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Borderline Final Version

"Borderline" is a song by American singer Madonna from her debut studio album Madonna (1983). Written and produced by Reggie Lucas, the song was remixed by John "Jellybean" Benitez. It was released by Sire Records as the fifth and final single from the album on February 15, 1984. The song is also included on Madonna's greatest hits albums The Immaculate Collection (1990) and Celebration (2009).

Borderline Final Version

After recording "Borderline" in February 1983, Madonna was unhappy with the final version, feeling that Lucas used too many instruments and did not consider her ideas.[6] This led to a dispute between the two and, after finishing the album, Lucas left the project without altering the songs to Madonna's specifications. The singer asked Funhouse DJ John "Jellybean" Benitez to remix "Borderline" and two of the other recorded tracks.[7][3] Upon hearing the final version, Seymour Stein, head of Sire Records, declared, "I dared to believe this was going to be huge beyond belief, the biggest thing I'd ever had, after I heard 'Borderline'... The passion that she put into that song, I thought, there's no stopping this girl".[1]

"Borderline" was officially released as the Madonna album's fifth and final single on February 15, 1984.[37] The week of March 3, several radio stations began to add it to its rotation, which caused it to enter Billboard's Bubbling Under Hot 100 chart at number 103.[38] One week later, it entered the Hot 100 at number 88, eventually peaking at number 10 on June 16, becoming Madonna's first top-ten hit; it remained on the chart for 30 weeks.[39][40] On March 24, the track made its debut on the Dance Club Songs chart at number 67; it reached number four the week of May 11.[41][42] "Borderline" also proved to be a crossover success by peaking at 23 on the Hot Adult Contemporary Tracks chart.[43] On October 22, 1998, the song was certified gold by the Recording Industry Association of America (RIAA) for shipment of 500,000 copies.[44] In Canada, the single debuted at number 56 in the RPM issue dated August 4, 1984 and peaked at 25 on September 15.[45][46] The song was present on the chart for 14 weeks.[47]

According to critics and scholars, with the video Madonna helped break the taboo of interracial relationships. Bob Batchelor and Scott Stoddart, authors of The 1980s: American Popular Culture Through History, pointed out that her relationships with the Hispanic man and the white photographer mirrored the struggle many Hispanic women faced with their partners.[62] Douglas Kellner said that, although at first it seems that she breaks up with her Hispanic boyfriend in favor of the photographer, she later rejects the photographer; thus implying her desire to control her own sexual pleasures and to cross "established pop borderlines" with lyrics, like "You just keep on pushing my love, over the borderline". Also, the contrasting image of Madonna, first as a "messy blonde" in the street sequence and later as a glamorous high-fashion blonde, suggests that one can construct one's own image and identity; Kellner also wrote that the "street" image depicted in the video allowed her to appeal to Hispanic and black youths.[61]

Madonna first performed "Borderline" on The Dance Show on February 13, 1984; she was joined by her brother Christopher Ciccone and Erika Belle.[68] It was then added to the setlist of the Virgin (1985) and Sticky & Sweet (2008) concert tours. On the first one, she appeared from behind a silhouette and sang the original version of the song, but omitted the second verse.[69] She was decked out in a black ensemble consisting of a crop top beneath a vest with a silver cross pattée, matching fringed elbow length gloves and miniskirt, leggings, low heel leather boots and a crucifix earring in one ear.[70] "Borderline" is one of three performances not included on the Madonna Live: The Virgin Tour video release.[71]

"Lucky Star" is a song by American singer Madonna from her 1983 self-titled debut studio album. Written by her, the song was first released in the United Kingdom as a single on September 9, 1983, making it overall the fourth song released commercially off the album. In the United States, "Lucky Star" served as the album's fifth and final single after the release of "Borderline". It was then included on Madonna's greatest hits albums The Immaculate Collection (1990) and Celebration (2009). Originally, the song was produced by Reggie Lucas, but Madonna was not impressed by his final version, so she called her then-boyfriend John "Jellybean" Benitez to remix it according to her ideas.

In 1983, Madonna was recording her first studio album with Warner Music producer Reggie Lucas.[3] However, she did not have enough new material to ensure a full LP album, so Lucas produced for her a number of songs, namely "Borderline", "Burning Up", "Physical Attraction", "I Know It", "Think of Me" and lastly "Lucky Star".[4] The song was written by Madonna for Mark Kamins, who had promised her to play the track at Danceteria, the club where he worked at as a DJ.[3] However, the track was instead used for the singer's debut album, which she planned to call Lucky Star.[3] She believed that "Lucky Star", along with "Borderline", were the "perfect foundation" for the album. However, problems arose after recording the song; Madonna was unhappy with the way the final version turned out. According to her, Lucas used too many instruments and did not consider her ideas for the songs.[5] This led to a dispute between the two and, after finishing the album, Lucas left the project without altering the songs to Madonna's specifications. Hence, Madonna brought her then boyfriend John "Jellybean" Benitez to remix "Borderline" and "Lucky Star", along with some of the other recorded tracks.[5] In a later interview, Benitez reflected back on the recording sessions and commented,

Bill Lamb from described the song, along with "Holiday" and "Borderline", as "state of the art dance-pop" and praised their "irresistible" pop hooks.[13] From AllMusic, Stephen Thomas Erlewine called it one of the album's highlights and called it "effervescent";[14] also from AllMusic, Stewart Mason criticized it for being "dead simple" and having an "absolutely bare-bones arrangement and antiseptically clean production, but for some reason, it works. It's near impossible to hear this song without dancing".[15] Slant's Sal Cinquemani commented that the song had "unknowingly prefaced her recent foray into the glittery halls of electronic-pop".[16] From the same magazine, Eric Henderson said it "sets the tone [of the album] right off the bat" and called it a "sonic monster worthy of David Mancuso's fine-tuned system at the Loft".[17] On the same vein, the staff of Rolling Stone called it the "perfect" album opener.[18] On their reviews of The Immaculate Collection (1990), David Browne from Entertainment Weekly complimented the remixed version of the song, while rock critic Robert Christgau called it "blessed".[19][20] Matthew Hocter from music portal Albumism, highlighted its "catchy, semi-vacuous" lyrics.[21]

Method: Simultaneous translation, synthesis version, back-translation, and analysis by experts were performed to create the final version of the instrument in Brazilian Portuguese. The translated instrument was responded by 1,702 adults aged 18-59 years to verify validity evidence on content, internal structure, relationship with other variables, and reliability.

This article defends the existence of borderline consciousness. In cases of "borderline consciousness", conscious experience is neither determinately present nor determinately absent, but rather somewhere between. The argument in brief is this. In considering what types of Earthly systems are conscious, we face a quadrilemma. Either only human beings are conscious, or everything is conscious, or there's a sharp boundary across the apparent continuum between conscious systems and nonconscious ones, or consciousness is a vague property admitting indeterminate cases. We ought to reject the first three options, which forces us to the fourth, vagueness. Standard objections to the existence of borderline consciousness turn on the inconceivability or unimaginability of borderline cases. However, borderline cases are only inconceivable by an inappropriately demanding standard of conceivability. I conclude with some plausible cases and applications.

The document starts with a general discussion of the borderline between medical devices and medical products, including relevant definitions and examples. Then, the guidance discusses extensively what are the aspects to be considered for determining whether the combination of a medical substances with a medical device should be regulated under Directive 2001/83/EC relating to medicinal products for human use (MPD) or under Regulation 745/2017 (MDR).

Some products are hard to distinguish from medicines, for example products that might be medical devices, cosmetics, food supplements or biocidal products. These products are called borderline products until their status has been decided.

There is also a borderline between medicinal products and medical devices, both of which have medical purposes. In these cases, it will be the claims being made and the mode of action that will decide which regulatory regime will apply (medicine or device).

After translation and back-translation, the Brazilian Portuguese version was administered to three samples: patients with borderline personality disorder, psychiatric patients with comorbid substance use disorder and volunteers with no reported mental disorders.

Significant differences between groups for borderline scores (analysis of variance [ANOVA], F = 52.923, p = 0.01) were found but there were no significant correlations between scores for borderline personality disorder and alcohol or nicotine dependence. The BPI-P had satisfactory validity for borderline personality disorder, even when anxiety and depression were present, with an area under the receiver operating characteristic curve of 0.931 at a cutoff point of 14. 041b061a72


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