Ronaldo will require a transfer if he is to match Clarence Seedorf’s unique achievement of winning the competition with three separate teams.Ibrahimovi’s record looks even safer from Messi and Ronaldo, who would have to start moving clubs regularly while still scoring to make it to six (or indeed seven, if Zlatan scores for Manchester United this season). Ronaldo’s first chance will be in the 2021/22 final, while Messi will not be in line until the 2023/24 showpiece and only then provided it does not take place before 23 May, in which case he would have to wait another year.To overtake the UEFA Champions League oldest scorer mark, Ronaldo will need to register in the competition, group stage to final, after 1 April 2023, and Messi after 22 August 2025. Ronaldo’s earliest UEFA Champions League efforts both came in the fourth minute for Madrid against Juventus in October 2013 while Messi’s fastest came three minutes into Barcelona’s 7 0 win against Celtic in September 2016.Maldini’s quickfire final goal versus Liverpool is also a mark neither Ronaldo nor Messi have come close to achieving; both of Messi’s final goals were in the second half, with the earliest of Ronaldo’s four coming 20 minutes into the 2017 decider against Juventus in Cardiff..
The great thing when you build a startup, when you architect your company as much as your platform, is that given the time and the means, these things scale, mature and somehow get a life of their own. I am really proud of what we have collectively built in those 5 years. It was a fantastic roller coaster ride (ask any startup founder about it).
For Bourgeois making art is a way of fighting specific fears (Bernadac and Obrist, p.267), one of which is the ‘trauma of abandonment’ that she suffered not only through her untimely birth on Christmas Day (Bernadac and Obrist, p.246) but also on her mother’s death in 1932, when Louise was only twenty one (Bernadac and Obrist, p.207). Having experienced motherhood herself, she has dealt with the ambivalent feelings a mother may have for her children, as contradictory as those a child may feel for his or her mother. Just as the 1971 sculpture Le Trani Episode represents ‘a double attitude to be like a mother, and to be liked by a mother’ (Bourgeois quoted in Morris, p.288; sculpture reproduced p.289), Maman may be read as referring to more than one possible maternal figure: the artist, her mother, a mythological or archetypal mother and a symbol of motherhood.