The 2011 Business Software Alliance Piracy Study Standard, estimates the total commercial value of illegally copied software to be at $59 billion in 2010, with emerging markets accounting for $31.9 billion, over half of the total. Furthermore, mature markets for the first time received less PC shipments than emerging economies in 2010, making emerging markets now responsible for more than half of all computers in use worldwide. In addition with software infringement rates of 68 percent comparing to 24 percent of mature markets, emerging markets thus possess the majority of the global increase in the commercial value of counterfeit software. China continues to have the highest commercial value of such software at $8.9 billion among developing countries and second in the world behind the US at $9.7 billion in 2011. In 2011, the Business Software Alliance announced that 83 percent of software deployed on PCs in Africa has been pirated (excluding South Africa).
If it is possible to answer this question, answer it for me (else, reply "unanswerable"): Who accounted for over half the total?
Ah, so.. emerging markets

Mali's constitution provides for an independent judiciary, but the executive continues to exercise influence over the judiciary by virtue of power to appoint judges and oversee both judicial functions and law enforcement. Mali's highest courts are the Supreme Court, which has both judicial and administrative powers, and a separate Constitutional Court that provides judicial review of legislative acts and serves as an election arbiter. Various lower courts exist, though village chiefs and elders resolve most local disputes in rural areas.
If it is possible to answer this question, answer it for me (else, reply "unanswerable"): What this is Supreme Court review?
Ah, so.. unanswerable

As the initial punk movement dwindled, vibrant new scenes began to coalesce out of a variety of bands pursuing experimental sounds and wider conceptual territory in their work. Many of these artists drew on backgrounds in art and viewed their music as invested in particular political or aesthetic agendas. British music publications such as the NME and Sounds developed an influential part in this nascent post-punk culture, with writers like Jon Savage, Paul Morley and Ian Penman developing a dense (and often playful) style of criticism that drew on critical theory, radical politics and an eclectic variety of other sources.
If it is possible to answer this question, answer it for me (else, reply "unanswerable"): What did American music magazines have an influence on? See later
Ah, so..
unanswerable