Early life.

Nicole Prescovia Elikolani Valiente was born in Honolulu, on the island of Oahu, Hawai'i, into a Catholic family on June 29, 1978. Her father, Alfonso Valiente, is of Filipino descent, while her mother, Rosemary Elikolani, has Native Hawaiian and Ukrainian ancestry. Scherzinger's parents separated when she was still a baby. When she was six years old, her maternal family moved to Louisville, Kentucky, with her half-sister, Keala, and her German American stepfather, Gary Scherzinger. She took her stepfather's surname after he adopted her.  In 2007, she was inducted to DuPont Manual Alumni's Hall of Fame as one of the youngest inductees. Since 2013, Scherzinger endowed the Youth Performing Arts School at DuPont Manual High School with a yearly $2,000, namesake scholarship.  After earning her own scholarship, she furthered her studies at Wright State University majoring in theater arts with a dance minor. During this period, Scherzinger garnered the lead roles in regional productions of the musicals "Chicago", "Guys and Dolls" and "Show Boat". In 2018, Scherzinger received the 2017 Alumna of the Year Award from the Wright State Alumni Association.

Career.

1999–2002: Career beginnings and Eden's Crush.

In 1999, Scherzinger was hired by Days of the New band leader Travis Meeks to contribute vocals on their self-titled second studio album and later dropped out of college to tour through the US in support of the album. Meeks claims that after touring, the two grew apart creatively and that despite being an "amazing entertainer", she "just didn't seem to understand music very well... she's just not much of a musician, nor [does she] understand music."  Two years later, after her mother's suggestion, Scherzinger quit the band in order to audition on the WB's television show "Popstars". With the aim to chronicle the group's formation until the recording of their debut album, Warner Bros. imprint London-Sire Records signed the group to a recording contract before the band was named and had finalized its membership, due to the hours of network television exposure the group would receive. Initially hesitant at the idea of joining a group, she then opted otherwise as she saw it as an opportunity to travel to Los Angeles. For her audition she sang Whitney Houston’s version of Dolly Parton's song "I Will Always Love You" and alongside Ana Maria Lombo, Maile Misajon, Ivette Sosa, and Rosanna Tavarez, established the girl group Eden's Crush. Their debut single, "Get Over Yourself", was released in March 2001 and debuted at number eight on the "Billboard" Hot 100 and became the first female act to debut at number one on the Hot 100 Singles Sales chart. Their debut studio album, "Popstars" (2001), debuted at number six on the "Billboard" 200 chart. They went on to tour with 'N Sync and Jessica Simpson, but, by the end of the year, their label went bankrupt and the group disbanded. During this time, she auditioned for fourth singer of The Black Eyed Peas, but Fergie was chosen. In December 2002, Scherzinger worked with Yoshiki of Japanese heavy metal band X Japan on his Violet UK project.

2003–2009: The Pussycat Dolls.

In August 2003, opting for a solo recording contract, Scherzinger travelled to Arista Records office in New York with a demo CD, under her Hawaiian family name, Nicole Kea, of her own written material. Her performance was interrupted by a citywide blackout, and she was forced to leave. She also did a brief detour into acting which includes a cameo in the independent comedy "Love Don't Cost a Thing". Meanwhile, Robin Antin, the creator of the burlesque troupe, the Pussycat Dolls, struck a joint venture with Interscope Records and along with record producers Jimmy Iovine and Ron Fair, launched an open audition for a separate recording group. After will.i.am recommended Scherzinger to Iovine, and in hopes to obtain a solo deal, she successfully auditioned in December 2003 along with Melody Thornton joining Carmit Bachar, Ashley Roberts, Jessica Sutta and Kimberly Wyatt. As the lead singer, Scherzinger assumed the majority of the vocals and is the only member of the group to have songwriting credits on their debut album, "PCD" which was released in September 2005. The album was preceded by "Don't Cha" which became their international breakthrough, peaking at number two on the "Billboard" Hot 100. The album spawned other number-one hits, "Stickwitu" and "Buttons", the latter of which was nominated for Best Pop Performance by a Duo or Group with Vocals at the 49th Annual Grammy Awards.  In February 2006, Scherzinger signed a global publishing agreement with Universal Music Publishing Group, which would cover her future songwriting. Her work as lead singer furthered Scherzinger's popularity as she continued to work on her own music. Scherzinger's first solo recording was a feature on Avant's "Lie About Us" that was released in July 2006 and later collaborated with Diddy on "Come to Me" which became Scherzinger's first solo top-ten hit on the US "Billboard" Hot 100. In March 2007, Scherzinger announced that her debut studio album would be titled "Her Name is Nicole" and was initially scheduled for a release in late summer. Four singles were released from the project—"Whatever U Like" featuring T.I., "Baby Love" featuring will.i.am, "Supervillain", and "Puakenikeni"—however, all failed to make any significant impact on the "Billboard" charts, although "Baby Love" was a moderate success in international territories. After a number of push backs, Scherzinger decided not to release any further singles from the album and at her request, "Her Name Is Nicole" was eventually shelved and shifted back her focus on the Doll's second album.  The Pussycat Dolls' second and final album, "Doll Domination" was released in the United States on September 23, 2008 and peaked at number four on the "Billboard" 200. The album included singles "When I Grow Up" and "I Hate This Part" which peaked at number nine and eleven on the "Billboard" Hot 100, respectively. Both songs were originally recorded for Scherzinger's solo effort. The following year, the group embarked on a worldwide concert tour, Doll Domination Tour which began on January 18, 2009. While on tour, Scherzinger was asked to re-write pop version of "Jai Ho" from the film "Slumdog Millionaire" (2008). The song was entitled "Jai Ho! (You Are My Destiny)" crediting A. R. Rahman and the Pussycat Dolls while Scherzinger was credited as a featured artist causing dissatisfaction within the group. The song reached number one in 17 countries; in the US, it peaked at number fifteen on the "Billboard" Hot 100, after charging eighty-five places consequently making the largest weekly leap from number 100. On April 5, 2009, Scherzinger performed "America the Beautiful" at Wrestlemania XXV, at the Reliant Stadium in Houston, Texas. After the tour concluded in August 2009, the group announced a hiatus to further pursue solo careers. In December 2009, Scherzinger was announced as the third judge joining Ben Folds and Boyz II Men band member Shawn Stockman on the first season of "The Sing-Off". She returned for the second season before being replaced by Sara Bareilles.

2010–2013: "Killer Love" and "The X Factor".

In April 2010, Scherzinger teamed up with clothing store C&A to launch her own collection of lingerie, shoes, handbags and jewellery at their stores in Brazil. In May 2010, Scherzinger and her dance partner Derek Hough won the tenth season of "Dancing with the Stars". In August 2010, Scherzinger portrayed Maureen in the Hollywood Bowl production of the rock musical "Rent", directed by Neil Patrick Harris. Her performance in the musical received praise from critics, Charles McNulty of the "Los Angeles Times" stated that "Scherzinger's powerhouse voice was meant for venues like the Bowl." Meanwhile, following the departure of the four members, Scherzinger announced her departure from the Pussycat Dolls to focus on her solo career. During the summer of 2010, Scherzinger stood in as a guest judge during the seventh series of "The X Factor" UK during the Manchester auditions, sitting alongside main judges Simon Cowell and Louis Walsh and filling in for Dannii Minogue who was on maternity leave. She later returned during the final bootcamp stage as a guest judge, filling in for both Minogue and absent judge Cheryl Cole who was recovering from malaria. She therefore assisted both Cowell and Walsh in their decisions on whom to send through to judges' houses.  Her debut studio album, "Killer Love", was released on March 21, 2011 in the United Kingdom. The album experienced moderate success in certain territories; on the UK Albums Chart the album debuted and peaked at number eight and by November it sold 140,000 copies. The album's second single, "Don't Hold Your Breath" became Scherzinger's first number-one single as a solo artist in the UK Singles Chart and singles, "Poison" and "Right There" both reached number three. The latter one was remixed featuring 50 Cent and released as the lead single for the US version of "Killer Love"; however the release was never materialized. It peaked at number thirty-nine, remaining her highest charting single on the "Billboard" Hot 100 as a lead artist. "Right There" also peaked inside the top ten in Australia. Originally hired to co-host along with Steve Jones the first season of "The X Factor" US, Scherzinger would later replace Cole on the judging panel, joining Cowell and fellow judges L.A. Reid and Paula Abdul. She later received further backlash and death threats after sending the result to deadlock in the quarter-final which resulted in Rachel Crow's elimination. She mentored the Over 30s; her final act, Josh Krajcik, was named the runner-up of the season. In December 2011, as part of the 25th anniversary of "The Phantom of the Opera", Scherzinger performed the song of the same name at the Royal Variety Performance. Meanwhile, "Killer Love" was re-released with four additional songs, including the fifth and final single, "Try with Me". She embarked on her first headlining tour in February 2012.  Scherzinger appeared as Boris' girlfriend in the science fiction action film "Men in Black 3", which was released in May 2012. In May 2012, during the audition process for the ninth series of "The X Factor" UK, Scherzinger was invited back onto the show to fill in for departed judge Kelly Rowland during the final day of the London auditions, sitting alongside judges Walsh, Tulisa and Gary Barlow. In June 2012, Scherzinger was announced as the permanent fourth judge, replacing Rowland for a reported salary of $1.17 million and joining the panel full-time from the Newcastle auditions. Scherzinger mentored the Boys category where she had all three of her acts reach the quarter-final. Two of her acts, James Arthur and Jahméne Douglas, reached the last stage of the final, with Arthur winning the series. Additionally, Arthur became the first winner to be in the bottom two. Scherzinger performed "Don't Cry for Me Argentina" live at the "Andrew Lloyd Webber: 40 Musical Years" tribute show. In March 2013, Scherzinger released "Boomerang" which debuted and peaked at number six on the UK Singles Chart; after its lackluster success, the associated album was scrapped. Scherzinger returned as judge on "The X Factor" UK for its tenth series for a reported salary of $2.3 million, joining returning judges Walsh and Barlow and former judge Sharon Osbourne who replaced Tulisa. On February 12, 2014, Scherzinger announced that she would not be returning to judge the eleventh series of "The X Factor" UK. She was later replaced by Mel B.

2014–2018: "Big Fat Lie" and television ventures.

In January 2014, Scherzinger signed with Sony Music Entertainment for a reported $4.5 million record deal. The following month, she announced she signed a multi-album deal with RCA Records. In collaboration with online fashion retailer Missguided, she designed a 30-piece range which was released in March 2014. Their collaboration helped the retailer increase profit by 70%. Scherzinger's second studio album, "Big Fat Lie" was released in October; on the UK Albums Chart it spent two weeks inside the top 100 peaking at number 17; its poor sales led to her departure from RCA Records. The album was preceded by the singles "Your Love", "Run" and "On the Rocks"; the foremost peaked at number six on the UK Singles Chart and was a moderate success on other international markets. In December, Scherzinger made her West End debut starring as Grizabella in the 2014 revival of the musical "Cats" at the London Palladium where she played the role for a 12-week run until February 8, 2015; her performance received rave reviews from critics particularly praising her rendition of the song standard "Memory" and garnered a Laurence Olivier Award nomination for Best Actress in a Supporting Role in a Musical. She was set to reprise Grizabella in the Broadway revival of "Cats" but a week before rehearsals she quit after producers refused to give her top billing.  On June 30, 2015, Scherzinger was crowned as the winner of the variety show "I Can Do That" where six celebrities compete with each other by performing skills that they never knew they had. In July she performed the American national anthem at the A Capitol Fourth concert in Washington, D.C. and during the opening of the 2015 Special Olympics World Summer Games. "Best Time Ever with Neil Patrick Harris", a live variety show premiered on September 15, 2015 on NBC with Scherzinger as co-host; the show was cancelled after one season due to low ratings. The following month, the music panel show hosted by Ricky Wilson, "Bring the Noise" premiered on Sky 1 with Scherzinger and Tinie Tempah joining him as team captains. After a 3-year break from "The X Factor" UK, Scherzinger returned as a judge for the thirteenth and fourteenth series in 2016 and 2017, replacing Rita Ora and joining judges Cowell, Walsh and Osbourne; for Scherzinger she again mentored the Boys category for the thirteenth series and won with her contestant Matt Terry who also was in the bottom two in the semi-final; and for the fourteenth series she mentored the Over 25s category, with her last remaining act Kevin Davy White reaching the final and finishing in third place. She voiced Sina in the animated feature "Moana," which was released in November 2016 through Walt Disney Pictures. Scherzinger starred as Penny in ABC's television film "Dirty Dancing", a remake of the 1987 film of the same name. It premiered on May 24, 2017. Although the movie received negative reviews from critics, Scherzinger's performance received praise. In September 2017, she launched her debut fragrance, Chosen by Nicole Scherzinger. In 2018, Scherzinger had a voice cameo in "Ralph Breaks the Internet".

2019–present: Reality TV judging and The Pussycat Dolls reunion.

In January 2019, Scherzinger began appearing as a panelist on the reality competition series "The Masked Singer", judging season 1, season 2, and season 3. In April 2019, Scherzinger joined "Australia's Got Talent" as judge for its ninth season. In October 2019, she returned to the UK to judge the 2019 of "The X Factor" alongside Cowell and Walsh. She mentored the Over 31s category, with her last act Jenny Ryan reaching the final in third place.  Around the same time, "ET" reported that Scherzinger has reunited with The Pussycat Dolls for new studio sessions and a greatest hits tour in 2020. The group performed live for the first time in nearly a decade during the finale of "" on November 30, 2019. They subsequently announced the Unifinished Business (Reunion Tour) which includes dates in the UK and Ireland, as well as Australia and New Zealand. Scherzinger also returned to "The X Factor" judging panel in the UK alongside Cowell to judge a new version aimed at bands, "" at the end of the 2019.

Artistry.

Influences.

Scherzinger names Whitney Houston as her major musical influence stating, "I always wanted to be Whitney Houston growing up." After receiving a cassette of Whitney Houston's self-titled debut album (1985) at the age of six, she claims that Houston showed her singing was her destiny. As she grew older she also listened to artists such as Ella Fitzgerald, Billie Holiday, Roberta Flack, Sade, Alanis Morissette, and Tina Turner. While on stage Scherzinger borrows personas of Tina Turner and Mick Jagger; "the way he prances around stage and the poise he has on stage. But I love [Turner's] attitude and sass. I steal from her all the time, especially being the lead singer of this group, the Pussycat Dolls, to be fearless and just have that attitude and that soul behind you." She credits Beyoncé as a key inspiration to "wear costumes that aren't much but they are real artists and they put real artistry into what they do and that is how I pride myself." Scherzinger stated that Janet Jackson's "The Velvet Rope" (1997) influenced the recording process of her second album, "Big Fat Lie", while its lead single's music video was inspired by Jackson's Love Will Never Do (Without You) (1989) clip.  When Scherzinger was older, Mariah Carey became a huge influence to her. She also wished to work with the Black Eyed Peas saying she admired their music. Scherzinger is also a fan of Adele. Prince also became a big influence when she was in her teens. Michael Jackson was one of Scherzinger's biggest influences and idols. When she gained the role on "Men in Black 3", Scherzinger said that music was a very big part of her inspiration for the character, which she plays for the film. She said, "I listened to my heavier music and I listened to Led Zeppelin and I kind of got in that frame of mind because music is what inspires me most. I worked with my acting coach a lot and she told me about lots of crazy things to think about while I was in character, but I better not tell you what she said." Scherzinger said that the role has inspired her to record differently on her second studio album. Stylistically, Scherzinger draws inspiration from Jennifer Lopez, Sienna Miller, and Gwen Stefani. During her twenties, Scherzinger tried to emulate Lopez by dying her hair blonde.

Musical style and voice.

Scherzinger possesses a wide vocal range. Her music is generally R&B, and dance-pop in some of her songs, especially on her album "Killer Love". Though Scherzinger releases English language songs, she recorded Hindi lyrics for the Pussycat Dolls' version of "Jai Ho! (You Are My Destiny)". She has received co-writing credits for multiple songs she recorded. Her early songs were female-empowerment themed compositions like "I Don't Need a Man" and "Hush Hush" and transitioned to more mature "break-up" anthems such as "Don't Hold Your Breath". Scherzinger has also received co-writing credits for some of the records in which she has been involved, especially during her solo efforts. She has also been involved in the vocal arrangement and vocal production of a few songs she's written.  Scherzinger's songs are written from personal experiences, as she said they are "personal and heartfelt" tracks. She co-wrote the majority of her first studio album, "Killer Love". Scherzinger's earlier songs have been described as "sexual innuendo" and "funky electronica" which are also backed by "electro beats". In August 2010, RedOne revealed that he was working on Scherzinger's debut album, stating: "I just finished her album. Her last one never came out because it wasn't consistent. Her new record – it's the real her." Scherzinger said a lot of her first studio album was about her split with Lewis Hamilton before they reunited. Scherzinger said that she wanted to create songs which "lend themselves to live performances". She said she likes to record "empowering" ballads. She said that she wanted her debut album to be "in your face and strong". She told MTV (about her unreleased debut album "Her Name is Nicole") "I've always said that in the Pussycat Dolls, I kind of feel like Superwoman. But that's just one of my alter egos. I've got the vulnerable, lovesick side of me amongst others which all appear on my record."

Stage.

Described as being "provocative" when performing on stage, Scherzinger states that her stage persona "comes from a strong place, not a weak place, and there’s a big difference. There’s a big difference when you see someone who still has class and is empowering." Jarett Wieselman of "The New York Post" placed her at number two on his list of the Five Best Singer/Dancers, while "Rolling Stone" magazine readers voted Scherzinger as the ninth Favorite Dancing Musician.

Public image.

Scherzinger initially rose to fame as a teen idol alongside her colleagues in the short-lived girl group Eden's Crush. The Pussycat Dolls's founder Robin Antin recalls that when Scherzinger first walked in for her audition to join the burlesque troupe, the outfit she donned was way "too conservative" for the group. Scherzinger later admitted she cried when she saw the first and "revealing" outfit she would have to wear as a member of the band, as she was dealing with body image issues at the time. Margeaux Watson of "Entertainment Weekly" took a major swipe at Scherzinger for her role as lead singer. Watson said, "there are two kinds of girl groups: those anchored by a superstar (the Supremes, Destiny's Child), and those made up of charismatic personalities endowed with limited individual gifts (Spice Girls, TLC). The Pussycat Dolls are neither – they're a brand, not a band. [...] 2005's multi-platinum "PCD" finds lead Doll Nicole Scherzinger in the spotlight, and she's no Beyoncé." Scherzinger has claimed that she was responsible for both lead and backing vocals on the group's songs, with hardly anything sung by the other members. She commented, "...people don't even know the story. I was in the center because I was singing. I was the one singing."  Scherzinger is also a vocal supporter of gay rights and became a gay icon. Scherzinger's popularity within the gay community increased due to her work with the Pussycat Dolls. One of the songs written by Scherzinger, "I Don't Need a Man", was dedicated to all of her gay fans. She explained: "Whoever I could inspire, I wanted to inspire them. It's about the messages of empowerment and loving yourself for who you are." Scherzinger is also very vocal when it comes to bullying. She believes in acceptance and recalls receiving knock backs and the message of her music releases show how she dealt with them. In 2017, for Gay Pride Month, Billboard asked numerous pop culture luminaries to write 'love letters' to the LGBTQ community, one of whom was Scherzinger. In her letter she expressed her admiration "When I think of the LGBTQ community, I think of a community standing strong against adversity and a community that unites for change."  She admits it is "frustrating" to read about the media's portrayal of her as "a man-eater". Scherzinger has been linked to a number of different men, but insists none of the rumors are true. In July 2013, Scherzinger posed semi-nude for a "Protect the Skin You're In" T-shirt, part of a campaign by fashion designer Marc Jacobs to raise awareness and cash for melanoma research. All sales benefit the NYU Cancer Institute and NYU Langone Medical Center. The outfits she wore as a Pussycat Doll and sexual dance moves they performed has continued ever since she embarked on her solo career. Scherzinger said: "I think I am able to handle myself in a good manner and hopefully I'm a positive role model for other girls out there." Scherzinger also wore the first Twitter dress at the EE launch party.  Scherzinger has developed an image as a sex symbol and "one of the hottest women on the planet." Since 2006 has been featured on "FHM"s "100 Sexiest Women" list peaking at number nine in 2011 and 2014. In 2012, VH1 ranked her the eight on their list of "100 Sexiest Artists", while "Complex" magazine ranked her the twenty-ninth on their list of "The 100 Hottest Female Singers of All Time".

Impact.

Described as the "driving force" behind The Pussycat Dolls, Scherzinger is credited for the result of the group's international success in the music industry, during a time when girl groups were grossly underrepresented. With only two studio albums, the band became the best-selling girl group of the past decade, digital era, and fourth of all time. Since beginning her career with the group in 2003, Scherzinger has sold 54 million records worldwide, and another 16 million as a solo artist. Scherzinger has been given several pop culture titles, including, "Pop Princess" and the "Hawaiian Pop Goddess" becoming an international pop culture icon following her debut.  Scherzinger's television and music video impact has also been acknowledged in pop culture where she is known for her music videos, which often incorporate raunchy outfits and dance breaks. Critics generally favor Scherzinger's intricate choreography. She is considered a sex symbol through her music videos. Simon Cowell praised Scherzinger's performance ability, respectively calling her "one of the best live performers I've ever seen" and "if you want an example of how you do it right... its Nicole. It's focus, performance, vocals...". American recording artist Lady Gaga has been influenced by Scherzinger's role in the Pussycat Dolls saying, "There's something that's very humbling about being able to work with a powerhouse group like that. Probably the biggest influence they've had on me is making me want to be a better writer."  Scherzinger has received many accolades throughout her career. In February 2013, Scherzinger was honored by the Harvard Foundation as "2013 Artist of the Year" for her contributions in performing arts, support for breast cancer research and initiatives for adults and children with special needs. In April 2013, she was awarded with the "Outstanding Achievement in Music Award" at the Asian Awards for "inspiring achievements in the fields of business, sport, entertainment, philanthropy and popular arts and culture". She has been hailed as one of the sexiest artists. In 2013, Fuse included Scherzinger on the list of 50 Girls Who Run the World, and the Top 100 Pop Breakthroughs.

Personal life.

Scherzinger's early years in the Pussycat Dolls were marred with difficulties. During her first photo shoot with the group, she was required to wear nothing more than a bra, underwear and garters; uncomfortable with her own body she started to suffer from bulimia. In order to overcome her struggle with bulimia, she saw therapists and life coaches and recorded a PSA for the website Half of Us to raise awareness about the eating disorder. The eating disorder lasted for eight years, remarking that it would have destroyed her life. Scherzinger was engaged to Nick Hexum, lead singer of 311, whom she dated from 2000 to 2004. Scherzinger commenced a high-profile relationship with future Formula 1 World Champion Lewis Hamilton after they met at the 2007 MTV Europe Music Awards in Munich. Their on and off relationship of seven years was a tabloid fixture in the British press. They separated for the final time in February 2015. Following the 2010 Haiti earthquake, along with various other artists, she was featured on the charity single "We Are the World 25 for Haiti", and participated in George Clooney's and Wyclef Jean's telethon which benefited people affected by the tragedy. In October 2010 she portrayed Trixie at the 35th anniversary concert of "The Rocky Horror Picture Show" which raised money for the Painted Turtle, a Hole in the Wall Foundation camp for kids with serious medical conditions. Inspired by her aunt who has Down syndrome, she became a global ambassador for the Special Olympics and recorded "O Holy Night" for "A Very Special Christmas" (2013) with all proceeds benefiting the organization. Since 2014 Scherzinger is an UNICEF UK supporter and has traveled to Guyana, Manila, Philippines, and Kenya, where she visited the organization's supported centers benefiting children in poverty. She later performed "Brave" with the SU2C choir for Stand Up 2 Cancer to raise money for cancer research on October 17, 2014.  Scherzinger along with numerous other artists were featured on the single "Love Song to the Earth", which was released in September 2015 ahead of the 2015 United Nations Climate Change Conference, as part of the global campaign to raise awareness on climate change. In September 2016, Scherzinger along with numerous other artists were featured on the remake of the Black Eyed Peas song "Where Is the Love?" where all proceeds went towards will.i.am's non-profit foundation, i.am.angel Foundation.  Scherzinger endorsed Barack Obama's 2008 presidential campaign; she appeared in the music video for rapper will.i.am's song, "Yes We Can" (2008), which was inspired by Obama's speech after the 2008 New Hampshire primary.

Other ventures.

Endorsements.

In cooperation with Unilever, Scherzinger recorded Duran Duran's "Rio" (1982). In December 2011, Scherzinger began endorsing the "imPress Nails" manicure line and has her own signature series. From 2012 to 2014, Scherzinger was the ambassador for "Herbal Essences". In March 2013, she was announced as an ambassador for British Airways promoting first class routes to Moscow. In April 2013, it was announced that Scherzinger will be the face of Müller Corner, a range of luxury yogurts and front TV and print campaigns. In September 2014, Scherzinger joined "Proactiv+" as the new celebrity ambassador for the skin care company.  On November 29, 2016 Scherzinger was announced as the new face of Perfectil, a vitamin product. She featured in a television commercial for Vitabiotics' new Perfectil advertising campaign in March 2017.

Filmography.

Television  Films

Nicole Scherzinger (; born Nicole Prescovia Elikolani Valiente; June 29, 1978) is an American singer, songwriter, dancer, actress and television personality. Born in Honolulu, Hawaii, and raised in Louisville, Kentucky, she initially performed in high school at Clark AB plays and studied at Wright State University before dropping out to pursue a musical career touring alongside American rock band Days of the New and through "Popstars", became part of the short-lived girl group Eden's Crush. Scherzinger rose to fame as the lead singer of the Pussycat Dolls and released the albums "PCD" (2005) and "Doll Domination" (2008) becoming one of the world's best-selling girl groups of all time.

Nicole Prascovia Elikolani Valiente Scherzinger, née le, est une chanteuse, danseuse, parolière et actrice américaine d'origine hawaïenne (Honolulu). Elle débute et se fait remarquer suite à sa participation au télé-crochet musical "Popstars" mais c'est grâce au girl groupe The Pussycat Dolls qu'elle acquiert à la notoriété. Elle a sorti trois albums solo : "Her Name Is Nicole" (2006), "Killer Love" (2011) et "Big Fat Lies" (2014).


Early life.

Seeley grew up in Toronto and fell in love with performing. He was once part of a boy band called Nu Ground. He was cast in Hal Prince's revival of Showboat and stayed with the production for a year. In 2005, Seeley started working with Ray Cham, an established producer and together they wrote "Get'cha Head in the Game", a song that was a nominee in the Creative Arts Primetime Emmy category, Best Original Music and Lyrics.

Career.

2005–2010: Breakthrough films and debut album.

In 2005, Seeley began working with established producer Ray Cham and together they wrote "Get'cha Head in the Game" for Disney's quadruple platinum High School Musical soundtrack. His voice had been blended with Zac Efron's voice for the character of Troy Bolton in "High School Musical". This garnered them an Emmy nomination in the Best Original Music and Lyrics category. In addition, Seeley filled in for Efron (who was shooting "Hairspray") on the North America and Latin America tours of "", playing in 60,000 seat arenas and he can be heard on both soundtracks and "High School Musical on Stage!".  Seeley's association with Disney continued and he can be heard as a featured artist on several Disney soundtracks/compilation albums including "Disneymania 5", "Disneymania 6", "Disney Channel Holiday", "Radio Disney Jams, Vol. 9", and "Byou". Drew's duet with Spanish-born Mexican singer Belinda "Dance with Me", from the platinum "Cheetah Girls 2" soundtrack, was played on the Disney Channel and on Radio Disney. Drew appeared in Belinda's video of "Ni Freud ni tu mamá". Drew also made a guest appearance on the 2008 Chipmunks CD "Undeniable", singing an updated take on "Shake Your Groove Thing" with Alvin and the gang. Seeley appeared in the Hallmark Channel Movie "Claire" opposite Valerie Bertinelli, and in the film "Fly Kidz", for which he co-wrote and produced the soundtrack. He also wrote and performed music for the Disney Channel Original Movie "Jump In!" starring Corbin Bleu and Keke Palmer.  Seeley starred opposite Selena Gomez and Jane Lynch in "Another Cinderella Story", playing the pop star Joey Parker. Drew wrote and performed four songs in the film, and shot music videos for both versions of his hit song, "New Classic". Seeley also appeared in the Disney Channel Original Movie "Stuck in the Suburbs" as a hotel employee.  In the summer of 2009 he starred as Prince Eric in the Disney Broadway Musical "The Little Mermaid", and had a leading role in the horror movie "The Shortcut". In June 2010, Seeley starred in the Hallmark Channel television movie "Freshman Father".

2011–present: "The Resolution", films and television.

Seeley's album "The Resolution" was released on April 5, 2011. In support of the album, Drew went on a national tour where he performed his own original music. He also sang a song for the Disney Channel original series "Shake It Up". A duet with Adam Hicks, "Dance for Life," premiered in the episode "Vatalihoosit It Up", backed by a routine performed by dance crew the Jabbawockeez. "Dance for Life" was featured on the soundtrack for the show, "". Seeley's song "It's Always Been You" was used as the theme of "Crown for Christmas", a 2011 Hallmark Channel movie.  On June 12, 2011, Seeley was reported to have joined the CW's hit teen drama series "90210", but "Entertainment Weekly" later reported that he dropped the role due to a conflict with his schedule. In March 2012, "I Kissed a Vampire" was released, in which Seeley stars alongside Lucas Grabeel and Adrian Slade. In June 2012, he co-starred in the Lifetime movie, "Talhotblond", playing young "Tommy". Seeley has also released music videos for his song "Beautiful", and most recently "Into The Fire". Drew recorded a song for the third "Shake It Up" soundtrack "", called "I Do". It featured on Walmart-exclusive editions as a bonus track. The song was also featured in the "Shake It Up" season 3 episode, "I Do It Up".  In 2013, Seeley began filming his role in a new film, "Elixir", which was renamed "" on ABC Family. Seeley played the role of "Young Ryan". He played opposite Chelsea Kane (Young Harper), Jane Seymour (Harper), Sara Paxton (Mirabella), Tom Wopat (Ryan), and Alexander DiPersia (Marco). He is featured singing his rendition of Usher's "DJ's Got Us Fallin’ in Love". In conjunction with the new movie, Seeley co-wrote and performed "Here & Now," the theme song to ABC Family's spring promotional campaign. The song was featured on Seeley's dance-pop EP released in April 2013. In 2014, Drew performed as "Bob Gaudio" in Jersey Boys for the US tour.

Personal life.

Seeley married actress Amy Paffrath in 2013. In February 2019, the couple announced they were expecting their first child. On July 20, 2019, Paffrath gave birth to their daughter, Ember Florence.

Andrew Michael Edgar Seeley (born April 30, 1982) is a Canadian–American actor, singer and dancer. He has recorded many songs for the Walt Disney Company. He danced as a child in Ontario until he was about preteen age and then moved to Florida. Seeley is married to actress/comedian Amy Paffrath. The couple has one child, who was born in 2019.

Drew Seeley, né Andrew Michael Edgar Seeley, est un acteur et chanteur canadien, né le, à Ottawa dans la province de l'Ontario.


Design.

Developed to replace the 75 and based on the parent company Fiat Group's Type Three platform, the 155 was somewhat larger in dimension than the 75 and had evolved styling from that of its predecessor. The 155 was designed by Italian design house I.DE.A Institute. An exceptional drag coefficient of 0.29 was achieved with the body design. The boxy design of the 155 allowed for a big boot space.  The most significant technical change from the 75 was the switch to a front-wheel drive layout. A four-wheel-drive model called the 155 Q4 was also available, which had a turbocharged engine and a permanent four-wheel drive powertrain, both derived from the Lancia Delta Integrale; it was essentially a Lancia Delta Integrale with a different body.  The new model came in "Sport" and "Super" trims. The Sport had a slightly lowered ride height and more aggressive dampers while the Super had the option of wooden trim and electronically controlled dampers and seat controls.  Reception of the 155 was generally lukewarm. The 75 had been conceived prior to Fiat's acquisition of the Alfa brand, so as the last independent Alfa romeo automobile made it cast rather a shadow over the 155; the loss of rear-wheel drive was frequently cited as the main cause of the disappointment. Nevertheless, the 155 was entered in Touring Car racing and was successful in every major championship it entered, which gradually improved its image.  The 155 received a facelift in 1995 and changes included a wider body as well as a wider track and revised steering based on Alfa Romeo's racing experience. The facelift also brought in new 16 valve engines for the 1.8 and 2.0 litre models, whilst retaining the 2.5 litre V6 and making some improvements to cabin materials and build quality.  There were several Sport Packs available, including a race inspired body kit (spoiler and side skirts) and black or graphite coloured 16 inch Speedline wheels. The luxury oriented Super trim came with wood inserts in the cabin and silver-painted alloy wheels.  The 155 was never produced in the "Sportwagon" bodystyle (Alfa Romeo's term for an estate or station wagon), but Sbarro made a proposal for such a model in 1994 which was not put into production.  Production of the 155 ceased in 1998, when it was replaced by the 156, which was a further development in terms of quality and refinement, and finally moved away from the wedge styling — leaving the 155 as the pinnacle of that particular design stream which dated back to 1977, with the dramatic square styling of the Giulietta Nuova.

Specifications and special editions.

The 155 was initially available with 1.7 L Twin Spark, 1.8 L Twin Spark, and 2.0 L Twin Spark petrol engines, the latter two were equipped with variable valve timing. The 1.7 L was not sold in the United Kingdom.  Two four cylinder turbocharged diesel engines, a Fiat derived 1.9 L () and a VM Motori 2.5 L () were available in some markets, except for the United Kingdom.  At the top of the 155 range were the 2.5 L V6, using a engine derived from the 3.0 L V6 used in the larger 164, and the Q4 which used a drivetrain derived from the Lancia Delta Integrale which meant a 2.0 L 16V turbocharged engine and permanent four-wheel drive.  The Q4 also incorporated three differential gears (normal at the front, epicyclic at the centre (including a Ferguson viscous coupling) and torsen self-locking at the rear). Both the 2.5 V6 and Q4 models were also available with electronically adjustable suspension with two damper settings (automatic and sport).  The most notable special edition was the "Silverstone" edition released in the United Kingdom which was known as the "Formula" in Europe: this was intended as a homologation exercise to allow Alfa Romeo to compete in the British Touring Car Championship race series and consequently came with a bolt on aero kit, consisting of an adjustable rear spoiler and extendable front air splitter.  The Silverstone was a lighter but no more powerful version of the 1.8 L, even though the race car it was homologating had a 2.0 L engine. This anomaly came about because the 1.8 L engine block, with its narrower bore, allowed Alfa to use a longer stroke on the racing car and stay within the 2.0 L capacity limit.  The Silverstone was only available in either Alfa red or Black paintwork with plain, unpainted bumpers.

Facelift.

In 1995, the 155 was given an extensive revamp, resulting in wider front and rear tracks with subtle enlargement to the wheel arches to accommodate the changes underneath.  The revised car also received a quicker steering rack, with 2.2 turns lock to lock (initially only on the 2.0 litre model, but later followed by the 1.8 litre). The four cylinder cars retained the twin spark ignition system but received the Alfa Romeo designed 16 valve cylinder heads with belt driven camshafts based on engine blocks of Fiat design. They replaced the elderly 8 valve, chain driven camshaft motors of the earlier models.  The 2.5 L V6 engine continued in wide body form (but without the steering changes) while the Q4 was discontinued. In Europe, the 1.7 L Twin Spark was replaced by a 1.6 L 16 valve Twin Spark. Some 8 valve engines continued in series 2 cars in some markets. The wide bodied cars also received revised interiors and equipment specifications to keep the cars competitive in the market.  The wide body ("Series 2") 155s can be distinguished from their earlier counterparts by their flared front and smooth rear wheel arches (the latter replacing the lip round the wheel arch of the original). They also sported round or oblong indicator side-repeaters and had their model badges moved below the rear lights rather than having them above.

155 GTA Stradale.

In 1992, Alfa Romeo on the wake of the wins obtained by the 155 GTA in the Italian CIVT championship, decided to start the production of a "Stradale" version to be manufactured at the Abarth workshop. The car was displayed at Bologna Motor Show and being used at Monza GP d'Italia as safety car.  Designed by Abarth engineer Sergio Limone, the Stradale used the 155 Q4 as a base using its drivetrain and four-wheel drive system. The interior was stripped of some creature comforts and the car was fitted with a race inspired body kit with a large rear spoiler. Only unit was made before the project was due to high manufacturing costs.

155 TI.Z and GTAZ.

Two special editions of the 155 were made by Zagato. In 1993, the 155 TI.Z was introduced, followed by the 155 GTAZ in 1995. Both models had more muscular looking exterior and increased power than the standard 155, the TI.Z had the Twin Spark engine and GTAZ had the 155 Q4's turbocharged two litre engine now rated at. Both models were built only a limited amount and many of the cars were sent to Japan.

Motorsport.

The 155 was very successful in touring car racing, using the Supertouring-homologated GTA and the V6 TI for the DTM. Between 1992 and 1994, the 155 managed to take the Italian Superturismo Championship, the German DTM championship (both with Nicola Larini at the wheel), the Spanish Touring Car Championship (with Adrián Campos), and the British Touring Car Championship (with Gabriele Tarquini).  The 155 remained competitive until it was replaced with the 156, finishing third in the DTM (then known as the International Touring Car Championship, or ITC) in 1996 with Alessandro Nannini and winning the Spanish championship again in 1997 with Fabrizio Giovanardi. In 1993, Larini in an Alfa 155 placed second in the FIA Touring Car Challenge behind Paul Radisich in a Ford Mondeo. The 156 was to continue the high standard set by the 155, winning the European Touring Car Championship multiple times.

155 V6 TI.

The was a FIA Class 1 touring car that Alfa Corse raced from 1993 to 1996 in the Deutsche Tourenwagen Meisterschaft and the subsequent International Touring Car Championship. A high revving 2.5 L 60° V6 engine was coupled to a four wheel drive system, rated at at 11,500 rpm.  Alfa Corse entered two 155 V6 TIs for works drivers Alessandro Nannini and Nicola Larini; the 1993 season was dominated by Larini winning 11 of 22 races.  In 1994, the rivals from Mercedes seemed to have the advantage, but Alfa did manage to win a further eleven races. A more consistent performance from the Germans gave them the title. Since the 1995 season, the team got new sponsorship livery from Martini Racing.  The 1996 version had a 2.5 L 90° V6 engine based loosely on the PRV engine rated at at 11,900 rpm. The car has a top speed of around and weighed  The Alfa 155 V6 TI has a record of 38 wins (plus 3 other non championship races). The victories were obtained by seven different drivers: 17 (+1) Nicola Larini, 13 (+1) Alessandro Nannini, 2 Stefano Modena, 2 (+1) Christian Danner, 2 Michael Bartels, 1 Kris Nissen and 1 Gabriele Tarquini.

The Alfa Romeo 155 (Type 167) is a compact executive car produced by Italian automobile manufacturer Alfa Romeo between 1992 and 1997. It was unveiled in January 1992 at Barcelona, with the first public launch in March 1992, at the Geneva Motor Show. A total of 192,618 units were made before it was replaced by the 156.

L'Alfa Romeo 155 est une berline produite par le constructeur italien Alfa Romeo de 1992 à 1997. Elle est positionnée comme remplaçante de l'Alfa 75 dans la nouvelle gamme désormais dirigée par le groupe Fiat à travers la société Alfa-Lancia Industriale créée en 1987. Pour des raisons économiques et de délai de conception, les nouveaux véhicules sont étroitement dérivés de véhicules Fiat et Lancia existants et sont produits dans les mêmes usines. Seuls le style (carrosserie et intérieur) et les motorisations sont distinctifs des modèles Alfa Romeo.


Biography.

In Ypres, the members of the family on his father’s side came from modest origins. The men were day labourers, builders, innkeepers or saddlers and the women were dressmakers or lace makers. Jean Francois, his father (1794–1837) was an upholsterer and his mother, Victoire Félicité (1789–1870), was the daughter of a tradesman from Aire-sur-la Lys (France).  His first marriage took place in Ixelles on 19 November 1847 to Éléonore Bodson from Dinant (1792–1854) and on 14 October 1858 in Louvain he later married Marie Anne Tilly, who bore him a son named Hector (1859–1895). He lived in the Belgian capital from 1847, changing his address several times, from rue aux Herbes Potagères 30 to Saint-Josse-ten-Noode up to 1848, rue Goffart 28 in Ixelles until 1853, chaussée de Wavre 31, also in Ixelles until 1859, chaussée de Charleroi 131 in Saint-Gilles until 1863 and finally rue du Financier, which was renamed a little later to rue Godecharle 16 in Ixelles.  François Roffiaen was barely three years old, when for unknown reasons he went to live with his paternal uncle, Joseph-Louis-Augustin, who was a bookseller in the rue de l’Ange in Namur, the city where he spent, as he himself noted « "the most beautiful years of his existence" » and where he frequented the Atheneum, as well as the Academy of Painting (1835–1839) under the direction of Ferninand Marinus (1808–1890). Among his fellow students were Louis Bonet (1822–1894), Jean Baptiste Kindermans (1821–1876) and Joseph Quinaux (1822–1895).  He followed his artistic studies at the Academy of Brussels (1839–1842), notably under the famous "vedutiste", François Bossuet (1789–1889) who was responsible for teaching him perspective and who was the authority on landscapes and city views. Then he attended the Brussels studio of Pierre-Louis Kühnen (1812–1877), a painter originating from Aix-la-Chapelle, specialised in painting romantic landscapes. Roffiaen received for that reason an annual subsidy of 600 francs, paid by the city of Ypres (1841–1845 or 1846). At the same time, he taught drawing at the college of Dinant. To thank the city of his birth for the support they had given him, he gave a "Landscape with Hydraulic Mill" (1844), a "Waterfall of the Aar in the High Alps and" a "View from Grütli on Lake Geneva" (1857) to the local museum. He also bequeathed a lot later a large "Valley of Chamonix" to the commune of Ixelles, of which he was on the board of directors since the time of its creation in 1892.  These titles clearly reveal one of the artist’s favourite themes, the representation of Alpine landscapes. Deeply impressed by the canvases Alexandre Calame (1810 - 1864) had sent to Belgian Salons, François Roffiaen indeed won a place at Geneva in the autumn of 1846 and stayed for six months beside this master, before discovering the mountains himself. He continued to familiarise himself with the landscapes of Switzerland, Austria, Upper Bavaria and the Haute-Savoie during several other journeys (1852, 1855, 1856, 1864, 1868, 1879). But the painter also liked to represent picturesque scenes of the valleys of the Meuse and the Ourthe, the Scottish lochs, discovered in 1862, or the extensive heather of Limbourg, which he travelled through from the middle of the preceding decade, so that like Edmond Tschaggeny (1818–1873), he became one of the pioneers of the Campine Painters (called the School of Genk), a school which has been unjustly forgotten.  Since the beginning of the year 1840, Roffiaen adopted the path followed by all artists, anxious to assure the greatest possible publicity for their works : participation in big group exhibitions. That is how for more than fifty years his paintings came to be hanging on the picture rails of the three yearly Salons of Antwerp, Brussels and Gent and were included in very many exhibitions in the provinces (Bruges, Dendermonde, Kortrijk, Leuven, Liège, Mechelen, Mons, Namur, Spa, Ostend, Ypres) and abroad (Alger, Amsterdam, Barcelona, Bremen, Caracas, Dublin, Le Havre, London, Lyon, Melbourne, Munich, Nice, Paris, Reims, Rotterdam, The Hague).  The years 1850–1860 were those of his greatest success, including numerous sales in Belgium, in Great Britain and in the United States, having works acquired by the Shah of Persia, by the Belgian and British royal houses, a study tour of Scotland commissioned by Queen Victoria, but which unfortunately never took place because of the sudden death of Albert, Prince Consort (December 1861), and when he received the title of Chevalier de l’Ordre de Léopold (1869).  His painting, constructed according to indefinitely repeated formulae and each year becoming a little more tired, finished however by wearying the art chroniclers : « "Critics of the press have often reproached him for the bias he shows in his painting. M Roffiaen has ignored them, he has continued to accumulate landscapes of Belgium, Scotland, Switzerland, Germany, Italy, what do I know, combing them without rest, using the same formula, making do with the same sky, the same trees, the same rocks, unconcerned by the latitudes, according to the taste of a special public, who buy all of that and pay him handsomely. Leave M. Roffiaen alone, gentlemen of the press, he paints his little nature scenes one demands of him and knows well the reason why." » (G. H., "L’Organe de Namur et de la Province", 1874). However, on several occasions a critic like Gustave Lagye (1843–1908) attempted to emphasise the qualities of his art, both in its extreme delicacy and finesse and in its almost photographic detail. « "Although opposed to M. Roffiaen for his manner of painting, dry and thin, I am obliged to admire him for the prodigious ability and above all for the exquisite art with which he holds grandiose panoramas in the narrowest of frames, where he chisels the smallest bump with the scruples of a miniaturist. Allow lovers of great painting to prefer in general large studies, executed in a day of fever and inspiration, but the tourist always prefers fine and complete pictorial photographs, where M. Roffiaen allows them to rediscover the scenes that he admired and details of the places themselves from an enthusiastic and curious point of view. His Borders of the Meuse, at Wauslort ; his Marshes of Genck, at the approach of Sunset ; his View into the Bernese Overland, are treated in a gothic manner, also in their perspective and their elegance. M. Roffiaen is a figure apart in the Belgian artistic movement and one should give him the justice he is due" » ("La Féderation artistique", 1877). The execution of certain animals or little characters which fill out his works have been left to others more expert than he in these matters, as is the custom in traditional artistic circles : Johannes Hubertus Leonardus de Haas (1832-1908), Adolf Dillens (1821–1877), Théodore Gérard (1829–1902), Louis Robbe (1806–1887), Paul Van der Vin (1823–1877), Frans Van Leemputten (1850–1914), Eugène Verboeckhoven (1799–1881) or again the brothers Edward (1819–1897) and Constant (1823–1867) Woutermaetens.  Initiated in April 1854 into the most important lodge in the kingdom, "The True Friends of the Union and of Progress Reunited", François Roffiaen pushed his masonic career up to the 33rd and last degree of the Ancient and Accepted Scottish Rite, his name appearing in the "List of Great General Inspectors" for the Supreme Council of Belgium, of which he was Grand Master of Ceremonies for twenty eight years. In 1883, his involvement encouraged him to pay homage openly by dedicating one of his paintings to his Brother, General Antonio Guzmán-Blanco (1829–1899), president of the republic of Venezuela.  François Roffiaen is equally illustrious in the domain of natural sciences, to which Jules Colbeau (1823–1881) introduced him in his youth. While children the two companions already took delight in observing nature in the little property that Colbeau’s parents owned in the suburbs of Namur. Once adult, they took a journey together to Switzerland (1852) where they collected insects, butterflies and molluscs. In January 1863, their mutual passion for the last type of living creatures led them, with five other people, Firmin De Malzine, Egide Fologne, Henri Lambotte, Alexandre Seghers and Joseph Weyers – to found the Malacological Society of Belgium, to whose "Annals" Roffiaen made diverse contributions : « Notes conchyoliogiques » (French translation from an article in Italian by Dr Senoner (t.1) ; « Mollusques terrestres et fluviatiles recueillis en Suisse » and « Essais pour obtenir les Helix scalariformes » (t.3) ; « Coquilles recueillies à Hastière et à Chimay" (t. 6) ; « Mollusques observés dans la vallée de l’Ourthe »" (t. 8) ; « Mollusques recueillis dans le Grand-Duché de Luxembourg » (t. 9) ; « Mollusques recueillis à Gand » ; « Mollusques recueillis à Waulsor » (t. 10) ; « Mollusques recueillis dans les environs de Gand » (t. 11) ; « Notes sur des mollusques recueillis à Waulsort » (t. 12) ; « Jules Colbeau et la Société royale malacologique de Belgique » (t. 16) ; « Rapport sur l’assemble générale du 1er juillet 1882 » (t. 17). The owner of a remarkable personal collection of molluscs, he also attended to the increase and the presentation of those of the Malacological Society, invented a series of instruments used to extract the animals from their shells and constructed a cochlearium, a sort of vivarium used for the observation and raising of molluscs. A sign of the place he occupies in this little scholarly world of his time, two of the animals—one living and a fossil—even received his name, "Planorbis Roffiaeni" and "Cyprina Roffiaeni" respectively.  Some months after his death, the local authorities gave the name of François Roffiaen to a street in Ixelles. In 1907, an article was dedicated to him in the Biographie nationale, edited by the Royal Academy of Belgium. Madeleine Ley (1901–1981), his great grand daughter (Prix Rossel 1940), called his image briefly to mind in her novel Olivia (Gallimard, 1936 ; re-edition Labor, 1986). But the character had already been forgotten. In the first half of the twentieth century his name was no longer cited except by chance, his case dismissed in a few hasty phrases and often scathingly, preferring a livlier form of art, one that was more personal, more « sincere », more « credible », in a word, more « modern » than his, as if this was understood once and for all. Since the years 1960–70, however, there has been a renewal of interest in the art of the « little masters » of the nineteenth century, to which there are more than one « "folding away seat of some kind after the official armchair that many among them have occupied at the time of a triumphant academism and towards which certain people attempt to return, since the course of taste is in perpetual motion" » (Gérald Schurr, 1979), and the work of Roffiaen is on the way to becoming rehabilitated. A first exhibition was especially dedicated to him at the communal Museum of Ypres, from 5 December 1998 to 4 April 1999.

Jean "François" Xavier Roffiaen (9 August 1820, Ypres, West Flanders – 25 January 1898, Ixelles) was a Belgian landscape painter who specialised in painting Alpine landscapes.

Jean "François" Xavier Roffiaen, né le à Ypres et mort le à Ixelles, est un artiste-peintre belge spécialisé dans la représentation de paysages alpins.


Landscape.

The Gállego river runs through the town and its first tributary, the "Aguas Limpias", unites to the Gállego inside the town. Both rivers' sources are inside the municipality.  The Foratata peak (2,000 m) towers over the town, being an iconic peak for all the valley. Other important summits belonging to the municipality are Anayet, Tres Hombres, Arriel and Balaitous, many of them are over 3000 meters high. The GR 11 route that goes along all the Pyrenees goes through the municipality.  The Portalet pass that links the Tena Valley, in Spain, and the Ossau Valley, in France, is also in Sallent de Gállego.

Winter sports.

The Formigal ski resort, a few kilometers up from the town, is the largest resort in Spain and concentrates the majority of hotels and restaurants.

Weather.

According to Köppen's weather classification Sallent de Gallego has an intermediate weather between "Dfc" - "Dfb" y "Cfb". The highest temperature was reached on 29 July 1981 with. The lowest temperature reached was on 11 March 1985.

Sights.

Sallent has as main artistic attractive its Gothic Church of the Assumption of the early sixteenth century, which has a valuable plateresque altarpiece and the venerated image of the Virgen de las Nieves, which is the patron of the town. It has been declared of cultural interest.  It also highlights the so-called Puente Romano, medieval bridge built in the 16th century. It saves the course of the Aguas Limpias river in the middle of the village, as well as the many emblazoned houses that dot the mottled old town. In the center of the village also it stands the popular Mentidero: a large bench which is decked and opened to the street and it is still used by residents and visitors as a meeting place.  At Formigal, there is a small church of Salvador de Basarán (10th century, rebuilt in 1972) which contrasts with the modernity of the buildings of the ski resort.

Sallent de Gállego (in Aragonese: "Sallent de Galligo" or "Sallén de Galligo") is a municipality located in the province of Huesca, Aragon, Spain.

Sallent de Gállego en espagnol, ou Sallén de Galligo en aragonais, est une commune d'Espagne dans la communauté autonome d'Aragon, province de Huesca. Elle regroupe les villages de Sallent de Gállego, Formigal (lotissement), Lanuza, Portalet, Escarrilla, Tramacastilla de Tena et Sandiniés. C'est sur le territoire communal que la rivière Gállego prend sa source et que se trouve la station de sports d'hiver Aramón Formigal.


History.

The race was first run on May 25, 1874, the same day as the inaugural running of the Grand National de France (now the Grand Steeple-Chase de Paris). It was originally open to horses aged four or older, and it was initially contested over 4,000 metres. This was increased to 4,800 metres in its second year, and to 5,000 metres in 1880. The race was given a new date in 1882 – it was moved to the Wednesday after the Grand Steeple-Chase de Paris, which continued to be run on the last Sunday in May. The following year saw the launch of a new steeplechase at Auteuil, the Prix des Drags, and this was scheduled for the Friday of the same week. This week of top class jump races became known as the "Grande Semaine d'Auteuil". The Grande Course de Haies was run as a handicap until 1889, but since then it has held weight for age conditions.  The race was abandoned throughout World War I, with no running from 1915 to 1918. During World War II it was cancelled only once, in 1940. The minimum age was raised to five in 1961, when a new hurdle race, the Grande Course de Haies des 4 Ans (later titled the Prix Alain du Breil), was introduced specifically for four-year-olds. The distance of the Grande Course de Haies was extended to 5,100 metres in 1969. This was cut to 4,100 metres in 1975, and then restored to 5,100 metres in 1979.  Four horses have won both this event and the Grand Steeple-Chase de Paris. These are Blagueur II, Loreto, Ubu III and Mid Dancer. The 1947 winner of the Grande Course de Haies, Le Paillon, later won the most prestigious flat race in France, the Prix de l'Arc de Triomphe. The 1984 winner, Dawn Run (a mare trained in Ireland), also won both the Champion Hurdle and the Cheltenham Gold Cup in England. She returned to Auteuil to attempt a repeat victory in 1986, but during the race she misjudged a hurdle, fell, and died almost instantly.  In 2010, the race was won by flat jockey Christophe Soumillon.

The Grande Course de Haies d'Auteuil, sometimes referred to as the French Champion Hurdle, is a Group 1 hurdle race in France which is open to horses aged five years or older. It is run at Auteuil over a distance of 5,100 metres (about 3 miles and 11⁄2 furlongs), and it is scheduled to take place each year in June.

La Grande Course de Haies d'Auteuil est une course hippique de haies se déroulant au mois de juin sur l'hippodrome d'Auteuil.


Origins.

During the late 1970s throughout the mid-1980s there were a number of groundbreaking female punk and mainstream rock musicians who later influenced the riot grrrl ethos. These included Siouxsie Sioux, Poly Styrene, The Slits, Au Pairs, The Raincoats, Patti Smith, Chrissie Hynde, The Runaways/Joan Jett, The B-52's, LiLiPUT, Lydia Lunch, Exene Cervenka, Kim Gordon, Ut, Neo Boys, Bush Tetras, Y Pants, ESG, Chalk Circle, Fifth Column, Frightwig, X-Ray Spex, Scrawl, and Anti-Scrunti Faction. The 1980s also featured a number of female folk singers from New York whose lyrics were realistic and socio-political, but also personally intimate.  During the mid-1980s in Vancouver, the influential Mecca Normal fronted by poet Jean Smith formed. They were followed by Sugar Baby Doll in San Francisco whose members would all wind up in hardcore female bands. "Sassy" magazine then premiered in 1987 and dealt with tough subjects that many conventional magazines aimed at teenage girls did not. In 1989, an article titled, "Women, sex and rock and roll," was published by "Puncture", a punk zine edited by Katherine Spielmann"," and became the first manifesto of the movement. Two years later in 1991, "Your Dream Girl", a radio show hosted by Lois Maffeo, debuted on Olympia, Washington radio station KAOS.  During the early 1990s the Seattle/Olympia Washington area had a sophisticated do it yourself infrastructure. Women involved in independent and underground music scenes took advantage of their platform to articulate their feminist thoughts and desires by creating punk-rock fanzines and punk bands. The political model of collage-based, photocopied handbills and booklets had already been used by the punk movement as a way to spread the names of underground bands, leftist politics and alternative (to mainstream) sub-cultures. There was a discomfort among many women in the punk movement who felt that they had no space for organizing, because of the exclusion of women in punk culture. Many women found that while they identified with a larger, music-oriented subculture, they often had little to no voice in their local scenes. Women at the punk-rock shows often saw themselves as the musician's girlfriend or groupies, so they took it upon themselves to represent their own interests by making their fanzines, music and art.  In 1991, young women coalesced in an unorganized collective response to several women's issues, such as the Christian Coalition's Right to Life attack on legal abortion and the Senate Judiciary Hearings into Anita Hill's accusations of sexual harassment by Supreme Court Justice Clarence Thomas. Young feminist voices were heard through multiple protests, actions, and events such as the formative opening night of the International Pop Underground Convention and later L7's Rock for Choice.  Uses and meanings of the term "riot grrrl" developed slowly over time, but its etymological origins can be traced to the actual Mount Pleasant race riots in spring 1991. Bratmobile member Jen Smith (later of Rastro! and The Quails), used the phrase "girl riot" in a letter to Allison Wolfe. Soon afterwards, Wolfe and Molly Neuman collaborated with Kathleen Hanna and Tobi Vail to create a new zine and called it "Riot Grrrl", combining the "riot" with an oft-used phrase that first appeared in Vail's fanzine "Jigsaw" "Revolution Grrrl Style Now". Riot grrrls took a growling double or triple "r", placing it in the word "girl", as a way to take back the derogatory use of the term.

Feminism and riot grrrl culture.

Riot grrrl culture is often associated with third wave feminism, which also grew rapidly during the same early nineties timeframe. The movement of third-wave feminism focused less on laws and the political process and more on individual identity. The movement of third-wave feminism is said to have arisen out of the realization that women are of many colors, ethnicities, nationalities, religions and cultural backgrounds. The riot grrrl movement allowed women their own space to create music and make political statements about the issues they were facing in the punk rock community and in society. They used their music and publications to express their views on issues such as patriarchy, double standards against women, rape, domestic abuse, sexuality, and female empowerment.  An undated, typewritten Bikini Kill tour flier answers the question "What is Riot grrrl?" with: "[Riot Grrrl is...] Because we girls want to create mediums that speak to US. We are tired of boy band after boy band, boy zine after boy zine, boy punk after boy punk after boy... Because we need to talk to each other. Communication and inclusion are key. We will never know if we don't break the code of silence... Because in every form of media we see ourselves slapped, decapitated, laughed at, objectified, raped, trivialized, pushed, ignored, stereotyped, kicked, scorned, molested, silenced, invalidated, knifed, shot, choked and killed. Because a safe space needs to be created for girls where we can open our eyes and reach out to each other without being threatened by this sexist society and our day to day bullshit."Like other third wave feminists, riot grrrls attempted to foster an acceptance of diversity within feminist expression. That relationship to feminism is evident through their use of lyrics, zines and publications, and taking back the meaning of derogatory terms. All three of these forms were claimed to be a source of empowerment for women in the movement.  The riot grrrl movement encouraged women to develop their own place in a male-dominated punk scene. Punk shows had come to be understood as places where "women could make their way to the front of the crowd into the mosh pit, but had to 'fight ten times harder' because they were female, and sexually charged violence such as groping and rape had been reported."  In contrast, riot grrrl bands would often

Music.

Other bands and artists associated with the riot grrrl movement in one way or another include - in the US - Slant 6, Sta-Prest, Jenny Toomey, Adickdid, Tattle Tale, Jack Off Jill, The Need, Nomy Lamm, Lucid Nation, The Frumpies, Bangs, The Third Sex and The Quails;

Media misconceptions.

As media attention increasingly focused on grunge and alternative rock in the early nineties, the term "Riot Grrrl" was often applied to less political female or female-fronted alternative rock acts such as Babes in Toyland, The Breeders, The Gits, 7 Year Bitch, Hole, Lunachicks, Dickless, L7, PJ Harvey, Liz Phair, Veruca Salt, and even No Doubt. Although, the term could arguably apply to L7 due to their involvement in the creation of Rock for Choice, a series of concerts and compilation albums designed to raise money and awareness for abortion rights and protection of women's health clinics. To their chagrin, riot grrrls found themselves in the media spotlight during 1992 in magazines from "Seventeen" to "Newsweek". Fallout from the media coverage led to resignations from the movement of people like Jessica Hopper, who was at the center of the "Newsweek" article. Kathleen Hanna called that year for "a press block". In an essay from January 1994, included in the CD version of Bikini Kill's first two records, Tobi Vail responded to media simplifications and mis-characterization of Riot Grrrl: One huge misconception for instance that has

Zines and publications.

Even as the Seattle-area rock scene came to international mainstream media attention, riot grrrl remained a willfully underground phenomenon. Most musicians shunned the major record labels, devotedly working instead with indie labels such as Kill Rock Stars, K Records, Slampt, Piao! Records, Simple Machines, Catcall, WIIIJA and Chainsaw Records. The movement also figured fairly prominently in cassette culture, with artists often starting their own DIY cassette labels by as basic and spartan a means as recording their music onto cheap off-the-shelf boom-boxes and passing the cassettes out to friends, seldom charging anything beyond the cost of the actual tapes themselves.  Riot grrrl's momentum was also hugely supported by an explosion of creativity in defiantly homemade cut and paste, xeroxed, collagey zines that covered a variety of feminist topics, frequently attempting to draw out the political implications of intensely personal experiences in a "privately public" space. Zines often described experiences with sexism, mental illness, body image and eating disorders, sexual abuse, racism, rape, discrimination, stalking, domestic violence, incest, homophobia, and sometimes vegetarianism. Grrrl zine editors are collectively engaged in forms of writing and writing instruction that challenge both dominant notions of the author as an individualized, bodiless space and notions of feminism as primarily an adult political project.  These zines were archived by zinewiki.com, and Riot Grrrl Press, started in Washington DC in 1992 by Erika Reinstein & May Summer. Others can be found anthologized in "A Girl's Guide to Taking over the World: Writings from the Girl Zine Revolution", for which

Criticism.

The "Riot Grrrl" movement has received criticism for not being inclusive enough. Riot Girls are often accused of being separatists: they want to form a life away from men and invent "girl culture". One major argument is that the movement focuses on middle-class white women, alienating other kinds of women. This criticism emerged early in the movement. In 1993, Ramdasha Bikceem wrote in her zine, "Gunk", Riot grrrl calls for change, but I question who it's including... I see Riot Grrrl growing very closed to a very few i.e. white middle class punk girls.Musician Courtney Love has criticized the movement for being too doctrinaire and censorious: Look, you've got these highly intelligent imperious girls, but

Legacy and Resurgence.

In the foreword to "Riot Grrrl: Revolution Girl Style Now!" Beth Ditto writes of riot grrrl, A movement formed by a handful of girls who felt empowered, who were angry, hilarious, and extreme through and for each other. Built on the floors of strangers' living rooms, tops of Xerox machines, snail mail, word of mouth and mixtapes, riot grrrl reinvented punk.  Writing about riot grrrl's personal influence on her and her music, she muses on the meaning of the movement for her generation, Until I found riot grrrl, or riot grrrl found me I was just another Gloria Steinem NOW feminist trying to take a stand in shop class. Now I am a musician, a writer, a whole person.  Many women write to Hanna in hopes of reviving the Riot Grrrl Movement. Hanna says, "Don’t revive it, make something better". In 2010 "Girls to the Front: The True Story of the Riot Grrrl Revolution", by Sara Marcus, was published. It is the first published history of the Riot Grrrl movement. Sara Marcus herself had attended Riot Grrrl meetings. As of now there are approximately ten weekly Riot Girl meetings nationwide, and bands multiplying faster than can be counted.In 2013 Astria Suparak and Ceci Moss curated "Alien She", an exhibition examining the impact of Riot Grrrl on artists and cultural producers. Alien She focuses on seven people whose visual art practices were informed by their contact with Riot Grrrl. Many of them work in multiple disciplines, such as sculpture, installation, video, documentary film, photography, drawing, printmaking, new media, social practice, curation, music, writing and performance—a reflection of the movement's artistic diversity and mutability. It opened September 2013 at the Miller Gallery at Carnegie Mellon University in Pittsburgh, and ran through February the following year. It visited four subsequent art spaces (Vox Populi in Philadelphia, Pennsylvania, March

Global Proliferation.

Since its beginnings, the riot grrrl movement was attractive to many women in varied cultures. Its spread across the world established bands in Brazil, Paraguay, Israel, Australia, Malaysia, and Europe, and it's globalization was also aided by the distribution of zines across Asia, Europe, and South America. The discovery of riot grrrl provided women across the globe with access to an outlet that challenged the dominant culture around female bodies through a form of self-expression that previously was often inaccessible to women in non-western nations. In addition to becoming a vehicle of expression for equality, bands in the genre affected the status quo of the music industry by challenging the gender norms that favoured male musicians.  One of the most well-known bands to come out of the globalization of the riot grrrl movement is Pussy Riot, a Russian group who self-identifies as twenty-first century Russian riot grrrls. Pussy Riot first came to popular media attention in 2012 when they staged a protest performance of Punk Prayer at the altar of Moscow’s largest cathedral, which included lines such as “Holy Mother, Blessed Virgin, chase Putin out!”. All three members of Pussy Riot during that time were arrested by authorities and accused of hooliganism. The group performs music with themes of feminism, LGBT rights, and opposition to Russian president Vladimir Putin, whom the group considers to be a dictator, and his policies. Pussy Riot embraces the ideals of riot grrrls by challenging the political climate they personally experience as well as the homophobic and patriarchal elements of everyday Russian life.

Riot grrrl is an underground feminist punk movement that began during the early 1990s within the United States in Olympia,Washington and the greater Pacific Northwest. It also expanded to at least 26 other countries. Riot grrrl is a subcultural movement that combines feminism, punk music and politics. It is often associated with third-wave feminism, which is sometimes seen as having grown out of the riot grrrl movement, and has recently been seen in current fourth-wave feminist punk music. It has also been described as a genre that came out of indie rock, with the punk scene serving as an inspiration for a movement in which women could express themselves in the same way men have been doing all along.

' (ou ') est un mouvement musical, à la croisée du punk rock et du rock alternatif aux idées féministes, ayant émergé au début des années 1990, dans l'État de Washington, et dans le Nord-Ouest Pacifique, en particulier Olympia et Portland, aux États-Unis. Les groupes associés au mouvement riot grrrl dénoncent souvent les problèmes liés notamment au viol, à la violence domestique, la sexualité, le racisme, et célèbrent la montée en puissance des femmes. Des groupes associés à ce mouvement incluent Bikini Kill, Jack Off Jill (par la suite Scarling.), Bratmobile, Adickdid, Bang!, The Butchies, Calamity Jane, Dickless, Emily's Sassy Lime, Excuse 17, Fifth Column, The Frumpies, Heavens to Betsy, Huggy Bear, Sleater-Kinney, L7, et également queercore comme Team Dresch.


In the car.

Distracted driving is a dangerous threat to road safety across the world. While drunk driving rates have been on the decline since 1983, distracted driving has been increasing in recent years. Many feel this incline is due to the widespread prevalence of cell phones. While distracted driving can be attributed to anything that diverts attention away from the road, it is often the cell phone that receives the blame for distracted driving incidents. Most of the recent Studies have shown that cell phone usage while driving has striking similarities to the effects of drinking while driving; Cell phones tend to take the driver's attention away from the road and onto itself. With drunk driving, drivers often experience the "looking but not seeing" phenomena. While their eyes do indeed view objects on the road, their brains do not comprehend the meaning behind the image. All levels of distraction while driving are dangerous, and potential drivers are cautioned to keep awareness of their surroundings.

In the classroom.

Many psychological studies show that switching between tasks, use of technology, and overstimulation has increased levels of distraction in the school setting. At school, distraction is often viewed as a source of poor performance and misbehavior. Distraction makes focusing on singular, assigned tasks more difficult. Digital components of learning are an emerging component to classroom distraction. Parents, teachers, students, and scholars all have opinions about how technology either benefits or harms a students’ focus in an academic setting. Research studies show that neuron circuits indicate a decrease in ability to be attentive to goal relative stimulus with the addition of distracting stimuli interference. School-aged students, with developing brains, are more apt to conflicting stimuli while trying to focus. Large classroom sizes, technology use in and outside the classroom, and less natural stimuli have been seen as contributing factors to deflating test scores and classroom participation.

In the workplace.

Multitasking could also be considered as distraction in situations requiring full attention on a single object (e.g., sports, academic tests, performance). The issue of distraction in the workplace is studied in interruption science. According to Gloria Mark, a leader in interruption science, the average knowledge worker switches tasks every three minutes, and, once distracted, a worker takes nearly a half-hour to resume the original task.

In fiction.

In works of fiction, distraction is often used as a source of comedy, whether the amusement comes from the gullibility of those distracted or the strangeness of whatever is utilized to create the distraction. Examples of comedic distraction, also called comic relief, can oftentimes be found in Shakespearean plays. In "Hamlet", Shakespeare includes a scene in which two gravediggers joke around about Ophelia's death. While her death is by no means meant to be funny, a small break from the sadness helped to appease the groundlings in Shakespeare's time, as well as allow the rest of the audience to take a break from the constant "doom and gloom" of his tragedies.

In religion.

Rabbi Allen Lew in his book, "This is Real and You are Completely Unprepared", writes, "The thoughts that carry our attention away [during prayer or meditation] are never insignificant thoughts and they never arise at random. We lose our focus precisely because these thoughts need our attention and we refuse to give it to them. This is why they keep sneaking up on our attention and stealing it away. This is how it is that we come to know ourselves as we settle deeply into the act of prayer [or meditation]". According to philosopher Damon Young, distraction is chiefly an inability to identify, attend to or attain what is valuable, even when we are hard-working or content.  Distraction was a key battle strategy in tales from the Trojan War. According to the legend, the Greeks seemed to have retreated by pretending to sail away. In their stead, they left a large wooden horse, which the Trojans then chose to bring back within their walls in order to celebrate their supposed victory. The Greeks used the Trojans' pride as a distraction, as they actually hid men within the Trojan Horse in order to let the rest of the army in during the cover of night. The Greeks then entered and destroyed the city of Troy, effectively ending the 10-year standoff that was the Trojan War.

In medicine.

Distraction is useful in the management of pain and anxiety. Dentists, for example may intentionally hum an annoying tune or engage in small talk just to create a diversion from the dental surgery process. Topical ointments containing capsaicin, provide a superficial burning sensation that can momentarily distract a patient's attention away from the more serious pain of arthritis or muscle strain. A similar effect is made by oil of cloves, which produces a burning sensation on the gums, and distracts from toothache.  Distraction is often used as a coping mechanism for short-term emotion regulation. When presented with an unpleasant reality, humans often choose to occupy their attention with some other reality in order to remain in a positive mental state. This is referred to as ‘procrastination’ when the unpleasant reality is in the form of work. The natural human inclination to distract oneself was put to the test when the Department of Psychology at Humboldt-Universität zu Berlin (Humboldt University of Berlin) held an experiment to study distraction. The goal of the experiment was to examine whether the effects of distraction on where subjects held their attention during repeated picture processing is changed by regular emotional functions. Furthermore, they hypothesized that while distraction assists in short-term emotional regulation, it is actually harmful in the long term. In order to do so, the experimenters had subjects view 15 unpleasant pictures (Set A) and “attend” to them (meaning the subjects were asked to pay full attention to the pictures). Next, the subjects were shown 15 unpleasant pictures (Set B) and were asked to distract themselves from the pictures (meaning they were to think about anything other than the picture on the screen; their example was to think about “the way to the supermarket”). Finally, the subjects were shown 15 neutral pictures (Set C) and were asked to attend to them. After 10 minutes of rest, the subjects entered the “re-exposure phase”, which repeated the experiment- this time requiring the subjects to pay attention to all of the sets, including Set B. This experiment was performed on 3 separate blocks of participants. To examine the state of the subjects’ brain, the subject was to wear “Ag/AgCl-electrodes from 61 head sites using an EasyCap electrode system with an equidistant electrode montage. Additional external electrodes were placed below the left (IO1) and right eye (IO2), below T1 (ground), on the nasion, and on the neck.” The subjects were also asked to rate the unpleasantness of the picture on the screen on a scale of 1-9. To test whether distraction in the first phase resulted in increased responsiveness during the re-exposure phase, experimenters “compared mean unpleasantness ratings between unpleasant pictures that were previously presented in the attend (previous attention) versus distract (previous distraction) condition using a paired t-test”. The end results of the experiment were as such: Essentially, when exposed to an unpleasant image, the subject feels initial discomfort. However, after being exposed to it once with their full attention, the subject feels much less discomfort the second time they are exposed. When the subject distracts themselves from the initial unpleasant image, the subject feels more discomfort the second time when they are required to attend to the image. The experimenters’ conclusion is thus: “the obtained results suggest that distraction inhibits elaborate processing of the stimulus' meaning and adapting to it.”

In crime.

Con artists and shoplifters sometimes create a distraction to facilitate their crimes. Armed robbers may create a distraction after their robbery, such as pulling a fire alarm, to create confusion and aid in their getaway. In a more serious case of crime, Norwegian Anders Behring Breivik exploded a car bomb in Oslo city. It was a reportedly distraction that directed police resources to Oslo city, allowing him to carry out his shooting spree unopposed on Utøya island.

In "magic".

Magicians use distraction techniques to draw the audience's attention away from whichever hand is engaged in sleight of hand. Magicians can accomplish this by encouraging the audience to look elsewhere or by having an assistant do or say something to draw the audience's attention away. Sleight of hand is often used in close-up magic, performed with the audience close to the magician, usually within three or four meters, possibly in physical contact. It often makes use of everyday items as props, such as cards and coins. The guiding principle of sleight-of-hand, articulated by legendary close-up magician Dai Vernon, is "be natural". A well-performed sleight looks like an ordinary, natural and completely innocent gesture, change in hand-position or body posture.  It is commonly believed that sleight of hand works because “the hand is quicker than the eye” but this is usually not the case. In addition to manual dexterity, sleight of hand depends on the use of psychology, timing, misdirection, and natural choreography in accomplishing a magical effect. Misdirection is perhaps the most important component of the art of sleight of hand. The magician choreographs his actions so that all spectators are likely to look where he or she wants them to. More importantly, they do not look where the performer does not wish them to look. Two types of misdirection are timing and movement. Timing is simple: by allowing a small amount of time to pass after an action, events are skewed in the viewer's mind. Movement is a little more complicated. A phrase often used is "A larger action covers a smaller action". Care must be taken however to not make the larger action so big that it becomes suspicious.

By media.

Propagandizing techniques of distraction are used in media manipulation. The idea is to encourage the public to focus on a topic or idea that the compliance professional feels is supportive of their cause. By focusing attention, a particular ideology can be made to seem the only reasonable choice. Oftentimes, media competition is the driving force for media bias, manipulation, and distraction. If a media company can find an audience with a united ideology, it then develops a loyal consumer base, as its consumers will be happy with the way media is presented. A so-called "conservative" media outlet would not hire a "liberal" reporter, as they would run the risk of alienating its viewership.  Distraction is also important in studies of media multitasking, or the simultaneous use of multiple media at once. This behavior has emerged as increasingly common since the 1990s, especially among younger media users. Studies show that while humans are predisposed to the desire to multitask, most people struggle to have legitimate productivity while multitasking. Instead of giving a task full attention, the split attention that multitasking necessitates can cause one task to be a distraction to another. On the other hand, some studies show that multitasking has the potential for a high-risk high-reward situation, leading to the idea that success can arise from multitasking if one is good at the activity.

Distraction is the process of diverting the attention of an individual or group from a desired area of focus and thereby blocking or diminishing the reception of desired information. Distraction is caused by: the lack of ability to pay attention; lack of interest in the object of attention; or the great intensity, novelty or attractiveness of something other than the object of attention. Distractions come from both external sources, and internal sources. External distractions include factors such as visual triggers, social interactions, music, text messages, and phone calls. There are also internal distractions such as hunger, fatigue, illness, worrying, and daydreaming. Both external and internal distractions contribute to the interference of focus.

Une distraction est en matière de comportement une expérience dans laquelle s'investit de manière relativement inhabituelle un individu, homme ou animal, ce caractère inhabituel étant son principal attrait et à la base de la motivation, juste devant sa charge hédonique donc en matière de plaisir. En effet, dans le contexte de la relative pénibilité de multiples occupations quotidiennes présentant habituellement un fort degré de répétitivité, de prévisibilité, susceptible d'apporter l'ennui, la distraction est toujours une forme de libération des contraintes utilitaires, fonctionnelles, souvent vitales, telle que l'obligation d'assurer sa subsistance. Elle est un divertissement du quotidien donnant accès à une certaine fantaisie permise par des comportements motivés, eux au contraire, par l'absence de finalité essentielle ou gratuité, l'imprévu et les surprises. Toutes les activités plaisantes (loisirs, voyages d'agrément, spectacles, ludiques, etc.), sont donc des distractions tant qu'elles présentent pour l'individu concerné un caractère inhabituel et minimisant les contraintes pesantes.


Grand Prix automobile de Grande-Bretagne 1988

Qualifying.

After weeks of speculation, Nigel Mansell announced that he would race for Ferrari in the season, encouraged to go to the Italian team by a series of high speed accidents on Friday as a result of problems with Williams' reactive suspension, as well as a streak of seven consecutive retirements.  Williams struggled during qualifying. With Mansell only 13th after the Friday session and Riccardo Patrese 30th and last, some 14 seconds from 26th place, the team's Technical Director Patrick Head made a snap decision to dump the reactive suspension until the end of the season. This they did overnight between the Friday and Saturday sessions of the event after previously telling both drivers that changing to the more conventional suspension was next to impossible without months of work. Head said in an interview on race morning that ""It's a bodge frankly. We've put steel mechanical springs and dampers on. We've changed the front struts into dampers, designed some new bits and pieces which we machined up overnight. We did some new pistons for the front struts...it's a bit of a bodge as I said"".  The grid had an unfamiliar look to it. The McLarens were suffering handling problems because of new bodywork introduced that was more suitable for high speed circuits coming up later in the season. Meanwhile, the Ferraris of Gerhard Berger and Michele Alboreto got the jump on everyone and occupied the front row of the grid. Berger's pole time of 1:10.133 was three seconds slower than the 1987 pole time set by Nelson Piquet. Although on pole, Berger was far from confident going into the race stating that the Ferraris could not live with the McLarens on fuel consumption, words echoed by Alboreto. For his part Alboreto secured his first front row start since he scored pole in the opening race of the season in Brazil, it was the last time the Italian would start an F1 race from the front row. Senna and Prost qualified in 3rd and 4th place, the first time no McLaren had been on the front row of the grid since the 1987 Mexican Grand Prix and first time in 1988 that neither McLaren was on pole.  During the Friday qualifying session, Senna had two high speed spins at Stowe corner as both he and Prost searched in vain for balance with their cars' new bodywork. The team reverted to the cars having the turbo snorkels for the rest of the weekend which restored some of the cars' balance, but the time lost and the Ferraris with their better top end power put pole out of reach of even Senna. Further testing at Silverstone before the next race in Germany revealed other factors and not the missing snorkels were the cause of the cars' imbalance and the McLarens did not appear with the turbo snorkels for the rest of the season.  The naturally aspirated March-Judds impressed with Maurício Gugelmin qualifying 5th and Ivan Capelli 6th, ahead of the turbos of Lotus and Arrows, while Mansell and Patrese qualified in 11th and 15th respectively with Patrese almost 18 seconds quicker in Saturday qualifying than he was on Friday. Despite Patrick Head describing the converted suspension as a bodge, both Williams drivers expressed their delight at their cars' new 'conventional' suspension, saying it was amazing how much more confidence they had in their cars knowing that they would now behave the same way lap after lap and not different from lap to lap and sometimes corner to corner as it was with the reactive cars.  Both Zakspeed turbos failed to qualify for the race showing the cars' lack of handling and lack of power from the team's own 4 cylinder engines with Bernd Schneider the slowest of the 30 drivers, some 7.9 seconds slower than Berger's Ferrari. His experienced teammate Piercarlo Ghinzani fared little better, being almost 6 seconds slower than the Ferrari. Also failing to make the grid were the EuroBrun of Oscar Larrauri and the Ligier of Stefan Johansson, who complained of lack of grip from his JS31. The Coloni of Gabriele Tarquini failed to pre-qualify, despite setting a time faster than what Schneider managed in qualifying.

Race summary.

The race was held in pouring rain, the first wet race since the 1985 Belgian Grand Prix. Senna made an excellent start to tail Berger and Alboreto into the first turn. Alboreto had actually beaten Berger away but with the inside line the Austrian pulled ahead through Copse. Senna was soon past the Italian and challenging Berger for the lead. Prost made a poor start, falling back to ninth. On lap 3, Capelli dropped back with electrical trouble.  By lap 14 Gugelmin, Alessandro Nannini and Mansell were fighting for third place. One lap later, Senna finally took the lead under the Bridge chicane, overtaking Berger and lapping a slow-running Prost at the same time. Using his skill in wet conditions, Senna managed to pull away and build a lead. On lap 20, Mansell overtook Nannini for fourth, after which the Italian spun at Club and let Gugelmin through. Two laps later, Mansell passed Alboreto for third. On lap 24 Prost retired, claiming handling problems of his McLaren.  Seeking out the wet parts of the track to cool his tyres, Mansell set the fastest lap of the race on lap 48, at an average speed of 206 km/h. On lap 50, he caught and passed Berger, then held second place until the finish, some 23 seconds behind Senna. Berger was suffering with a fuel deficit and was losing places rapidly. He finally ran out of fuel on the very last corner, dropping from 5th to 9th behind Piquet, Warwick, Cheever and Patrese. The same problem happened to Alboreto, who had run out of fuel on lap 63.  Nannini, despite two further spins, claimed his first Grand Prix podium finish. Gugelmin collected his first World Championship points, and Nelson Piquet and Derek Warwick rounded out the top six.  Mansell's fastest lap time of 1:23.308 was over 13 seconds slower than the lap record of 1:09.832 he set the previous year in dry conditions.

The 1988 British Grand Prix (formally the XLI Shell Oils British Grand Prix) was a Formula One motor race held on 10 July 1988 at the Silverstone Circuit, Silverstone. It was the eighth race of the 1988 FIA Formula One World Championship.

Résultats du Grand Prix automobile de Grande-Bretagne de Formule 1 1988 qui a eu lieu sur le circuit de Silverstone le.


History.

Erpe was first mentioned in a document of 1057, although the village is probably much older. The name is derived from the word Erpo. Between the 18th and 19th centuries the population of Erpe grew steadily. In 1769 there were 1032 inhabitants, in 1801 there were 1638 inhabitants, and by 1893 the village had 2394 inhabitants. By the end of the 19th century, there were two water mills in the village, a windmill, two breweries and a vinegar maker.

Landmarks.

There is a water tower of the Tussengemeentelijke Maatschappij der Vlaanderen voor Watervoorziening.  There are two water mills in Erpe, both on the Molenbeek Brook, these being the Cottemmolen and the Van Der Biestmolen.  The Cottemmolen is at the Molenstraat 36. It is an overshot watermill which is protected. It was originally a wheat mill and an oil mill, but later on it was only a wheat mill.  The Van Der Biestmolen is at Dorpsstraat 3. It is an overshot watermill which is not protected and now functions as a wheat mill.  Sint-Martinus Church can be found in Erpe, which belongs to deanery of Lede.

Tourism.

Through Erpe runs the Molenbeekroute. The Molenbeekroute is a cycle track network, known primarily for the mills of the municipality Erpe-Mere and two brooks that can be found there, which both have the name Molenbeek (mill brook).

Sport.

Erpe had two football clubs FC Edixvelde and FC Oranja Erpe at the Royal Belgian Football Association. The national clubhouse of the motorcycle club Blue Angels in Belgium is in Erpe.

Erpe is a sub-municipality of Erpe-Mere in Flanders on the Molenbeek-Ter Erpenbeek in the Denderstreek in the southeast of East Flanders and belongs to Arrondissement of Aalst. The sub-municipality is bordered by the sub-municipalities of Mere, Ottergem, and Erondegem and the municipalities Lede and Aalst. Erpe has 4903 inhabitants as of 1 January 2003 and an area of. The population density is.

Erpe est une section de la commune belge d'Erpe-Mere dans le Denderstreek sur le Molenbeek-Ter Erpenbeek située en Région flamande dans la province de Flandre-Orientale.