the better conference record: Autzen Stadium in 2011, Stanford Stadium in 2012, and Sun Devil Stadium in 2013.

Television broadcast rights to the game are shared by Fox Sports and ESPN/ABC. ESPN Radio holds the radio rights.[4]

In 2011, the Pacific-10 Conference added Colorado and Utah, bringing the membership total to 12 teams and becoming the Pacific-12. Consequently, the conference split into two six-team divisions and created an annual conference championship game.

In the first season of the newly expanded Pac-12 in 2011, USC finished first in the South Division with a 7-2 conference record but was ineligible to play in postseason games due to NCAA sanctions. UCLA (5-4) represented the South Division in the Pac-12 Championship Game as its second-place team.[5]

Broadcast rights to the game are held by ESPN and Fox Sports on a 12-year deal that began in 2012, where the rights alternate between the two networks on a year-by-year cycle. Fox broadcast the inaugural game in 2011.[6][7]

Division standings are based on each team's overall conference record. In the event that two teams finish in a tie for first place, the championship game berth goes to the winner of the season's head-to-head contest between the two teams. If three or more teams are tied, the following tiebreakers are used to determine the division champion:[8]

The North Division representative has won every edition of the Pac-12 Championship Game since its inception in 2011. Rankings are from the AP Poll at time of the matchup.

During its first three years, the site of the Pac-12 Championship Game was the home stadium of the division champion with the superior overall conference record. In the event that the two division champions were tied, the head-to-head record would be used as the tiebreaker. If the two teams did not meet during the season, a BCS component was to be used.


who played detective green on law & order

Jesse L. Martin (born Jesse Lamont Watkins; January 18, 1969) is an American actor and singer. He is best known for originating the role of Tom Collins on Broadway in the musical Rent and his television roles as NYPD Detective Ed Green on Law & Order and Detective Joe West on The Flash.

Jesse L. Martin

Martin, the third of four sons, was born in Rocky Mount, Virginia. His father, Jesse Reed Watkins (1943-2003), was a truck driver, and his mother, Virginia Price, a college counselor; the two divorced when he was a child.[1] His mother eventually remarried and Martin adopted his stepfather's surname.[2]

When Martin was in grade school, the family relocated to Buffalo, New York, but Martin began to dislike speaking because of his Southern accent and was often overcome with shyness. A concerned educator and mentor influenced him to join an after-school drama program and cast him as the pastor in The Golden Goose. Being from Virginia, the young Martin played the character the only way he knew how: as an inspired Southern Baptist preacher. The act was a hit, and Martin emerged from his shell.[2] Martin attended high school at the Buffalo Academy for Visual and Performing Arts, where he was voted "Most Talented" in his senior class. He later enrolled in New York University's Tisch School of the Arts' theatre program, and while at NYU he was also the popular president of Rubin Dorm, the former domain of Mark Twain.

After graduation, Martin toured the states with John Houseman's The Acting Company. He appeared in Shakespeare's Rock-in-Roles at the Actors Theatre of Louisville and The Butcher's Daughter at the Cleveland Play House, and returned to Manhattan to perform in local theatre, soap operas, and commercials. Finding that auditions, regional theater, and bit parts were no way to support himself, Martin waited tables at several restaurants around the city. He was literally serving a pizza when his appearance on CBS's Guiding Light aired in the same eatery. While the show aired, the whole waitstaff gathered around the bar television to cheer his performance. Often, during the dinner rush, he broke out in song. When he gave his customers their dinner checks, he told them to "keep it, because someday I'll be famous!"[citation needed]

Martin made his Broadway debut in Timon of Athens, and then performed in The Government Inspector with Lainie Kazan. While employed at the Moondance Diner, he met the playwright Jonathan Larson, who also worked on the restaurant's staff. In 1996, Larson's musical Rent took the theatre world by storm, with Martin in the role of gay computer geek/philosophy professor Tom Collins. The 1990s update of Puccini's La Bohème earned six Drama Desk Awards, five Obie Awards, four Tony Awards, and the Pulitzer Prize. In 1998, the West End production of Rent opened with four of the original cast members, including Martin. He played Tad in the concept album of Bright Lights, Big City.

In 2010, Martin returned to the stage for one of his biggest theater commitments since Law & Order, performing in the productions of The Merchant of Venice and The Winter's Tale as a part of The Public Theater's Shakespeare in the Park at the Delacorte Theater in Central Park. He played the roles of Gratiano and King Polixenes, respectively. The two shows were performed in repertory, beginning with previews on June 9, 2010, through to the final performance on August 1, 2010.

The Merchant of Venice later transferred to Broadway to the Broadhurst Theater for a limited engagement, in which Martin reprised his role as Gratiano. The show began previews on October 19, 2010, and officially opened on November 7. The show began a hiatus on January 9 to accommodate Al Pacino's pre-existing obligations, and resumed from February 1, 2011, to February 20, 2011; Martin did not reprise his role after the hiatus due to other work commitments.[3] He took part in a one-night-only reading benefit of Romeo and Juliet to celebrate the 50th anniversary of the opening of the Delacorte Theater in Central Park, alongside Meryl Streep, Kevin Kline, Raúl Esparza, and others on June 18, 2012.[4]

Martin soon landed roles on Fox's short-lived 413 Hope St. and Eric Bross' independent film Restaurant (1998). Ally McBeal's creator, David E. Kelley, attended Rent's Broadway premiere and remembered Martin when the show needed a new boyfriend for the title character. His performance as Dr. Greg Butters on Ally McBeal caught the attention of David Duchovny, who cast Martin as a baseball-playing alien in a 1999 episode of The X-Files titled "The Unnatural" that Duchovny wrote and directed.

While still shooting Ally McBeal, Martin heard rumors that actor Benjamin Bratt planned to leave the cast of Law & Order. Martin had tried out for the show years before and won the minor role of a car-radio thief named Earl the Hamster, but decided to wait for a bigger part. With the opportunity presenting itself, Martin approached Law & Order producer Dick Wolf regarding the opening. Wolf hoped to cast him, and upon hearing that CBS and Fox both offered Martin development deals, he gave the actor the part without an audition.[5][6]

From 1999 to 2008, he played Detective Edward "Ed" Green on Law & Order. Altogether, he was the fifth-longest serving cast member behind S. Epatha Merkerson, Sam Waterston, Jerry Orbach, and Steven Hill. He had a brief hiatus at the end of the 2004â€“2005 season while he was filming the movie adaptation of Rent in which he reprised the role of Tom Collins. Martin's final episode of Law & Order aired April 23, 2008, as he was replaced by Anthony Anderson. Martin returned to NBC a year later as the co-star of The Philanthropist.

On September 14, 2012, NBC announced that Martin would be joining the cast of Smash during season two for a nine-episode arc as Scott Nichols, the artistic director of the Manhattan Theatre Workshop.[7] Martin has also been cast as one of the leads in an NBC pilot of The Secret Lives of Husbands and Wives as Greg Cooke.[8] It was announced on May 10, 2013, that NBC would not be picking up the pilot.[9]

Martin was cast as Detective West in the pilot for The Flash, a spin-off from Arrow in January 2014.[10] The Flash was picked up for a full 23-episode season by The CW.[11]

On March 4, 2013, it was announced that Martin would replace Lenny Kravitz as Marvin Gaye in an upcoming biopic directed by Julien Temple, and produced by Vassal Benton and Fred Bestall.[12][13] Martin had been attached to the Marvin Gaye biopic for years and had stated that it was his dream role to portray the legendary Motown singer.[12][13]

Martin voiced the character Ed Green in the video game Law & Order: Justice is Served, and narrated the audio book The Fire Next Time by James Baldwin and On the Shoulder of Giants, Volume 2: Master Intellects and Creative Giants by Kareem Abdul-Jabbar.[14][15] He co-produced the off-Broadway production of Fully Committed with Rent co-star Adam Pascal (and two other producers).[2][16]

Martin sits on the board of trustees for the Jonathan Larson Performing Arts Foundation along with Rent co-producer Kevin McCollum.[17][18]

In October 2006, Martin returned to Buffalo, New York to work on an independent film (Buffalo Bushido).[19]

He is a resident of Manhattan.[20][21]


judicial activism has led to increased in the power of

Some proponents of a stronger judiciary argue that the judiciary helps provide checks and balances and should grant itself an expanded role to counterbalance the effects of transient majoritarianism, i.e., there should be an increase in the powers of a branch of government which is not directly subject to the electorate, so that the majority cannot dominate or oppress any particular minority through its elective powers.[13]  Other scholars have proposed that judicial activism is most appropriate when it restrains the tendency of democratic majorities to act out of passion and prejudice rather than after reasoned deliberation.[14]

Judicial activism

Judicial activism refers to judicial rulings that are suspected of being based on personal opinion, rather than on existing law. It is sometimes used as an antonym of judicial restraint.[1] The definition of judicial activism and the specific decisions that are activist are controversial political issues. The question of judicial activism is closely related to constitutional interpretation, statutory construction, and separation of powers.

Arthur Schlesinger Jr. introduced the term "judicial activism" in a January 1947 Fortune magazine article titled "The Supreme Court: 1947".[2]

The phrase has been controversial since its beginning. An article by Craig Green, "An Intellectual History of Judicial Activism," is critical of Schlesinger's use of the term; "Schlesinger's original introduction of judicial activism was doubly blurred: not only did he fail to explain what counts as activism, he also declined to say whether activism is good or bad."[3]

Even before this phrase was first used, the general concept already existed. For example, Thomas Jefferson referred to the "despotic behaviour" of Federalist federal judges, in particular Chief Justice John Marshall.[4]

Black's Law Dictionary defines judicial activism as a "philosophy of judicial decision-making whereby judges allow their personal views about public policy, among other factors, to guide their decisions."[5]

Political science professor Bradley Canon has posited six dimensions along which judge courts may be perceived as activist:[6] majoritarianism, interpretive stability, interpretive fidelity, substance/democratic process, specificity of policy, and availability of an alternate policymaker. David A. Strauss has argued that judicial activism can be narrowly defined as one or more of three possible actions: overturning laws as unconstitutional, overturning judicial precedent, and ruling against a preferred interpretation of the constitution.[citation needed]

Others have been less confident of the term's meaning, finding it instead to be little more than a rhetorical shorthand. Kermit Roosevelt III has argued that "in practice 'activist' turns out to be little more than a rhetorically charged shorthand for decisions the speaker disagrees with";[7] likewise, the solicitor general under George W. Bush, Theodore Olson, said in an interview on Fox News Sunday, in regards to a case for same-sex marriage he had successfully litigated, that "most people use the term 'judicial activism' to explain decisions that they don't like."[8] Supreme Court Justice Anthony Kennedy has said that, "An activist court is a court that makes a decision you don't like."[9][10]

Detractors of judicial activism charge that it usurps the power of the elected branches of government or appointed agencies, damaging the rule of law and democracy.[11]  Defenders of judicial activism say that in many cases it is a legitimate form of judicial review, and that the interpretation of the law must change with changing times.

A third view is that so-called "objective" interpretation of the law does not exist. According to law professor Brian Z. Tamanaha, "Throughout the so-called formalist age, it turns out, many prominent judges and jurists acknowledged that there were gaps and uncertainties in the law and that judges must sometimes make choices."[12] Under this view, any judge's use of judicial discretion will necessarily be shaped by that judge's personal and professional experience and his or her views on a wide range of matters, from legal and juridical philosophy to morals and ethics. This implies a tension between granting flexibility (to enable the dispensing of justice) and placing bounds on that flexibility (to hold judges to ruling from legal grounds rather than extralegal ones).

Moreover, they argue that the judiciary strikes down both elected and unelected official action, in some instances acts of legislative bodies reflecting the view the transient majority may have had at the moment of passage and not necessarily the view the same legislative body may have at the time the legislation is struck down. Also, the judges that are appointed are usually appointed by previously elected executive officials so that their philosophy should reflect that of those who nominated them, that an independent judiciary is a great asset to civil society since special interests are unable to dictate their version of constitutional interpretation with threat of stopping political donations.

The following rulings have been characterized as judicial activism.

While the term was first coined and is often used in the United States, it has also been applied in other countries, particularly common law jurisdictions.

India has a recent history of judicial activism, originating after the emergency in India which saw attempts by the Government to control the judiciary. Public Interest Litigation was thus an instrument devised by the courts to reach out directly to the public, and take cognizance though the litigant may not be the victim. "Suo motu" cognizance allows the courts to take up such cases on its own. The trend has been supported as well criticized.[citation needed] New York Times author Gardiner Harris sums this up as[22]

All such rulings carry the force of Article 39A of the Constitution of India,[25] although before and during the Emergency the judiciary desisted from "wide and elastic" interpretations, termed Austinian, because Directive Principles of State Policy are non-justiciable. This despite the constitutional provisions for judicial review and B R Ambedkar arguing in the Constituent Assembly Debates that "judicial review, particularly writ jurisdiction, could provide quick relief against abridgment of Fundamental Rights and ought to be at the heart of the Constitution."[26]

Fundamental Rights as enshrined in the Constitution have been subjected to wide review, and have now been said to encompass a right to privacy, right to livelihood and right to education, among others. The 'basic structure' of the Constitution has been mandated by the Supreme Court not to be alterable, notwithstanding the powers of the Legislature under Article 368.[25] This was recognized, and deemed not applicable by the High Court of Singapore in Teo Soh Lung v. Minister for Home Affairs.

Recent examples quoted include the order to Delhi Government to convert the Auto rickshaw to CNG,[23] a move believed to have reduced Delhi's erstwhile acute smog problem (it is now argued to be back)[27] and contrasted with Beijing's.[28]

The Israeli approach to judicial activism has transformed significantly in the last three decades, and currently[when?] presents an especially broad version of robust judicial review and intervention.[29][30][31] Additionally, taking into consideration the intensity of public life in Israel and the challenges that the country faces (including security threats), the case law of the Israeli Supreme Court[32] touches on diverse and controversial public matters.


what is the difference between simulacra and hyperreality

Simulation/Simulacra: The concepts most fundamental to hyperreality are those of simulation and the simulacrum, first conceptualized by Jean Baudrillard in his book Simulacra and Simulation. The two terms are separate entities with relational origin connections to Baudrillard's theory of hyperreality.

Hyperreality

In semiotics and postmodernism, hyperreality is an inability of consciousness to distinguish reality from a simulation of reality, especially in technologically advanced postmodern societies. Hyperreality is seen as a condition in which what is real and what is fiction are seamlessly blended together so that there is no clear distinction between where one ends and the other begins.[1] It allows the co-mingling of physical reality with virtual reality (VR) and human intelligence with artificial intelligence (AI).[1] Individuals may find themselves, for different reasons, more in tune or involved with the hyperreal world and less with the physical real world. Some famous theorists of hyperreality/hyperrealism include Jean Baudrillard, Albert Borgmann, Daniel J. Boorstin, Neil Postman and Umberto Eco.

The postmodern semiotic concept of "hyperreality" was contentiously coined by French sociologist Jean Baudrillard in Simulacra and Simulation. Baudrillard defined "hyperreality" as "the generation by models of a real without origin or reality;"[2] hyperreality is a representation, a sign, without an original referent. Baudrillard believes hyperreality goes further than confusing or blending the'real' with the symbol which represents it; it involves creating a symbol or set of signifiers which represent something that does not actually exist, like Santa Claus. Baudrillard in particular suggests that the world we live in has been replaced by a copy world, where we seek simulated stimuli and nothing more. Baudrillard borrows, from Jorge Luis Borges' "On Exactitude in Science" (already borrowed from Lewis Carroll), the example of a society whose cartographers create a map so detailed that it covers the very things it was designed to represent. When the empire declines, the map fades into the landscape. He says that, in such a case, neither the representation nor the real remains, just the hyperreal. Baudrillard's idea of hyperreality was heavily influenced by phenomenology, semiotics, and Marshall McLuhan. Baudrillard challenges McLuhan's famous statement that the'medium is the message', by suggesting that information devours its own content. Hyperreality is the inability of consciousness to distinguish reality from a simulation of reality, especially in technologically advanced societies.[3] However, Baudrillard’s hyperreality theory goes a step further than McLuhan’s medium theory: "There is not only an implosion of the message in the medium, there is, in the same movement, the implosion of the medium itself in the real, the implosion of the medium and of the real in a sort of hyperreal nebula, in which even the definition and distinct action of the medium can no longer be determined".[4]

Italian author Umberto Eco explores the notion of hyperreality further by suggesting that the action of hyperreality is to desire reality and in the attempt to achieve that desire, to fabricate a false reality that is to be consumed as real.[5] Linked to contemporary western culture Umberto Eco and post-structuralists would argue, that in current cultures fundamental ideals are built on desire and particular sign-systems.

Hyperreality can also be thought of as "reality by proxy"; simply put, an individual takes on someone else's version of reality and claims it as his or her own. For example, persons who watch soap operas for an extended period of time may develop a view of interpersonal relationships (reality) that are skewed by how the writers depict the characters and situations within the show. Individuals may begin to believe that these extreme dramatic relationships are authentic and real, and they may begin to judge social relationships and situations by this heightened lens of reality.[6]

Hyperreality is significant as a paradigm to explain current cultural conditions. Consumerism, because of its reliance on sign exchange value (e.g. brand X shows that one is fashionable, car Y indicates one's wealth), could be seen as a contributing factor in the creation of hyperreality or the hyperreal condition. Hyperreality tricks consciousness into detaching from any real emotional engagement, instead opting for artificial simulation, and endless reproductions of fundamentally empty appearance. Essentially, (although Baudrillard himself may balk at the use of this word) fulfillment or happiness is found through simulation and imitation of a transient simulacrum of reality, rather than any interaction with any "real" reality.

While hyperreality is not a relatively new concept, its effects are more relevant today than when it was first conceptualized.[citation needed] There are dangers to the use of hyperreality within our culture; individuals may observe and accept hyperreal images as role models, when the images don’t necessarily represent real physical people. This can result in a desire to strive for an unobtainable ideal, or it may lead to a lack of unimpaired role models. Daniel J. Boorstin cautions against confusing celebrity worship with hero worship, “we come dangerously close to depriving ourselves of all real models. We lose sight of the men and women who do not simply seem great because they are famous but who are famous because they are great”.[7] He bemoans the loss of old heroes like Moses, Ulysses, Aeneas, Jesus, Caesar, Mohammed, Joan of Arc, Shakespeare, Washington, Napoleon, and Lincoln,[8] who did not have public relations (PR) agencies to construct hyperreal images of themselves.

Simulation is characterized by a blending of ‘reality’ and representation, where there is no clear indication of where the former stops and the latter begins. Simulation is no longer that of a territory, a referential being, or a substance; "It is the generation by models of a real without origin or reality: a hyperreal."[9] Baudrillard suggests that simulation no longer takes place in a physical realm; it takes place within a space not categorized by physical limits i.e., within ourselves, technological simulations, etc.

The simulacrum is often defined as a copy with no original, or as Gilles Deleuze (1990) describes it, “the simulacrum is an image without resemblance”.[10] Baudrillard argues that a simulacrum is not a copy of the real, but becomes truth in its own right, aka the hyperreal. He created four steps of reproduction: (1) basic reflection of reality, (2) perversion of reality; (3) pretence of reality (where there is no model); and (4) simulacrum, which "bears no relation to any reality whatsoever".[11]

"Henceforth, it is the map that precedes the territory — precession of simulacra — it is the map that engenders the territory and if we were to revive the fable today, it would be the territory whose shreds are slowly rotting across the map." — Jean Baudrillard, "The Precession of Simulacra," Simulacra and Simulation

Both Umberto Eco and Jean Baudrillard refer to Disneyland as an example of hyperreality. Eco believes that Disneyland with its settings such as Main Street and full sized houses has been created to look "absolutely realistic", taking visitors' imagination to a "fantastic past".[16] This false reality creates an illusion and makes it more desirable for people to buy this reality. Disneyland works in a system that enables visitors to feel that technology and the created atmosphere "can give us more reality than nature can".[17] The fake animals such as alligators and hippopotamuses are all available to people in Disneyland and for everyone to see. The "fake nature" of Disneyland satisfies our imagination and daydream fantasies in real life. Therefore, they seem more admirable and attractive. The idea that nothing in this world is real. Nothing is original, but all are endless copies of reality. Since we do not imagine the reality of simulations, both imagined and real are equally hyperreal. For example, the numerous simulated rides, including the submarine ride and the Mississippi boat tour.[4] When entering Disneyland, consumers form into lines to gain access to each attraction. Then they are ordered by people with special uniforms to follow the rules, such as where to stand or where to sit. If the consumer follows each rule correctly, they can enjoy "the real thing" and see things that are not available to them outside of Disneyland's doors.[18]

In his work Simulacra and Simulation, Baudrillard argues the "imaginary world" of Disneyland magnetizes people inside and has been presented as "imaginary" to make people believe that all its surroundings are "real". But he believes that the Los Angeles area is not real; thus it is hyperreal. Disneyland is a set of apparatuses which tries to bring imagination and fiction to what is called "real". This concerns the American values and way of life in a sense and "concealing the fact that the real is no longer real, and thus of saving the reality principle."[19]

"The Disneyland imaginary is neither true or false: it is a deterrence machine set up in order to rejuvenate in reverse the fiction of the real. Whence the debility, the infantile degeneration of this imaginary. It's meant to be an infantile world, in order to make us believe that the adults are elsewhere, in the "real" world, and to conceal the fact that real childishness is everywhere, particularly among those adults who go there to act the child in order to foster illusions of their real childishness."[20]


who are the two characters who speak in danny deever

The form is a dialogue, between a young and inexperienced soldier (or soldiers; he is given as "Files-on-Parade", suggesting a group) and a more experienced and older NCO ("the Colour-Sergeant"). The setting is an execution, generally presumed to be somewhere in India; a soldier, one Danny Deever, has been tried and sentenced to death for murdering a fellow soldier in his sleep, and his battalion is paraded to see the hanging. This procedure strengthened discipline in the unit, by a process of deterrence, and helped inure inexperienced soldiers to the sight of death.

Danny Deever

"Danny Deever" is an 1890 poem by Rudyard Kipling, one of the first of the Barrack-Room Ballads. It received wide critical and popular acclaim, and is often regarded as one of the most significant pieces of Kipling's early verse. The poem, a ballad, describes the execution of a British soldier in India for murder. His execution is viewed by his regiment, paraded to watch it, and the poem is composed of the comments they exchange as they see him hanged.

The poem was first published on 22 February 1890 in the Scots Observer,[1] in America later in the year, and printed as part of the Barrack-Room Ballads shortly thereafter.

It is generally read as being set in India, though it gives no details of the actual situation. Some research has suggested that the poem was written with a specific incident in mind, the execution of one Private Flaxman of The Leicestershire Regiment, at Lucknow in 1887. A number of details of this execution correspond to the occasion described by Kipling in the poem, and he later used a story similar to that of Flaxman's as a basis for the story Black Jack.[2]

Kipling apparently wrote the various Barrack-Room Ballads in early 1890, about a year since he had last been in India, and three years since Flaxman's execution. Though he wrote large amounts of occasional verse, he usually added a note beneath the title giving the context of the poem. Danny Deever does not have any such notes, but "Cleared" (a topical poem on the Parnell Commission), written in the same month as Danny Deever,[3] does. This suggests that it was not thought by Kipling to be inspired by a specific incident, though it is quite possible that he remembered the Flaxman case.

The young soldier is unaware of what is happening, at first – he asks why the bugles are blowing, and why the Sergeant looks so pale, but is told that Deever is being hanged, and that the regiment is drawn up in "[h]ollow square" to see it. He presses the Sergeant further, in the second verse – why are people breathing so hard? why are some men collapsing? These signs of the effect that watching the hanging has upon the men of the regiment are explained away by the Sergeant as being due to the cold weather or the bright sun. The voice is reassuring, keeping the young soldier calm in the sight of death, just as the Sergeant will calm him with his voice in combat.[2] In the third verse, Files thinks of Deever, saying that he slept alongside him, and drank with him, but the Sergeant reminds him that Deever is now alone, that he sleeps "out an' far to-night", and reminds the soldier of the magnitude of Deever's crime –

(Nine hundred was roughly the number of men in a single infantry battalion, and as regiments were formed on local lines, most would have been from the same county; it is thus emphasised that his crime is a black mark against both the regiment, as a whole, and against his comrades.) The fourth verse comes to the hanging; Files sees the body against the sun, and then feels his soul as it "whimpers" overhead; the term reflects a shudder in the ranks as they watch Deever die. Finally, the Sergeant moves the men away; though it is not directly mentioned in the poem, they would be marched past the corpse on the gallows[2] â€“ reflecting that the recruits are shaking after their ordeal, and that "they'll want their beer to-day".

The poem is composed of four eight-line verses, containing a dialogue between two (or three) voices:

It is immediately noticeable that the poem is written in a vernacular English. Though the Barrack-Room Ballads have made this appear a common feature of Kipling's work, at the time it was quite unusual; this was the first of his published works to be written in the voice of the common soldier. The speech is not a direct representation of any single dialect, but it serves to give a very clear effect of a working class English voice of the period. Note the "taken of his buttons off", a deliberate error, to add to the stylised speech; it refers to the ceremony of military degradation, where the man to be executed is formally stripped of any marks of rank, such as his stripes, or of significant parts of his uniform â€“ the buttons bore the regimental crest.

The four verses each consist of two questions asked by "Files" and answered by the Sergeant- a call-and-response form – and then another four lines of the Sergeant explaining, as above. In some interpretations, the second four lines are taken to be spoken by a third voice, another "file-on-parade".[2] Both the poem's rhythm and its rhyme scheme reinforce the idea of drilling infantry by giving the effect of feet marching generally but not perfectly in unison: Although the poem's overall meter is iambic, each line in the verses and, to the slightly lesser extent, the chorus features syllables with additional grammatical and phonetic emphasis that fit the rhythm of the "left, left, left right left" marching cadence. The first four lines always end with the same word, and the last four feature an aaab rhyme scheme with slightly lighter syllables that force the pace into a brisk march despite its somber mood (cf. the text of the poem's final chorus).[4] Eliot noted the imperfect rhyme scheme – parade and said do not quite rhyme – as strongly contributing to this effect, with the slight interruption supporting the feel of a large number of men marching together, not quite in harmony.[5]

Danny Deever is often seen as one of Kipling's most powerful early works, and was greeted with acclaim when first published. David Masson, a professor of literature at the University of Edinburgh, is often reported (perhaps apocryphally) to have waved the magazine in which it appeared at his students, crying "Here's literature! Here's literature at last!". William Henley, the editor of the Scots Observer, is even said to have danced on his wooden leg when he first received the text.[1]

It was later commented on by William Butler Yeats, who noted that "[Kipling] interests a critical audience today by the grotesque tragedy of Danny Deever".[6] T. S. Eliot called the poem "technically (as well as in content) remarkable", holding it up as one of the best of Kipling's ballads.[5] Both Yeats and Eliot were writing shortly after Kipling's death, in 1936 and 1941, when critical opinion of his poetry was at a low point; both, nonetheless, drew out Danny Deever for attention as a significant work.

T. S. Eliot included the poem in his 1941 collection A Choice of Kipling's Verse.

Discussing that low critical opinion in a 1942 essay, George Orwell considered Danny Deever as an example of Kipling "at his worst, and also his most vital... almost a shameful pleasure, like the taste for cheap sweets that some people secretly carry into middle life". He felt the work was an example of what he described as "good bad poetry"; verse which is essentially vulgar, yet undeniably seductive and "a sign of the emotional overlap between the intellectual and the ordinary man."[7]

The Barrack-Room Ballads, as the name suggests, are songs of soldiers. Written by Kipling, they share a form and a style with traditional Army songs. Kipling was one of the first to pay attention to these works; Charles Carrington noted that in contrast to the songs of sailors, "no-one had thought of collecting genuine soldiers' songs, and when Kipling wrote in this traditional style it was not recognised as traditional".[8] Kipling himself was fond of singing his poetry, of writing it to fit the rhythm of a particular tune. In this specific case, the musical source has been suggested as the Army's "grotesque bawdy song" Barnacle Bill the Sailor, but it is possible that some other popular tune of the period was used.[9]

However, the ballads were not published with any music, and though they were quickly adapted to be sung, new musical settings were written; a musical setting by Walter Damrosch was described as "Teddy Roosevelt's favourite song", and is sometimes encountered on its own as a tune entitled They're Hanging Danny Deever in the Morning. To date, at least a dozen published recordings are known, made from 1893 to 1985.[10]

The tune "They're Hanging Danny Deever in the Morning" was played from the Campanile at UC Berkeley at the end of the last day of classes for the Spring Semester of 1930, and has been repeated every year since, with a certain ironic humor at the beginning of final exams week, making it one of the oldest campus traditions.[11]

The song is referenced in the book Starship Troopers when the Mobile Infantry hangs Dillinger for murder while the main character is in basic training.


how much sodium is actively reabsorbed by the proximal segment of the nephron

Most of the reabsorption (65%) occurs in the proximal tubule. In the latter part it is favoured by an electrochemical driving force, but initially it needs the cotransporter SGLT and the Na-H antiporter. Sodium passes along an electrochemical gradient (passive transport) from the lumen into the tubular cell, together with water and chloride which also diffuse passively. Water is reabsorbed to the same degree, resulting in the concentration in the end of the proximal tubule being the same as in the beginning. In other words, the reabsorption in the proximal tubule is isosmotic.

Renal sodium reabsorption

Renal reabsorption of sodium (Na+) is a part of renal physiology. It uses Na-H antiport, Na-glucose symport, sodium ion channels (minor).[1] It is stimulated by angiotensin II and aldosterone, and inhibited by atrial natriuretic peptide.

It is very efficient, since more than 25,000 mmoles/day of sodium is filtered into the nephron, but only ~100 mmoles/day, or less than 0.4% remains in the final urine.

Sodium is reabsorbed in the thick ascending limb of loop of Henle, by Na-K-2Cl symporter and
Na-H antiporter. It goes against its chemical driving force, but the high electrical driving force renders the overall electrochemical driving force positive anyway, availing some sodium to diffuse passively either the transcellular or paracellular way..

In the distal convoluted tubule sodium is transported against an electrochemical gradient by sodium-chloride symporters.

The principal cells are the sodium-transporting cells in the collecting duct system.

Although  only a fragment of total reabsorption happens here, it is the main part of intervention. This is e.g. done by endogenous production of aldosterone, increasing reabsorption. Since the normal excretion rate of sodium is ~100mmoles/day, then a regulation of the absorption of still more than 1000 mmoles/day entering the collecting duct system has a substantial influence of the total sodium excreted.


who killed drucilla on young and the restless

After Sharon asks Dru to be her maid of honor at her upcoming wedding to Jack, Dru accompanies her and their mutual enemy Phyllis to a cliff side photo shoot for NVP. When Phyllis threatens to use her cell phone to reveal Sharon's affair with Brad to their friends and family, Dru reaches for Phyllis' cell phone, and a brief struggle with Phyllis causes both Dru and Sharon to fall off the cliff; immediately sending Dru into the shallow waters below. Sharon hangs on to Phyllis as she, Lily and Daniel try to pull her up, but Sharon lets go and she too falls off the cliff. An injured Sharon is later found, but search and rescue teams only find the remains of Dru's jacket. Her body is never recovered, and she is presumed dead.

Drucilla Winters

Drucilla Winters is a fictional character from the American CBS soap opera The Young and the Restless. Created by William J. Bell as an effort to add more African American characters to the cast, the role was portrayed by Victoria Rowell. Rowell left the role in 2000 to pursue other projects and Alexia Robinson was introduced as Alex Perez, a replacement character, shortly after. Rowell later returned in August 2002.

In 2007, Rowell became unhappy with the soap opera behind the scenes, labeling daytime television and The Young and the Restless as racist for not having enough African American cast and crew.[1][2] She also argued the directions of her storylines which weren't heard, prompting her to leave. Within the storyline, Drucilla fell off a cliff and was presumed dead as her body was never found. Rowell has openly expressed pleasure and willingness to return,[3][4] and as a result of the character's strong appeal and popularity, viewers have campaigned for the series to rehire her.  However, CBS has stated that having Drucilla return is not the creative decision they are looking for, which has disappointed fans of the actress.[5] In 2015, Rowell filed a lawsuit against the soap opera and Sony Pictures Entertainment for retaliation, claiming that she had been blacklisted by the network for speaking out against what she believed was racial discrimination during her time portraying Drucilla.

The character is a ballerina-turned-model, with a forward personality and feisty persona. Her storyline revolves around her relationship with Neil Winters (Kristoff St. John), sleeping with Neil's brother, Malcolm (Shemar Moore), which resulted in the birth of a daughter, Lily (Christel Khalil), and on-again/off-again relationship with her sister, Olivia (Tonya Lee Williams). Drucilla's rivalries with Ashley Abbott (Eileen Davidson) and Phyllis Summers (Michelle Stafford) (the latter often providing the series' comic relief), and friendships with Brad Carlton (Don Diamont) and Sharon Newman (Sharon Case) have also proved popular as plot points.

Victoria Rowell originated the role in May 1990. Dawn McMillan filled in for Rowell while she was on maternity leave in 1996, as well as Kent Masters King assuming the role for several episodes in 2000.[6][7][8] In 2000, Rowell chose to exit the soap opera in order to star in a Showtime miniseries.[9] She returned to the role in August 2002, after a two-year absence.

Drucilla's exit in 2007 was not without controversy. She was unhappy about her character, and voiced her opinion about it. Ultimately, Rowell opted to be let out of her regular contract.[10] Months after Drucilla's death, Rowell had an interview with Black Press Magazine. She explained her reasonings for leaving: "We have the most popular daytime show and the number one show for African Americans, hands down. Yet, there are no black writers, there are no black producers, there are no black directors. There are no Black make up artists. There are no Black hairstylists."[1][11] Rowell went on to say that to get any attention or recognition, she had to write her own script for it to be comfortable with her.[1] She had pointed out signs of racism, as she was a top actress for her work on The Young and the Restless yet had failed to secure many Daytime Emmy Nominations, and never won once.[1] Rowell even expressed her displeasure with the situation on social networking site Twitter, too.[11]
In an interview with Soap Opera Digest prior to her final airdate, Rowell stated:[12]

In the same interview, she had revealed that accomplished and central actors on the soap opera such as Eric Braeden, who portrays Victor Newman, had asked her to stay.[12] Rowell said that she tweaked her script to give Dru a voice, but explained that "everything happens for a reason and where I couldn't exercise that particular artistic expression with Y&R."[12] Since her departure, speculation has arisen multiple times that Rowell would return at some point, but this has never materialized.[13][14]

In February 2015, Rowell sued The Young and the Restless and Sony Pictures Entertainment for retaliation, alleging that she was blacklisted by the network and production company due to her speaking out against lack of diversity on and behind the cameras at the soap opera. Rowell also alleged in her suit that she faced years of racial discrimination during her time on the series, and was denied writing and directing opportunities which have been granted to Caucasian actors.[15][16]

Drucilla Delores "Dru" Barber runs away from home as a teenager, due to her problematic relationship with her mother, Lillie Belle (Norma Donaldson), and goes to stay with her aunt Mamie Johnson (Veronica Redd) who is a housekeeper for Jabot Cosmetics founder John Abbott, Sr. In doing so, she sacrifices her opportunity for a promising career as a ballerina.

Dru is illiterate, but is taught to read by private detective Nathan Hastings (who was once also illiterate). Nathan later marries and fathers a child by Dru's successful physician sister Olivia. Drucilla and Olivia originally have a relationship fraught with tension and anger, due to mother Lillie Belle's favoritism of Olivia over Drucilla, but the two eventually reconcile in a very emotional manner and have more or less been best friends ever since.

Dru eventually marries Neil Winters, but only after many trials and mistakes. One such misstep, is posing nude for Sensuality magazine, though Jill Abbott (Jess Walton) discovers and destroys the film. Over time, Dru eventually evolves into a glamorous model. In June 1993, after marrying Neil, Drucilla finally receives closure by telling off her mother for wanting to abort her and not showing love for her as a child. Dru becomes close with Neil's brother Malcolm Winters, who develops a crush on her. While she is under the influence of cold medication, the two engage in sex. When she ends up pregnant they decide not to uncover the child's paternity and keep their affair a secret. Dru gives birth to her daughter, Lily, in 1995. Dru's marriage to Neil ultimately collapses because her desire for a career clashes with his desire for a wife who stayed home. Dru develops very close friendships with people in town, including Brad Carlton (Don Diamont), Sharon Newman (Sharon Case), Victor Newman (Eric Braeden), and Jack and Ashley Abbott (Peter Bergman and Eileen Davidson). She develops an adversarial relationship with Phyllis Romalotti (Michelle Stafford), which only intensifies as the years go on. Dru and Lily move to Europe where Dru continues her modeling career.

Dru and Lily return to Genoa City for brief visits until 2002 when they come back to stay. Dru comes back hoping for help in reining in their now 14-year-old daughter Lily (Christel Khalil). Instead, it is Lily and Dru who end up helping Neil deal with his drinking problem. Neil and Dru fall back in love and remarry in Japan in 2003. Dru and Neil became swamped with work, leaving Lily with a lot of time to get into trouble. Although Lily ran into the arms of Kevin Fisher, who ended up using her, Neil and Dru were able to work together and save their daughter from losing more than her virginity. Dru went on to help out troubled teen Devon Hamilton, and convinced Neil to become Devon's foster parents.

Miraculously, Neil's brother Malcolm returned from the dead after surviving the car accident, which everyone thought had been his demise. After much protest from Dru, Malcolm demanded a paternity test on Lily, which proved her to be Malcolm's biological daughter. Again, they agreed to keep the secret from Neil. To make matters worse, Lily ran off and married Daniel Romalotti (Michael Graziadei).

In 2006, Neil and Lily (Davetta Sherwood) learn the truth about her paternity. Neil wonders if he will ever be able to forgive Dru for her betrayal, and begins a flirtation with Carmen Mesta (Marisa Ramirez). Dru shows up at an important Newman function, gets drunk and slanders Carmen Mesta in front of everyone. She later lies her way into Carmen's hotel room and ruins many of Carmen Mesta's expensive clothes.  Drucilla attacks Carmen in the office at Newman Enterprises. The entire attack is caught on a video tape found by Phyllis, who gives a copy to Carmen. After Carmen gives copies of the tape to the district attorney and her former lover David Chow (Vincent Irizarry), Victoria Newman (Amelia Heinle) is forced to fire Drucilla.  Dru is arrested, and though Neil is very much attracted to Carmen, he ends their relationship to stand by his wife. Dru ends up receiving probation for her crimes, and court ordered therapy.

Dru's attention shifts to focus on Indigo, a night club she and Neil are opening. The night it opens, Carmen is murdered and her body is discovered behind the club. Dru's adopted son Devon Hamilton (Bryton James) is arrested for the crime, and Drucilla believes her sanity is crumbling as she begins to see Carmen around town. Drucilla is convinced that Carmen is still alive, and after accidentally injuring her daughter, Neil has her voluntarily committed to a mental hospital. After Devon is cleared of all charges, it is revealed that Carmen's former lover David and her look alike cousin Ines are responsible for the hauntings that sent Dru over the edge and Crimson Lights worker Jana Hawkes (Emily O'Brien) is responsible for Carmen's death. Things are looking up for the family, as Neil receives a promotion to the board of directors at Newman Enterprises, Dru regains her job, and Lily and Devon receive high marks in their college courses.