title: Organic farming

text: Denmark has a long ongoing support for converting conventional farming into organic farming, which has been taught in academic classes in universities since 1986. The state began substitutes and has promoted a special national label for products that qualify as organic since 1989. Denmark is thus the first country in the world to substitute organic farming, promoting the concept and organizing the distribution of organic products. Today the government accept applicants for financial support during conversion years, as in Danish regulations farms must not have utilized conventional farming methods such as the usage of pesticides for several years before products can be assessed for qualification as organic. This financial support has in recent years been cut due to organic farming increasing in profitability, and some goods surpassing the profitability of conventional farming in domestic markets. In general, the financial situation of organic farmers in Denmark boomed between 2010 and 2018, while in 2018 serious nationwide long-lasting droughts stagnated the economic results of organic farmers; however, the average farmer still achieved a net positive result that year. In 2021 Denmark's (and Europe's) largest slaughterhouse, Danish Crown, publicized its expectations of stagnating sales of conventional pork domestically, however it expected increasing sales of organic pork and especially free range organic pork. Besides the conversion support, there are still base subsidies for organic farming paid per area of qualified farm land.


title: Organic farming

text: The first Danish private development organisation, SamsØkologisk, was established in 2013, by veteran organic farmers from the existing organisation Økologisk Samsø. The development organisation has intentions to buy and invest in farmland and then lend the land to young and aspiring farmers seeking to get into farming, especially organic farming. This organisation reports 300 economical active members as of 2021, but does not publish the amount of acquired land or active lenders.


title: Organic farming

text: However, the organic farming concept in Denmark is often not limited to organic farming as the definition is globally. Instead, the majority of organic farming is instead "ecological farming". The development of this concept has been parallel with the general organic farming movement, and is most often used interchangeable with organic farming. Thus, there is a much stronger focus on the environmental and especially the ecological impact of ecological farming than organic farming. E.g. besides the base substitute for organic farming, farmers can qualify for an extra substitute equal to 2/3 of the base for realizing a specific reduction in the usage of added nitrogen to the farmland (also by organic means). There are also parallels to the extended organic movements of regenerative agriculture, although far from all concepts in regenerative agriculture are included in the national strategy at this time, but exist as voluntary options for each farmer. For these reasons, international organic products do not fulfill the requirements of ecological farming and thus do not receive the domestic label for ecological products, rather they receive the standard European Union organic label.


title: Organic farming

text: In India, in 2016, the northern state of Sikkim achieved its goal of converting to 100% organic farming. Other states of India, including Kerala, Mizoram, Goa, Rajasthan, and Meghalaya, have also declared their intentions to shift to fully organic cultivation.


title: Organic farming

text: The South Indian state Andhra Pradesh is also promoting organic farming, especially Zero Budget Natural Farming (ZBNF) which is a form of regenerative agriculture.


title: Organic farming

text: As of 2018, India has the largest number of organic farmers in the world and constitutes more than 30% of the organic farmers globally. India has 835,000 certified organic producers.


title: Organic farming

text: The Dominican Republic has successfully converted a large amount of its banana crop to organic. The Dominican Republic accounts for 55% of the world's certified organic bananas.


title: Organic farming

text: The most noticeable change in Korea's agriculture occurred throughout the 1960s and 1970s. More specifically, the "Green Revolution" program where South Korea experienced reforestations and agricultural revolution. Due to a food shortage during Park Chung-hee's presidency, the government encouraged rice varieties suited for organic farming. Farmers were able to strategize risk minimization efforts by breeding a variety of rice called Japonica with Tongil. They also used less fertilizer and made other economic adjustments to alleviate potential risk factors.


title: Organic farming

text: In modern society, organic farming and food policies have changed, more specifically since the 1990's. As expected, the guidelines focus on basic dietary recommendations for consumption of nutrients and Korean-style diets. The main reason for this encouragement is that around 88% of countries across the world face forms of malnutrition. Then in 2009, the Special Act on Safety Management of Children’s Dietary Life was passed, restricting foods low in energy and poor in nutrients. It also focused on other nutritional problems Korean students may have had as well.


title: Organic farming

text: In Thailand, the (ISAC) was established in 1991 to promote organic farming (among other sustainable agricultural practices). The national target via the National Plan for Organic Farming is to attain, by 2021, of organically farmed land. Another target is for 40% of the produce from these farmlands to be consumed domestically.


title: Organic farming

text: The United States Department of Agriculture Rural Development (USDARD) was created in 1994 as a subsection of the USDA that implements programs to stimulate growth in rural communities. One of the programs that the USDARD created provided grants to farmers who practiced organic farming through the Organic Certification Cost Share Program (OCCSP). During the 21st century, the United States has continued to expand its reach in the organic foods market, doubling the number of organic farms in the U.S. in 2016 when compared to 2011.


title: Organic farming

text: Employment on organic farms offers potentially large numbers of jobs for people, and this may better manage the Fourth Industrial Revolution. Moreover, sustainable forestry, fishing, and mining, and other conservation-oriented activities provide larger numbers of jobs than more fossil fuel and mechanized work.


title: Organic farming

text: As was the case with most countries, Sri Lanka made the transition away from organic farming upon the arrival of the Green Revolution, whereupon it started depending more on chemical fertilizers. This became a highly popularized method when the nation started offering subsidies on the import of artificial fertilizers to increase rice paddy production, and to incentivize farmers to switch from growing traditional varieties into using high yielding varieties (HYVs). This was especially true for young farmers who saw short-term economic profit as more sustainable to their wellbeing, compared to the long term drawbacks to the environment. However, due to the various health concerns with inorganic farming including the possibility of a chronic kidney disease being associated with chemical fertilizers, many middle aged and experienced farmers displayed skepticism towards these new approaches. Some even resorted to organic farming or utilizing insecticide free fertilizers for their crops. In a study conducted by F. Horgan and E. Kudavidanage, the researchers compared crop yields of farmers in Sri Lanka who employed distinct farming techniques including organic farmers who grew traditional varieties, and insecticide-free fertilizer users and pesticide users who grew modern varieties. No significant difference was found among the yield productions and in fact, organic farmers and insecticide-free fertilizer users lamented less about insects such as planthoppers as a challenge to their production. Regardless, many farmers continued to use insecticides to avoid the predicted dangers of pests to their crops, and the cheap sale of agrochemicals provided an easy approach to augment crop growth. Additionally, while organic farming has health benefits, it’s a strenuous task which requires more man power. Although that presented a great opportunity for increased employment in Sri Lanka, the economic compensation was not enough to suffice the living expenses of those employed. Thus, most farmers relied on modern methods to run their household, especially after the economic stressors brought on by Covid-19.


title: Organic farming

text: However, while Sri Lanka was still facing the new challenges of the pandemic, in the 2019 presidential election campaign, the president, Gotabaya Rajapaksa proposed a 10-year, national transition to organic farming to declare Sri Lanka as the first nation to be known for its organic produce. On April 27, 2021, the country issued an order prohibiting the import of any inorganic pesticides or fertilizers, creating chaos among farmers. While such a change was made over concerns for the nation’s ecosystems and the health of citizens where pesticide poisonings prevailed over other health related deaths, the precipitous decision was met with criticism from the agriculture industry. This included fears that the mandate would harm the yields of the country's major crops (despite claims to the contrary), that the country would not be able to produce enough organic fertilizer domestically, and organic farming being more expensive and complex than conventional agriculture. To put this into perspective, 7.4% of Sri Lanka’s GDP is reliant on agriculture and 30% of citizens work in this sector. This means that about ⅓ of its population is dependent on this sector for jobs, making its maintenance highly crucial for the prosperity of the nation’s social and economic status. Of special concern was rice and tea, which are a staple food and major export respectively.


title: Organic farming

text: Despite it being a record crop in the first half of 2021, the tea crop began to decline in July of that year. Rice production fell by 20% over the first six months of the ban, and prices increased by around 50%. Contrary to its past success at self-sustainability, the country had to import US$450 million worth of rice to meet domestic demand. In late August, the government acknowledged the ban had created a critical dependency on supplies of imported organic fertilizers, but by then food prices had already increased twofold in some cases. In September 2021, the government declared an economic emergency, citing the ban's impact on food prices, as well as inflation from the devaluation of Sri Lankan currency due to the crashing tea industry, and a lack of tourism induced by COVID-19 restrictions.


title: Organic farming

text: In November 2021, the country partially lifted the ban on inorganic farming for certain key crops such as rubber and tea, and began to offer compensation and subsidies to farmers and rice producers in an attempt to cover losses. The previous subsidies on synthetic fertilizer imports were not reintroduced.


title: Native Hawaiians

text: Native Hawaiians (also known as Indigenous Hawaiians, Kānaka Maoli, Aboriginal Hawaiians, First Hawaiians, or simply Hawaiians) (, , , and ), are the Indigenous ethnic group of Polynesian people of the Hawaiian Islands.


title: Native Hawaiians

text: Hawaii was settled at least 800 years ago with the voyage of Polynesians from the Society Islands. The settlers gradually became detached from their original homeland and developed a distinct Hawaiian culture and identity in their new isolated home. That included the creation of new religious and cultural structures, mostly in response to the new living environment and the need for a structured belief system through which to pass on knowledge. Hence, the Hawaiian religion focuses on ways to live and relate to the land and instills a sense of communal living as well as a specialized spatial awareness.


title: Native Hawaiians

text: The Hawaiian Kingdom was formed in 1795, when Kamehameha the Great, of the independent island of Hawaiʻi, conquered the independent islands of Oʻahu, Maui, Molokaʻi, and Lānaʻi and unified them. In 1810, the whole Hawaiian archipelago became unified when Kauaʻi and Niʻihau joined the Kingdom. The Kingdom saw an influx of immigrants from the United States and Asia. The Kingdom became a Republic following its overthrow in 1893, and was annexed by the United States in 1898. An ongoing Hawaiian sovereignty movement exists seeking autonomy or independence for the state of Hawaii.


title: Native Hawaiians

text: In the 2010 U.S. Census, 527,000 people identified as Native Hawaiian, which is closer to the roughly 750,000 who lived on the islands before European contact and a significant increase from the low of 50,000 in the early 19th century. This growth has been attributed to a high fertility rate and the allowance of multiple race identification in the census: 371,000 people identified themselves as being "Native Hawaiian" combined with one or more other races or Pacific Islander groups, and 156,000 (33%) identified themselves as being "Native Hawaiian" alone.


title: Native Hawaiians

text: Two thirds of Native Hawaiians (roughly 238,000) reside in the state of Hawaii, and the rest are scattered among other states, especially in the American Southwest and California.


title: Native Hawaiians

text: The history of Native Hawaiians, like the history of Hawaii, is commonly classified into four major periods:


title: Native Hawaiians

text: One theory is that the first Polynesians arrived in Hawaii in the 3rd century from the Marquesas by travelling in groups of waka, and were followed by Tahitians in AD 1300, who then conquered the original inhabitants. Another is that a single, extended period of settlement populated the islands.


title: Native Hawaiians

text: Evidence for a Tahitian conquest of the islands include the legends of Hawaiiloa and the navigator-priest Paao, who is said to have made a voyage between Hawaii and the island of "Kahiki" (Tahiti) and introduced many customs. Early historians, such as Abraham Fornander and Martha Beckwith, subscribed to this Tahitian invasion theory, but later historians, such as Patrick Kirch, do not mention it. King Kalākaua claimed that Paao was from Samoa.


title: Native Hawaiians

text: Some writers claim that other settlers in Hawaii were forced into remote valleys by newer arrivals. They claim that stories about the Menehune, little people who built heiau and fishponds, prove the existence of ancient peoples who settled the islands before the Hawaiians, but similar stories exist throughout Polynesia.


title: Native Hawaiians

text: At the time of Captain Cook's arrival in 1778, the population is estimated to have been between 250,000 and 800,000. This is the peak population of singularly Native Hawaiian people on the islands, with the 293,000 of today being made of both dual lineage Native Hawaiian and mixed lineage/ multi-racial Native Hawaiians. This was also the highest number of any Native Hawaiians living on the island until 2014, a period of almost 226 years. This long spread was marked by a die-off of 1-in-17 Native Hawaiians, to begin with, which would gradually increase to almost 8–10 Hawaiians having died from the first contact to the lowest demographic total in 1950. Over the span of the first century after the first contact, the native Hawaiians were nearly wiped out by diseases introduced to the islands. Native Hawaiians had no resistance to influenza, smallpox, measles, or whooping cough, among others. These diseases were similarly catastrophic to indigenous populations in the continental United States, and show a larger trend of violence and disease wiping out native people. The 1900 U.S. Census identified 37,656 residents of full or partial native Hawaiian ancestry.


title: Native Hawaiians

text: Some Hawaiians left the islands during the period of the Kingdom of Hawaii like Harry Maitey, who became the first Hawaiian in Prussia. Over the span of the first century after the first contact, the native Hawaiians were nearly wiped out by diseases introduced to the islands. The 2000 U.S. Census identified 283,430 residents of Native Hawaiian or Pacific Islander ancestry, showing a dramatic growth trend since annexation by the U.S. in 1898. This rapid increase in population has also occurred outside of the island, with many of the populations in California and Washington experiencing dramatic increases in total population. This has been part of the larger Hawaiian cultural revival and reflects an important resurgence in the presence of Native Hawaiians in the fabric of modern island life.


title: Native Hawaiians

text: The Native Hawaiians initially began with a culture that was similar to their Polynesian roots, but with time and isolation began to develop their own religion and cultural practices. This new worship centered on the ideas of land ("aina") and family ("ohana") with land being held as a sacred part of life and family going beyond blood. These concepts are very different from Western views of familial structure and ownership. Much of this changed during the imperialist allotment system, and familial relations were also changed by US settler policies. The Hawaiian religion is polytheistic but mostly focuses on two gods. These are Wākea and Papahānaumoku, the mother and father of the Hawaiian islands, whose stillborn child formed the deep roots of Hawaii, and whose second child, Hāloa, is the god from which all Hawaiians originate.


title: Native Hawaiians

text: Hawaiian culture is deeply caste-oriented, with definitive roles for people based on their pre-ascribed social standing. This is also reflected in their land system, with moku, tracts of land given to people of high standing and is kept within the family, being split into smaller ahupua'a, which extend from the sea to the mountains, ensuring that each tract of land includes all necessary resources for survival, including hardwoods and food sources. The ahupua'a is managed by managers, who are charged by the chief to collect tributes from each tract. Specialized splits of the ahupua'a are based on the level of tribute, with the major split being 'Ili. 'Ili give a small tribute to the chief of the ahupua'a and another to the chief of the island. This is a form of tax, as well as a condition of the caste oriented land system. This is often compared to the European system of feudalism, which is incorrect, as native Hawaiian peasants were never bound to the land as in the European system and were in fact free to move between ahupua’a as they saw fit.


title: Native Hawaiians

text: Native Hawaiians refer to themselves as "kama'aina", a word meaning "people of the land", not just because of the connection to the land and their stewardship of it, but as part of the spiritual belief system that holds Native Hawaiian origin to the island itself. This is reinforced by the taro plant, a crop that is said to be the manifestation of Hāloa, the stillborn son of Papa and Wakea. The taro plant comes to represent the deep root network that tethers Hawaiians to the island, as well as symbolizing the branching networks of the currently living Hawaiian people.


title: Native Hawaiians

text: The struggle to preserve Native Hawaiian culture is apparent in the schooling system that centers indigenous knowledge and language, as well as activism to preserve traditional landholdings. Much of the Hawaiian culture has been commodified, with hula dancers and symbols being mass-produced for non-Hawaiian consumption, which some scholars like Haunani-Kay Trask have considered prostitution of Hawaiian traditions. This also includes things like the use of the word "Aloha", and the assimilation of Hawaiian culture into non-native lifestyles. For many Native Hawaiians, this is a difficult situation as the financial incentive offers a chance to escape joblessness, poverty, and complete erasure, while also allowing the dilution of cultural practice.


title: Native Hawaiians

text: Several cultural preservation societies and organizations have been established over the course of the 20th century. The largest of those institutions is the Bernice Pauahi Bishop Museum, established in 1889 and designated as the Hawaiʻi State Museum of Natural and Cultural History. The Bishop Museum houses the largest collection of native Hawaiian artifacts, documents, and other information available for educational use. Most objects are held for preservation alone. The museum has links with major colleges and universities throughout the world to facilitate research.


title: Native Hawaiians

text: With the support of the Bishop Museum, the Polynesian Voyaging Society's double-hulled canoe, "Hōkūlea", has contributed to rediscovery of native Hawaiian culture, especially in the revival of celestial navigation, by which ancient Polynesians originally settled Hawaiʻi.


title: Native Hawaiians

text: One of the most commonly known arts of Hawaii is hula dancing. Traditionally, hula was a religious ritualistic dance that was more about honoring the gods and goddesses than about entertainment. In the 21st century, many people recognize the hula dance in two different categories, which are Hula Kahiko and Hula ʻAuana.


title: Native Hawaiians

text: Hula Kahiko, which is an "old" style of the hula dancing that is an interpretive dance, famous for its grace and romantic feel, that expresses stories and feeling from almost any phase of life and culture of Hawaiians. While dancing, they also use percussion instruments and traditional chanting. Hawaiians make their own traditional instruments to use while the dancers are dancing. These include the pahu hula, kilu or puniu, ipu, hano or phe hano ihu, ka, pu, oeoe, pahupahu kaekeeke, hokio, and wi. Dancers employ implements to create sounds. Some of the traditional hula implements are uliuli, puili, iliili, papahehi, and kalaau.


title: Native Hawaiians

text: Hula ʻAuana is a hula that was changed by Western influences and performed with musical instruments that do not originate from the Hawaiian Islands. It was popularized and influenced by the influx of tourists to the Hawaiian Islands. The stories are told primarily with the movements of the body and hands, music, and ukuleles and guitars to accompany the dancers. The entire performance makes it more entertaining for those who are new to the culture.


title: Native Hawaiians

text: The Hawaiian people have various traditions and holidays they celebrate annually. One of the most important holidays is Prince Kuhio Day. Celebrated every year since 1949 on his birthday (March 26), Prince Kuhio Day honors Prince Jonah Kūhiō Kalanianaʻole, a Congressman who succeeded in helping Native Hawaiian families become public landowners. It is celebrated with canoe races and luaus across the islands of Hawaii. The most popular and well-known form of celebration in Hawaii are luaus. A luau is a traditional Hawaiian banquet, commonly featuring food such as poi, poke, lomi-lomi salmon, kalua pig, haupia, and classic Hawaiian entertainment like ukulele music and hula. Every June 11 Native Hawaiians celebrate King Kamehameha day. Kamehameha was the king who unified Niʻihau, Kauaʻi, Oʻahu, Molokaʻi, Lānaʻi, Kahoʻolawe, Maui, and Hawaiʻi under one flag and established the Kingdom of Hawaiʻi. He was also known as a fearless warrior, wise diplomat, and the most respected leader in the history of the Hawaiian monarchy. The holiday is celebrated with parades and lei draping ceremonies, where Native Hawaiians bring lei to the multiple King Kamehameha statues located across the islands and drape them from his cast bronze arms and neck to honor his contributions to the people of Hawaiʻi.


title: Native Hawaiians

text: Native Hawaiian culture has seen a revival in recent years as an outgrowth of decisions made at the 1978 Hawaiʻi State Constitutional Convention, held 200 years after the arrival of Captain Cook. At the convention, the Hawaiʻi state government committed itself to a progressive study and preservation of native Hawaiian culture, history, and language.


title: Native Hawaiians

text: A comprehensive Hawaiian culture curriculum was introduced into the State of Hawaiʻi's public elementary schools teaching: ancient Hawaiian art, lifestyle, geography, hula, and Hawaiian language vocabulary. Intermediate and high schools were mandated to impose two sets of Hawaiian history curricula on every candidate for graduation.


title: Native Hawaiians

text: Statutes and charter amendments were passed acknowledging a policy of preference for Hawaiian place and street names. For example, with the closure of Barbers Point Naval Air Station in the 1990s, the region formerly occupied by the base was renamed Kalaeloa.


title: Native Hawaiians

text: While Native Hawaiian protest has a long history, beginning just after the overthrow of the Hawaiian Kingdom, many of the most notable struggles and protest movements by Native Hawaiians were conducted during or after the Hawaiian cultural revival. These include the Kalama Valley protests, the Waiāhole-Waikāne struggle, the Kahoolawe protests, and the Thirty Meter Telescope protests.


title: Native Hawaiians

text: The Hawaiian language (or ʻŌlelo Hawaiʻi) was once the primary language of the native Hawaiian people; today, native Hawaiians predominantly speak the English language. A major factor for this change was an 1896 law that required that English "be the only medium and basis of instruction in all public and private schools". This law prevented the Hawaiian language from being taught as a second language. In spite of this, some Native Hawaiians (as well as non-Native Hawaiians) have learned ʻŌlelo as a second language. As with others local to Hawaii, Native Hawaiians often speak Hawaiian Creole English (referred to in Hawaiʻi as Pidgin), a creole which developed during Hawaiʻi's plantation era in the late nineteenth and early twentieth centuries with the influence of the various ethnic groups living in Hawaii during that time.


title: Native Hawaiians

text: Nowadays, ʻŌlelo Hawaiʻi is the official language of the State of Hawaii, alongside English. The Hawaiian language has been promoted for revival most recently by a state program of cultural preservation enacted in 1978. Programs included the opening of Hawaiian language immersion schools, and the establishment of a Hawaiian language department at the University of Hawaiʻi at Mānoa. As a result, Hawaiian language learning has climbed among all races in Hawaiʻi.


title: Native Hawaiians

text: In 2006, the University of Hawaiʻi at Hilo established a masters program in the Hawaiian Language. In fall 2006, they established a doctoral (Ph.D) program in the Hawaiian Language. In addition to being the first doctoral program for the study of Hawaiian, it is the first doctoral program established for the study of any native language in the United States of America.


title: Native Hawaiians

text: Alongside 'Ōlelo Hawai'i, some Maoli (Native Hawaiians) spoke Hawai'i Sign Language (or HSL). Little is known about the language by Western academics and efforts are being made to preserve and revitalize the language.


title: Native Hawaiians

text: Hawaiian children are publicly educated under the same terms as any other children in the United States. In Hawaii, children are publicly educated by the Hawaiʻi State Department of Education. Under the administration of Governor Benjamin J. Cayetano from 1994 to 2002, the state's educational system established Hawaiian language immersion schools. In these schools, all subject courses are taught in the Hawaiian language and use native Hawaiian subject matter in curricula. These schools were created in the spirit of cultural preservation and are not exclusive to native Hawaiian children.


title: Native Hawaiians

text: Native Hawaiians are eligible for an education from the Kamehameha Schools, established through the last will and testament of Bernice Pauahi Bishop of the Kamehameha Dynasty. The largest and wealthiest private school in the United States, Kamehameha Schools was intended to benefit orphans and the needy, with preference given to native Hawaiians. The Kamehameha Schools educates thousands of children of entire and part native Hawaiian ancestry at its campuses during the regular school year, and also has summer and off-campus programs that are not restricted by ancestry. Kamehameha Schools' practice of accepting primarily gifted students, in lieu of intellectually challenged children, has been a controversial topic amongst the native Hawaiian community. Many families feel that the gifted students could excel at any learning institution, public or private, and that the Hawaiian community may be better served by educating children from high-risk, high-crime districts so that a greater proportion of disadvantaged youths may grow up to be responsible community contributors.


title: Native Hawaiians

text: As with other children in Hawaiʻi, some native Hawaiians are educated by other prominent private academies in the Aloha State. They include: Punahou School, Saint Louis School, Mid-Pacific Institute, and ʻIolani School.


title: Native Hawaiians

text: Native Hawaiians exemplify patterns of observational learning, a model that captures seven interrelated descriptions, or facets, of learning found in Indigenous communities in the Americas. Native Hawaiian views on learning flow from three basic tenets that correspond directly to the observational learning model: ""I ka nānā no a ʻike": by observing, one learns. "I ka hoʻolohe no a hoʻomaopopo:" by listening, one commits to memory. "I ka hana no a ʻike": by practice one masters the skill."


title: Native Hawaiians

text: Similar to the indigenous communities of the Americas, Native Hawaiian children contribute alongside the adults, and the adults' presence is there to offer support. In most Native Hawaiian communities, household work tasks, such as ironing and cooking, etc., play a major role in contributing to the home life and children's participation enhances their importance within the family. Native Hawaiian children have shared aspirations to accomplish collaborative tasks, and they individually take initiative to work together. Children absorb very early the community-wide belief that "hana" (work) is respected and laziness is shameful. The phrase ""E hoʻohuli ka lima i lalo"" (The palms of the hands should be turned down) was used to communicate the idea that idleness (associated with upturned palms) was to be avoided.


title: Native Hawaiians

text: Native Hawaiian children cooperate with flexible leadership to combine their skills, ideas, and abilities, like that found in observational learning in the indigenous communities of the Americas. Family organization is a "shared-function" system that includes flexible roles and fluid responsibility within the group. Basic family values include interdependence, responsibility for others, sharing of work and resources, obedience, and respect. Children assume important family responsibilities early and act as members of a sibling workforce that is held collectively responsible for completing tasks.


title: Native Hawaiians

text: Children also take initiative to help others in the classroom. It has been observed that when children are working in a group with their peers and face difficulty, they will scan the room for an adult to assist or turn to their close fellows to either ask for help. Children also scan to provide help to others when necessary. In this way, children shift between the roles of assisted and assistant. Adults were present and available, but the children were more often found to take the initiative to learn from, and teach, one another how to perform tasks such as sweeping, homework, and caring for younger siblings.


title: Native Hawaiians

text: Among Native Hawaiians, the goal of learning is to transform participation to encompass conscientious accountability as active contributing members of the community, like that found in Learning by Observing and Pitching In (LOPI). For example, in some Native Hawaiian communities, parent(s) teach the older siblings the necessary skills of care taking. Sibling care-taking skills can relate to indigenous American ways of learning by the children becoming considerate of their parents and taking on the responsibility when needed in case of a tragic incident with the parents. Within the classroom and home settings, adults are present but are not always directly monitoring the children. Children ask for help when necessary, but adults appear to rarely interject. Children appeared to adapt to tasks and situations by observations and go off on their own to collectively work out how and what to do to complete the task.


title: Native Hawaiians

text: Assuming and initiating care has been found across Polynesian cultures, and Native Hawaiian practices are in keeping with this trend. One study observed, interviewed, and evaluated families on the Polynesian Island Sikaiana and found that fostering children from other families within the community is a common shared endeavor that serves to construct relationships, support the community, and nurture compassion and sympathy ("aloha"). As children mature within the family, they go through a process of having their needs attended and learn to provide and care for the younger children alongside the adults. Adolescent girls who are active caretakers are referred to as parents, even if there is no biological connection.


title: Native Hawaiians

text: The Hawaiians' ways of learning include wide keen attention from the children while adults are available for guidance, also found in the model of Learning by Observing and Pitching In. Children were found to learn from adults by participating in group activities where they had the chance to observe the performance of more experienced participants as well as having errors in their own performance corrected by more seasoned group members. Because the children learn through observation, and then are encouraged to practice among their peers, we can speculate the children have keen attention to events around them, which is an expectation of adults and community members who are there to assist when needed. It has been observed that Hawaiian children were successful at completing tasks which greatly depend on visual and memory process skills, which coincides with Hawaiian mother's frequent use of non-verbal communication.


title: Native Hawaiians

text: In some Native Hawaiian communities, there is a constant use of "talk story" which plays an essential role in promoting solidarity in the community by not overpowering or making the members of the community feel inadequate for not understanding something. Talk story can consist of recalled events, folktales, and joking. Joking can be used to tease and guide the children about how to do a chore better or to avoid serious trouble. Talk story relates to an Indigenous way of learning by providing conversations such as narratives and dramatizations with verbal and nonverbal communication between the elder and children.


title: Native Hawaiians

text: Another example of verbal communication in the Native Hawaiian culture is through the use of chanting, which can allow a child to understand the relationship of their present experiences to those of their ancestors, both alive and deceased. Chanting also allows children to understand the connections of their chants to mother earth. For instance, chanting can voice the need for rain to produce plants and induce ponds to grow fish for harvest.


title: Native Hawaiians

text: A study comparing Midwestern and Hawaiian mother – Kindergartener pairs presented with a novel task, found Hawaiian mothers to be much lower than their Midwestern counterparts in the use of verbal-control techniques and much higher in non-verbal communication, a finding which implies coordination through non-verbal and verbal means. Aspects of togetherness, continuity, purpose, and significance are a part of learning and coincide with the Native Hawaiian's spiritual connection to earth and environment.


title: Native Hawaiians

text: There is verbal and nonverbal guidance from parents to children with chores and other activities. For example, a pat on the shoulder can communicate to the child that he/she is doing the activity at hand the correct way. This example relates to the LOPI model by there being an appraisal from the parent(s) in order to support their progress in learning and contributing better in the community. As the child gradually advances towards more complex tasks, the goal of mastery and feedback on the adequacy of their contributions become more pronounced.


title: Native Hawaiians

text: In the context of producing objects e.g. baskets, mats, or quilts, there was a belief that a child must produce a perfect end-product before moving on to learn the skills of producing something else. Perfection in these products was judged by more experienced craftspeople and was attained by repeated attempts interspersed with feedback. The perfected final products were kept as a special reminder and never used. Their production was seen as a necessary first step in "clearing the way" for other products to come; an indication of mastery for that skill set. Throughout several research articles, it becomes clear that many of the Native Hawaiian ways of learning resemble the defining characteristics of LOPI, which is common in many Indigenous communities of the Americas.


title: Native Hawaiians

text: Another important outgrowth of the 1978 Hawaiʻi State Constitutional Convention was the establishment of the Office of Hawaiian Affairs, more popularly known as OHA. Delegates that included future Hawaiʻi political stars Benjamin J. Cayetano, John D. Waihee III, and Jeremy Harris created measures intended to address injustices toward native Hawaiians since the overthrow of the Kingdom of Hawaiʻi in 1893. OHA was established as a trust, administered with a mandate to better the conditions of both native Hawaiians and the Hawaiian community in general. OHA was given control over certain public lands, and continues to expand its land-holdings to this day (most recently with Waimea Valley, previously Waimea Falls Park).


title: Native Hawaiians

text: Besides purchases since its inception, the lands initially given to OHA were originally crown lands of the Kingdom of Hawaiʻi used to pay the expenses of the monarchy (later held by the Provisional Government following the fall of the monarchy in 1893). Upon the declaration of the Republic of Hawaiʻi, they were officially designated as public lands. They were ceded to federal control with the establishment of the Territory of Hawaiʻi in 1898, and finally returned to the State of Hawaiʻi as public lands in 1959.


title: Native Hawaiians

text: OHA is a semi-autonomous government body administered by a nine-member board of trustees, elected by the people of the State of Hawaiʻi through popular suffrage. Originally, trustees and the people eligible to vote for trustees were restricted to native Hawaiians. Rice v. Cayetano—suing the state to allow non-Hawaiians to sit on the board of trustees, and for non-Hawaiians to be allowed to vote in trustee elections—reached the United States Supreme Court, which ruled in favor of Rice on February 23, 2000, forcing OHA to open its elections to all residents of the State of Hawaiʻi, regardless of ethnicity.


title: Native Hawaiians

text: In 1893, after the ascension of Queen Liliuokalani to the Hawaiian Throne in 1891, Sanford Dole created the "Committee of Safety" to overthrow the monarchy. This was in part due to the rejection of the 1887 Constitution by Queen Liliuokalani, which had severely limited the authority of the traditional Hawaiian monarch. See Overthrow of the Hawaiian Kingdom . This led to the diminishment of traditional governance and the installment of a US-backed, sugar baron government that was set on maximizing land-based profit on the island. This is not the first major US government involvement, see Hawaiian rebellions (1887–1895), but marked one of the biggest shifts in policy. Many have speculated that the coup was due to Kalākaua's unwillingness to sign the amended Treaty of Reciprocity which would have hurt Hawaiian trade, and opened up part of the island for the Pearl Harbor based military installation.


title: Native Hawaiians

text: The United States coup would be bolstered by the usage of the US Marines and despite being challenged by Grover Cleveland, would eventually be supported by President McKinley in his "Manifest Destiny" plan, which was both harmful to indigenous peoples in the continental United States and the unceded Kingdom of Hawai'i. Overall, this coup left Native Hawaiians as the only major indigenous group with no "nation-to-nation" negotiation method and without any form of self determination.


title: Native Hawaiians

text: In 1974, the Native American Programs Act was amended to include native Hawaiians. This paved the way for native Hawaiians to become eligible for some, but not all, federal assistance programs originally intended for Continental Native Americans. Today, Title 45 CFR Part 1336.62 defines a Native Hawaiian as "an individual any of whose ancestors were natives of the area which consists of the Hawaiian Islands prior to 1778".


title: Native Hawaiians

text: There is some controversy as to whether or not native Hawaiians should be considered in the same light as Native Americans.


title: Native Hawaiians

text: On November 23, 1993, U.S. President Bill Clinton signed United States Public Law 103–150, also known as the Apology Resolution, which had previously passed Congress. This resolution "apologizes to Native Hawaiians on behalf of the people of the United States for the overthrow of the Kingdom of Hawaii".


title: Native Hawaiians

text: In the early 2000s, the Congressional delegation of the State of Hawaiʻi introduced the Native Hawaiian Federal Recognition Bill, beginning the process of recognizing and forming a Native Hawaiian government entity to negotiate with state and federal governments. The significance of the bill is that it would establish, for the first time in the history of the islands, a new political and legal relationship between a Native Hawaiian entity and the federal government. This Native Hawaiian entity would be a newly created one without any historical precedent in the islands, or direct institutional continuity with previous political entities (unlike many Native American Indian groups, for example).


title: Native Hawaiians

text: This bill came under scrutiny by the Bush administration's Department of Justice, as well as the United States Senate Judiciary Committee. The political context surrounding the Akaka Bill is both controversial and complex. Proponents, who consider the legislation an acknowledgement and partial correction of past injustices, include Hawaiʻi's Congressional delegation, as well as the former Republican Governor, Linda Lingle. Opponents include the U.S. Commission on Civil Rights, (who question the constitutionality of creating race-based governments), libertarian activists, (who challenge the historical accuracy of any claims of injustice), and other Native Hawaiian sovereignty activists, (who feel the legislation would thwart their hopes for complete independence from the United States).


title: Native Hawaiians

text: A Ward Research poll commissioned in 2003 by the Office of Hawaiian Affairs reported that "Eighty-six percent of the 303 Hawaiian residents polled by Ward Research said 'yes.' Only 7 percent said 'no,' with 6 percent unsure ... Of the 301 non-Hawaiians polled, almost eight in 10 (78 percent) supported federal recognition, 16 percent opposed it, with 6 percent unsure." A Zogby International poll commissioned in 2009 by the Grassroot Institute of Hawaii indicated that a plurality (39%) of Hawaiʻi residents opposed the Native Hawaiian Reorganization Act of 2009, and that 76% indicated that they were unwilling to pay higher taxes to cover any loss in tax revenues that might be incurred by the act.


title: Native Hawaiians

text: In 2005, with the support of U.S. Senator Daniel Inouye, federal funding through the Native Hawaiian Education Act created the Center for Excellence in Native Hawaiian Law at the University of Hawaiʻi at Mānoa's William S. Richardson School of Law. A few years later, the program became known as Ka Huli Ao: Center for Excellence in Native Hawaiian Law. The inaugural director of Ka Huli Ao is Honolulu attorney Melody Kapilialoha MacKenzie, who was the chief editor of the Native Hawaiian Rights Handbook, which describes Native Hawaiian law.


title: Native Hawaiians

text: Ka Huli Ao focuses on research, scholarship, and community outreach. Ka Huli Ao provides a monthly lunch-time discussion forum referred to as "Maoli Thursday", which is free and open to the public. Ka Huli Ao maintains its own blog, as well as a Twitter account and a Facebook group. Ka Huli Ao also provides law students with summer fellowships. Law school graduates are eligible to apply for post-J.D. fellowships that last for one year.


title: Native Hawaiians

text: In 2016, the Department of Interior (DOI) under the direction of Secretary Jewell and President Obama, started the process of recognizing the Hawaiians’ right to self governance and the ability for nation-to-nation negotiation status and rights. This created opposition from those who did not believe that Native Hawaiians should have to go through US structures to regain sovereignty as well as saw the US attempts as being an "incomplete path to Hawaiian independence and nationhood". The final verdict of 2016 allowed for nation-to-nation relationships if Native Hawaiians created their own government and sought that relationship. Ultimately the naming of delegates and recognition of the results for the new government was stopped by Justice Kennedy, using his earlier precedent in Rice v. Cayetano that "ancestry was a proxy for race" in ancestry based elections, but the voting itself was not stopped (see: United States federal recognition of Native Hawaiians).


title: Native Hawaiians

text: In 1873, the first native Hawaiians were given permission from King Lunalilo (prior emigration of native Hawaiians was not allowed) to permanently emigrate to the United States (Salt Lake City, Utah) whose names were Kiha Kaʻawa, and Kahana Pukahi. Kiha was adopted by Mormon Missionary President George Nebeker immediately upon arrival making Kiha Kaʻawa (Nebeker) the first native Hawaiian to become a U.S. citizen in 1873.


title: Blurred Lines

text: "Blurred Lines" is a song by American singer Robin Thicke featuring American rappers T.I. and Pharrell Williams from the former's sixth studio album of the same name (2013). Solely produced by Williams, it was released as the album's lead single on March 26, 2013, through Star Trak Recordings and Interscope Records. For the lyrics, Thicke said the song is about his former wife Paula Patton. Musically, "Blurred Lines" is an R&B and pop track with instrumentation consisting of bass guitar, drums, and percussion.


title: Blurred Lines

text: The song received generally negative reviews from music critics, with some saying it glorified rape culture. Commercially, the song topped the charts of 25 countries and reached the top five of six others. "Blurred Lines" spent 12 consecutive weeks atop the US "Billboard" Hot 100, making it the longest-running single of 2013 in the United States. In June 2018, the song was certified a diamond certification by the Recording Industry Association of America (RIAA). It became one of the best-selling singles of all time, with sales of 14.8 million, simultaneously breaking the record for the largest radio audience in history. The song was nominated for awards, including Record of the Year and Best Pop Duo/Group Performance at the 56th Annual Grammy Awards.


title: Blurred Lines

text: The music video for "Blurred Lines" was directed by Diane Martel. Two versions of the video exist: edited and unrated. In both of them, Thicke, T.I., and Williams are featured with models Emily Ratajkowski, Elle Evans, and Jessi M'Bengue performing several activities, including the models snuggling in bed with Thicke and sitting on a stuffed dog. After being on the site for just under one week, the unrated version, featuring topless models, was removed from YouTube for violating the site's terms of service. Many critics panned both videos, calling them misogynist and sexist.


title: Blurred Lines

text: To promote the song, Thicke performed on televised live events including the 2013 iHeartRadio Music Festival, "The Ellen DeGeneres Show", and a highly controversial performance with American singer Miley Cyrus at the 2013 MTV Video Music Awards. The song became the subject of a legal dispute with the family of American singer Marvin Gaye and Bridgeport Music, who argued the song infringed on copyrights to Gaye's 1977 single "Got to Give It Up". Williams and Thicke were found liable for copyright infringement by a federal jury in March 2015, and Gaye was awarded posthumous songwriting credit based on the royalties pledged to his estate.


title: Blurred Lines

text: American singers Robin Thicke and Pharrell Williams co-wrote "Blurred Lines" during a three-day writing session in July 2012. Williams first started to play a funk rhythm with syncopated cowbell accents on the drums, along with a simple two-chord progression. It became the spine of the track. Thicke improvised a melody and wrote lyrics about seducing another man's girlfriend. Within an hour and a half, both singers had the song recorded and completed. Thicke and Williams wanted to get a rapper from the Southern part of the United States to be part of the song. They ended up choosing American rapper T.I. T.I. would add a rap verse to the song several months later.


title: Blurred Lines

text: In an interview with "GQ's" Stelios Phili, Thicke explained that he and Williams were in the studio together when he told Williams that one of his favorite songs of all time was Marvin Gaye's 1977 single "Got to Give It Up". Thicke wanted to make a song similar to "Got to Give It Up". Thicke stated that he and Wiliams would go back and forth and sing lines like, "Hey, hey, hey!". Thicke told the "Daily Star" the song was "mostly throwaway fun", but said it was inspired by him and Williams being in love with their wives, having kids, and loving their mothers. He commented that both of them have a lot of respect for women. An ad was created for Radio Shack to market the Beats Pill, a small stereo, that showed Thicke, Pharrell, and the models repeating the look of the (clothed) music video, but with the models holding up the Beats Pill.


title: Blurred Lines

text: "Blurred Lines" has been described as a funk-inspired pop and R&B track. Its instrumentation consists of bass guitar, drums, and percussion. According to Emily Bootle of "New Statesman", the song is light-hearted in nature and its musical humor is evident in the "bouncing bassline, tongue-in cheek background yelps, the comically low pitch of the refrain 'I know you want it' and the laughter that follows the lyric 'What rhymes with 'hug me'?'."


title: Blurred Lines

text: Lyrically, "Blurred Lines" is about a woman Thicke is trying to pick up in a club. "The song is a come on", wrote Ken Tucker in a review of the song and its parent album for NPR. Tucker noted that what prevents the song from descending into creepiness is that Thicke remains "gentlemanly and debonair" when the object of his desire rejects him.


title: Blurred Lines

text: Other interpretations of the song's lyrical content were unfavorable. Elizabeth Plank of Mic considered the lyrics offensive, particularly Thicke repeatedly singing 'I know you want it' while T.I. raps: 'I'll give you something big enough to tear your ass in two." Sezin Koehler of "Pacific Standard" said the lyrics suggest that "women are supposed to enjoy pain during sex or that pain is part of sex" and went on to find in the lyrics other parallels to the act of rape."


title: Blurred Lines

text: Thicke told Howard Stern during an interview on "The Howard Stern Show" that "Blurred Lines" was inspired by his then-wife Paula Patton. He confessed to Stern: “My wife is Mrs. Good Girl, but gradually over our marriage, I’ve turned her into a bad girl.”


title: Blurred Lines

text: "Blurred Lines" was panned by music critics, who stated that it glorifies rape culture. "The Daily Beast" Tricia Romano described the track as "kind of rapey." Callie Ahlgrim and Courteney Larocca of "Insider" commented in 2019 that "If you could cancel a song the way fans cancel artists, 'Blurred Lines' deserves to be that song." They continued, saying its "existence is a huge injustice to women everywhere." "Spin" magazine's Keith Harris remarked that the song is "a consensual two-way flirtation, a game both players get to win, with Thicke desperately launching goofball compliments at a woman who paws at him and prances away." Ann Powers for NPR declared that the verse: "I know you want it," objectifies women and condones rape. Writing for "The Independent", Mollie Goodfellow described Thicke as the "weaselly face of the rape anthem 'Blurred Lines'."


title: Blurred Lines

text: Andy Hermann for "The Village Voice" stated that Thicke and Williams tried to ruin the summer of 2013 with their "smug turd of a pop tune" and deemed the song "terrible, tacky, [and] derivative." Writing for "Rolling Stone", Rob Sheffield described "Blurred Lines" as "the worst song of this or any other year". He said he couldn't "remember the last time there was a hit song this ghastly – the sound of Adam Sandler taking a falsetto hate-whizz on Marvin Gaye's grave". Annie Zaleski of "The A.V. Club" said that the song's "old-man lecherousness and boys'-club friskiness . . . comes off as uncomfortable and demeaning." Andy Kellman of AllMusic depicted "Blurred Lines" as a "marginalized genre of R&B". Greg Kot from the "Chicago Tribune" described the song's lyrics as "dunderheaded", while saying Thicke "scrapes bottom with his single-entendre come-on's." Trevor Anderson of "Billboard" opined it is "less a recall of a celebrated classic hit, but more a cautionary tale that still divides critics, creatives and consumers alike".


title: Blurred Lines

text: Jim Farber, writing for "New York Daily News", called the song "irresistible" and mentioned it had an "utter lack of pretense". In her review for "The Christian Science Monitor", Nekesa Mumbi Moody labeled the song as "undeniable", and wrote that it had become a "cultural flashpoint". The staff of "The New Zealand Herald" lauded the track as "cool" and "inventive". "The Ledger" James C. McKinley Jr praised "Blurred Lines" as a "catchy come-on". Brendon Veevers for "Renowned for Sound" remarked the track "really shows off Thicke's vocal dexterity as he bends and blends playfully within 4 minutes of seductive, sexually charged beats and hooks alongside fellow heavyweights T.I and hit-maker Pharrell". The staff of "Rolling Stone" place it at number 50 on their "100 Best Songs of 2013", saying "thanks to its lascivious, Pharrell-spun hook, it held the whole world in its slightly skeevy grasp all summer long".


title: Blurred Lines

text: "Blurred Lines" has been nominated for multiple awards. "Blurred Lines" was nominated for Record of the Year and Best Pop Duo/Group Performance at the 56th Annual Grammy Awards. The song was nominated for Best Collaboration at the 2014 BET Awards. It was nominated for Hip-Hop/R&B Song of the Year at the 2014 iHeartRadio Music Awards and Single of the Year at the 2013 American Music Awards. It was nominated for was Best Collaboration and Best Song of the Summer at the 2013 MTV Video Music Awards while also nominated for Best Song at the 2013 MTV Europe Music Awards. "Blurred Lines" won Top Hot 100 Song, Top Digital Song, Top Radio Song, and Top R&B Song at the 2014 Billboard Music Awards. It also won an award for Song of the Year and Best Collaboration at the 2013 Soul Train Music Awards and Outstanding Duo or Group at the 45th NAACP Image Awards.


title: Blurred Lines

text: "Blurred Lines" was released as the lead single on March 26, 2013, from Thicke's studio album of the same name (2013), through Star Trak Recordings and Interscope Records. It was released to Contemporary hit radio on May 21, 2013. It was released as a single with a remix by Filipino music prouder Laidback Luke in the United Kingdom on May 24, 2013. A remix featuring Colombian singer J Balvin was released on July 23, 2013, in Colombia. A no rap version of the track was released alongside Laidback Luke's remix and both music videos. An EP featuring remixes by Laidback Luke, Australian producer Will Sparks, and American producer DallasK was made for the single. Another EP for was released for "Blurred Lines". The EP also features the Laidback Luke remix, "When I Get You Alone", "Lost Without U", "Magic", and "Sex Therapy".


title: Blurred Lines

text: "Blurred Lines" debuted at number 94 on the US "Billboard" Hot 100. After the song's unrated version of the video was released, the song rose from number 54 to number 11. The track rose from number 11 to number 6, giving Thicke his first top 10 hit in the US. The song would later rise from number six to number one in June 2013, giving T.I. his fourth, Pharrell his third, and Thicke's first number one hit in the US. "Blurred Lines" topped the Hot 100 for 12 consecutive weeks, making it the longest running single of 2013. "Billboard" named "Blurred Lines" the song of the summer in September 2013. On the "Billboard" Hot R&B/Hip-Hop Songs chart, the song reigned at number one for 16 weeks, making it one longest tracks to stay at number one on the chart. In June 2018, The single was certified a diamond certification by the Recording Industry Association of America (RIAA), denoting track-equivalent sales of 10,000,000 units in the US based on sales and streams.


title: Blurred Lines

text: The song also peaked at number one on the "Billboard" Adult Top 40, Mainstream Top 40, and Rhythmic charts. In the United Kingdom, the song debuted at number one on the UK Singles Chart, selling 190,000 copies in its first week. The remained at number one the following week, selling even more than it did in its first with 200,000 copies sold. It spent five non-consecutive weeks at number one. "Blurred Lines" was confirmed to have sold 1 million copies on its 50th day of release, becoming William's second song in only a month to achieve that feat in Britain after being featured on Daft Punk single "Get Lucky". According to the Official Charts Company, the single became Britain's best-selling single of 2013 with sales of 1,472,681 copies. It became one of the best-selling singles of all time, with sales of 14.8 million, simultaneously breaking the record for the largest radio audience in history.


title: Blurred Lines

text: A music video for "Blurred Lines" was directed by Diane Martel and was released on March 20, 2013, while an unrated version was released on March 28, 2013. After being on the site for just under one week, the unrated version of the video was removed from YouTube on March 30, 2013, citing violations of the site's terms of service that restricts the uploading of videos containing nudity, particularly if used in a sexual context. However, it was later restored on July 12, 2013. The unrated video remains available on Vevo, while the edited version is available on both Vevo and YouTube. The unrated version of "Blurred Lines" generated more than one million views in the days following its release on Vevo. Thicke told "GQ" they wanted to do "old men dances" and imitate how they were in the studio. They tried to do everything that was prohibited by social custom. He stated they did bestiality, drug injections, and things that are derogatory towards women. When it came to the balloon arrangement, Thicke said it was Martel's idea. They wanted to "go over the top" and be as witless as possible.


title: Blurred Lines

text: In an interview with "Grantland", Martel stated that Thicke wanted her to make a white cyc video for "Blurred Lines". She heard the song and instantly fell in love with it. She sat and thought about the ideas for what the models could wear in the video. She realized they could wear shoes, and that it would get attention for the song and the artist. Martel said the hashtags were pretty obvious idea because she thought Robin's last name is strong and supposed it had subconscious connotations. Martel asked an art director named Georgia Walker to find "gross" and "oversized" props like a hose and stuffed dog. Martel said she wanted to deal with the "misogynist, funny lyrics in a way where the girls were going to overpower the men". She came up with the idea to come up with a nude video but turned down the job after Thicke and his team refused. They came back later agreeing to do the nude video if Martel would do a clothed version. The video features Thicke, T.I., and Williams. It also includes three models: Emily Ratajkowski, Elle Evans, and Jessi M'Bengue. The video features a "Robin Thicke Has a Big Dick" sign spelled out in silver Mylar balloons. The visual sees the topless models snuggling in bed with Thicke, meowing seductively at the camera, with one the models riding the stuffed dog while sticking her tongue out.


title: Blurred Lines

text: Kat Bein of "Miami New Times" described the visual as "misogynist", and said that it "objectifi[ed] naked women". Bertie Brandes of "Vice" said the video is "a masterpiece of idiocy and the level of stupidity and arrogance required in order for a video this banal, offensive and unimaginative is almost impressive". She continues, saying "except, it's not impressive at all, is it? It's ugly sexist uninspired bullshit dressed up as naughtiness, and it's creepy". Writing for "Slate", Geeta Dayal called the video "loathsome". Aidan Moffa for "The Quietus" labeled it is as "awful, sexist and asinine". "The Cut" Ann Friedman mentions that her issue was not the naked women and it being inappropriate. She opined it "featuring naked models and clothed men in party mode is boring, uninventive, and slightly alienating".


title: Blurred Lines

text: Thicke responded to the negative criticism of the video. He said that the video of him dancing around with the naked models should only be controversial to "extra-religious people", and stated it was Martel's idea and actually preferred the clothed version and didn't even want to use the naked version until his wife and her friends said he should put out that video. Thicke told Digital Spy the critics needed "to come up with something more original" when calling it sexist. In February 2021, Thicke said to the "New York Post" that he was never going to make a video like "Blurred Lines" ever again.


title: Blurred Lines

text: Ratajkowski at first defended the video, saying she didn't think it was sexist and was made with a "sarcastic attitude". She said that they were "being playful" and having a good time with their body. The model thought it was important for young women to have that confidence, and that it is actually celebrating women and their bodies. In an interview with "InStyle" in September 2015, Ratajkowski stated the video is "the bane of my existence". The visual was nominated for Video of the Year and Best Male Video at the 2013 MTV Video Music Awards. It was also nominated for Best Video at the 2013 MTV Europe Music Awards.


title: Blurred Lines

text: Upon release, "Blurred Lines" was criticized for trivializing sexual violence, objectifying women, and "reinforcing rape myths". Katie Russell, a spokeswoman for Rape Crisis, a charity that raises awareness and understanding of sexual violence, said the lyrics glamorized violence against women and reinforced rape myths. They thought the lyrics and the video seemed to objectify and degrade women, using "misogynistic language and imagery that many people would find not only distasteful or offensive but also really quite old fashioned". They concluded, saying certain lyrics are "explicitly sexually violent and appear to reinforce victim-blaming rape myths".


title: Blurred Lines

text: In the United Kingdom, more than 20 universities banned the song from use at student events. At the University of Edinburgh, students' association officials stated that the song violates its policy against "rape culture and lad banter" and promotes an unhealthy attitude towards sex and consent. It was also banned at other British institutions, including Plymouth University, Leeds University, University of Derby, Queen Mary University of London, Kingston University, University of Bolton, Queen's University Belfast, University of Birmingham, University of East Anglia, University of the West of Scotland, and a number of Oxford and Durham colleges. Students at the University of Exeter voted for a condemnation of the lyrics to be issued by the Students' Guild. In Marshfield, Wisconsin, Lisa Joling, head coach of the Marshfield High School dance team, was fired in August 2013, three days after a halftime performance by her dance class to the song.


title: Blurred Lines

text: Williams initially defended "Blurred Lines". The singer told NPR there was nothing misogynistic about it, and that he was grateful to everybody that supported the song. Further defending the song, Williams mentioned to "Pitchfork" that there was nothing controversial about the song and appreciated how "Blurred Lines" helped Thicke "to a place where he deserves to be vocally". In October 2019, Williams told "GQ" he "didn't get it" because he thought women enjoyed the song and connected to its "energetic spirit". The singer then said he realized that there are men who use "that same language" when taking advantage of a woman. The singer said he did not act or think like that. He only cared about how it affected women. It opened his mind to what was actually being sung in the song and how it could make a person feel. He concluded by mentioning he realized that "we live in a chauvinist culture in our country. Hadn't realized that. Didn't realize that some of my songs catered to that."


title: Blurred Lines

text: On October 3, 2021, model and actress Emily Ratajkowski published an excerpt from her memoir "My Body" in the British magazine "The Sunday Times", in which she recounts that she was sexually harassed by Thicke during filming of the music video for "Blurred Lines":"Suddenly, out of nowhere, I felt the coolness and foreignness of a stranger's hands cupping my bare breasts from behind, [...] I instinctively moved away, looking back at Robin Thicke. He smiled a goofy grin and stumbled backward, his eyes concealed behind his sunglasses. My head turned to the darkness beyond the set. [The director, Diane Martel's] voice cracked as she yelled out to me, 'Are you okay?' " The video director Diane Martel supported Ratajkowski by stating that she yelled at the singer asking for an explanation and immediately shutting down the shoot, getting a sheepish apology from Thicke, as if he knew it was wrong without understanding how it might have felt for Emily.


title: Blurred Lines

text: In August 2013, Thicke, Williams, and T.I. sued Gaye's family and Bridgeport Music for a declaratory judgment that "Blurred Lines" did not infringe copyrights of the defendants. Gaye's family accused the song's authors of copying the "feel" and "sound" of "Got to Give It Up". In the lawsuit, Gaye's family was accused of making an invalid copyright claim since only expressions, not individual ideas can be protected. In September 2014, "The Hollywood Reporter" released files relating to a deposition from the case. Within the deposition Thicke stated that he was inebriated on Vicodin and alcohol when he showed up to record the song in the studio, and that Williams had the beat and wrote the vast majority of the song. Within Williams' respective deposition file, the producer noted that he was "in the driver's seat" during the song's creation and agreed that Thicke, in past interviews, "embellished" his contributions to the songwriting process.


title: Blurred Lines

text: On October 30, 2014, United States District Court for the Central District of California Judge John A. Kronstadt ruled the Gaye family's lawsuit against Thicke and Williams could proceed, stating the plaintiffs "have made a sufficient showing that elements of 'Blurred Lines' may be substantially similar to protected, original elements of 'Got to Give It Up'." The trial was set to begin on February 10, 2015. Williams and Thicke filed a successful "motion in limine" to prevent a recording of "Got to Give it Up" from being played during the trial. The motion was granted because the family's copyright covered the sheet music and not necessarily other musical elements from Gaye's recording of the song. On March 10, 2015, a jury found Thicke and Williams, but not T.I., liable for copyright infringement. The unanimous jury awarded Gaye's family 7.4 million in damages for copyright infringement and credited Marvin Gaye as a songwriter for "Blurred Lines". In July 2015, the judge rejected a new trial and the verdict was lowered from 7.4 million to 5.3 million.


title: Blurred Lines

text: In August 2016, Thicke, Williams, and T.I. appealed the judgment to the 9th Circuit Court of Appeals. A few days later, more than 200 musicians – including among others Rivers Cuomo of Weezer, John Oates of Hall & Oates, R. Kelly, Hans Zimmer, Jennifer Hudson as well as members of Train, Earth, Wind & Fire, The Black Crowes, Fall Out Boy, The Go-Go's and Tears for Fears – filed an "amicus curiae" brief, authored by attorney Ed McPherson, in support of the appeal, stating that "the verdict in this case threatens to punish songwriters for creating new music that is inspired by prior works." In December 2018, the Ninth Circuit affirmed the district court's finding of infringement against Williams and Thicke. Both singers still had to pay Gaye's family 5.3 million. Thicke was also ordered to pay more than 1.7 million and Williams and his publishing company had to pay 357,631 in separate awards to Gaye's estate. In December 2019, Gaye's family opened the lawsuit back up again, accusing Williams of lying under oath during the trial. The plaintiffs cited a "GQ" interview from November of that same year in which Williams said he "reverse engineered" "Got to Give It Up", saying that it countered his statement during a deposition that he "did not go in the studio with the intention of making anything feel like, or to sound like, Marvin Gaye." In February 2021, Kronstadt ruled that Williams did not commit perjury, saying: "The statements by Williams during the November 2019 Interview were cryptic and amenable to multiple interpretations."


title: Blurred Lines

text: On May 14, 2013, Thicke performed the song for the first time live on NBC's "The Voice" alongside Williams and T.I. Thicke also performed the song on "The Ellen DeGeneres Show" on May 16 with Pharrell and three models doing backup. In June 2013, Thicke performed the song alongside Williams with American actress Hayden Panettiere dancing to the song on the British television chat show "The Graham Norton Show". Thicke, Williams, and T.I. performed the song on the 2013 BET Awards on June 30, 2013. They performed against a backdrop of Thicke's name in giant red block letters. Thicke also performed the track solo on BBC Radio 1 Live Lounge on July 8, 2013, as well as "This Morning" on July 10, 2013.


title: Blurred Lines

text: Thicke also performed the song complete with dancers in studio on "The Howard Stern Show" on Sirius XM Radio on July 29, 2013. He also performed the song on "The Colbert Report" on August 6, 2013, after French duo Daft Punk canceled. On September 20, he performed "Blurred Lines" at the 2013 iHeartRadio Music Festival. On November 10, Thicke performed the song with Iggy Azalea at the 2013 MTV Europe Music Awards. In December, he performed the song at Jingle Ball 2013 concerts. In May 2014, Williams performed the song as part of a medley at the iHeartRadio Awards where he received the iHeartRadio Innovator Award. In May 2017, Thicke performed the song at the 4th Indonesian Choice Awards.


title: Blurred Lines

text: Thicke performed "Blurred Lines" as a duet with American singer Miley Cyrus at the 2013 MTV Video Music Awards, medleyed with Cyrus' "We Can't Stop" and "Give It 2 U", featuring 2 Chainz. The performance began with Cyrus performing "We Can't Stop" in bear-themed attire. Following this, Thicke entered the stage and Cyrus stripped down to a small skin-colored two-piece outfit. Cyrus subsequently touched Thicke's crotch area with a giant foam finger and twerked against his crotch. The performance drew extensive reactions and became the most tweeted about event in history, with Twitter users generating 360,000 tweets about the event per minute; breaking the previous record held by Beyoncé's Super Bowl XLVII halftime show performance six months earlier.


title: Blurred Lines

text: Critics universally panned the performance. Shirley Halperin for "The Hollywood Reporter" described the performance as "crass" and "reminiscent of a bad acid trip". Writing for the American news program "Today", Anna Chan called the performance "embarrassingly raunchy", while Katy Kroll of "Rolling Stone" labeled it a "hot mess". The performance was described by "XXL" critic B. J. Steiner as a "trainwreck in the classic sense of the word as the audience reaction seemed to be a mix of confusion, dismay and horror in a cocktail of embarrassment". Louisa Peacock and Isabelle Kerr of "Telegraph" described Cyrus' actions as her going into "overdrive [...] trying to kill off her Disney millstone, Hannah Montana. In July 2017, Cyrus said she felt sexualized while twerking during the performance.


title: Blurred Lines

text: On the June 12, 2013, episode of "Jimmy Kimmel Live!", in which Thicke and Pharrell were both guests, they aired a parody version of the "Blurred Lines" video in which host Jimmy Kimmel and his sidekick Guillermo attempt to join Thicke, Pharrell, and the dancers but keep getting rebuffed. On August 2, 2013, Bart Baker released a parody of "Blurred Lines" on his YouTube channel. On September 11, 2013, the drag queen group DWV (Detox, Willam Belli, and Vicky Vox), released a parody called "Blurred Bynes". The song is about Amanda Bynes and her behavior in the previous months. On November 5, 2013, Dave Callan, as part of his review of Just Dance 2014 on the ABC show Good Game performed a parody of the music video in response to the incorrect choreography of the song in the game. On December 19, 2013, the Canadian sketch comedy group Royal Canadian Air Farce released a parody of the music video called "Rob Ford's Blurred Lines" highlighting the recent admissions by Toronto mayor Rob Ford of public drunkenness and using crack cocaine. On July 15, 2014, "Weird Al" Yankovic released a parody of the song entitled "Word Crimes" from his album "Mandatory Fun". A music video for the song was released the same day.


title: Jill Clayburgh

text: Jill Clayburgh (April 30, 1944 – November 5, 2010) was an American actress known for her work in theater, television, and cinema. She received the Cannes Film Festival Award for Best Actress and was nominated for the Academy Award for Best Actress for her breakthrough role in Paul Mazursky's comedy drama "An Unmarried Woman" (1978). She also received a second consecutive Academy Award nomination for "Starting Over" (1979) as well as four Golden Globe nominations for her film performances.


title: Jill Clayburgh

text: Clayburgh was born in New York City, the daughter of Julia Louise (née Dorr), an actress and theatrical production secretary for producer David Merrick, and Albert Henry "Bill" Clayburgh, a manufacturing executive. Her paternal grandmother was concert and opera singer Alma Lachenbruch Clayburgh. Her brother, Jim Clayburgh, is a scenic designer.


title: Jill Clayburgh

text: Her mother was Protestant and her father was Jewish, though she reportedly never talked about her religious background and was raised in no faith. Clayburgh never got along with her parents and began therapy at an early age: "I was very rebellious as a teenager, aside from having an unhappy, neurotic childhood. But I just can't go into it. I think I had a lot of energy and undirected need so I just kind of rebelled in a general fashion. I got myself in terrible, very personal trouble. Therapy has helped me a lot in my life."


title: Jill Clayburgh

text: As a child, Clayburgh was inspired to become an actor when she saw Jean Arthur as "Peter Pan" on Broadway in 1950. She was raised on Manhattan's Upper East Side, where she attended the all-girls Brearley School. She then attended Sarah Lawrence College, where she studied religion, philosophy and literature, but ultimately decided to be an actress. She received her acting training at HB Studio.


title: Jill Clayburgh

text: Clayburgh began acting as a student in summer stock and, after graduating, joined the Charles Street Repertory Theater in Boston, where she met another up-and-coming actor and future Academy Award-winning star, Al Pacino, in 1967. They met after starring in Jean-Claude Van Itallie's play "America, Hurrah". They had a five-year romance and moved back together to New York City.


title: Jill Clayburgh

text: In 1968, Clayburgh debuted off-Broadway in the double bill of Israel Horovitz's "The Indian Wants the Bronx" and "It's Called the Sugar Plum", also starring Pacino. Clayburgh and Pacino were cast in "Deadly Circle of Violence", an episode of the ABC television series "NYPD", premiering November 12, 1968. Clayburgh at the time was also appearing on the soap opera "Search for Tomorrow", playing the role of Grace Bolton. Her father would send the couple money each month to help with finances.


title: Jill Clayburgh

text: She eventually made her Broadway debut in 1968 in "The Sudden and Accidental Re-Education of Horse Johnson", co-starring Jack Klugman, which ran for 5 performances. In 1969, she starred in an off-Broadway production of the Henry Bloomstein play "Calling in Crazy", at the Andy Warhol-owned Fortune theatre. She was in a TV pilot that did not sell, "The Choice" (1969) and appeared off Broadway in "The Nest" (1970).


title: Jill Clayburgh

text: In 1969, Clayburgh made her screen debut in "The Wedding Party", written and directed by Brian De Palma. "The Wedding Party" was filmed in 1963 (during which Clayburgh was at Sarah Lawrence) but not released until six years later. The film focuses on a soon-to-be groom and his interactions with various relatives of his fiancée and members of the wedding party; Clayburgh played the bride-to-be. Her co-stars included Robert De Niro, in one of his early film roles, and Jennifer Salt. In his review from "The New York Times", Howard Thompson wrote, "As the harassed engaged couple, two newcomers, Charles Pfluger and Jill Clayburgh, are as appealing as they can be."


title: Jill Clayburgh

text: Clayburgh attracted attention when she appeared in the Broadway musical "The Rothschilds" (1970–72) which ran for 502 performances. She then went on to play Desdemona opposite James Earl Jones in the 1971 production of "Othello" in Los Angeles, and had another Broadway success with "Pippin" (1972–75), which ran for 1,944 performances. Clive Barnes of "The New York Times" found Clayburgh to be "all sweet connivance as the widow out to get her man."


title: Jill Clayburgh

text: During this time, Clayburgh had a string of brief character parts in film and television. Some of these include a small role in "The Telephone Book" (1971) and "Portnoy's Complaint" (1972), "Tiger on a Chain" (1973), "Shock-a-bye, Baby" (1973) and 1974's "The Terminal Man", opposite George Segal.


title: Jill Clayburgh

text: After guest-starring on an episode of "The Snoop Sisters", Clayburgh played Ryan O'Neal's ex-wife in "The Thief Who Came to Dinner" (1973) and starred in a TV pilot that was not picked up, "Going Places" (1973). She also guest starred on "Medical Center", "Maude", and "The Rockford Files". She hosted "Saturday Night Live" on February 28, 1976 (Season 1, Episode 15) with musical guest, Leon Redbone. She later returned to Broadway for Tom Stoppard's "Jumpers", which ran for 48 performances. Despite her success on Broadway, it was film acting that really excited Clayburgh: "One of the things I like about the movies is the adventure of it," she said. "I like going to different places and I like doing a different scene every day."


title: Jill Clayburgh

text: Clayburgh was praised for her performances in the TV movies "Hustling" (1975), in which she played a prostitute, and "The Art of Crime" (1975). "Hustling" was a departure for her: "Before I did "Hustling" I was always cast as a nice wife. I wasn't very good at it. Then with "Hustling", it was a nice role and it was a departure. People saw a different dimension." Her performance in the TV film eventually earned her an Emmy nomination; she later said it revitalised her career. "It changed my career,” Clayburgh said. “It was a part that I did well, and suddenly people wanted me. Sidney Furie saw me, and wanted me for "Gable and Lombard"."


title: Jill Clayburgh

text: Clayburgh was cast as Carole Lombard in the 1976 biopic "Gable and Lombard" with James Brolin as Clark Gable. "Variety" called it a film with many major assets, not the least of which is the stunning and smashing performance of Clayburgh as Carole Lombard" and "Time Out London" felt she "produced a very modern version of the Lombard larkishness." Vincent Canby of "The New York Times" suggested that her performance "comes off better" than Brolin's Gable, as "she appears to be creating a character whenever the fearfully bad screenplay allows it." Despite this, he felt both actors were miscast as the famous couple, writing further, "Miss Clayburgh could be an interesting actress, but there are always problems when small performers try to portray the kind of giant legends that Gable and Lombard were. Because both Gable and Lombard are still very much alive in their films on television and in repertory theaters, there is difficulty in responding to Mr. Brolin and Miss Clayburgh in any serious way."


title: Jill Clayburgh

text: She starred in the acclaimed TV movie "Griffin and Phoenix" (1976) co-starring with Peter Falk. It tells the story of two ill-fated middle-aged characters who both face a terminal cancer diagnosis and have months left to live. Notably, Clayburgh developed the same type of cancer her character had in this film, succumbing to it in 2010. Also in 1976, she had her first big box office success playing the love interest of Gene Wilder's character in the comedy-mystery "Silver Streak", also starring Richard Pryor. Critics felt Clayburgh had little to do in "Silver Streak", and "The New York Times" called her "an actress of too much intelligence to be able to fake identification with a role that is essentially that of a liberated ingenue."


title: Jill Clayburgh

text: In 1977, she had another hit with "Semi-Tough", a comedy set in the world of American professional football, which also starred Burt Reynolds and Kris Kristofferson. Clayburgh played Barbara Jane Bookman, who has a subtle love triangle relationship with both Reynolds and Kristofferson's characters. Vincent Canby liked her performance, writing, "Miss Clayburgh, who's been asked to play zany heroines in "Gable and Lombard" and "Silver Streak" by people who failed to provide her with material, has much better luck this time. She's charming," and "The Washington Post" enjoyed her chemistry with Reynolds: "Reynolds and Clayburgh look wonderful together. They seem to harmonize in a way that would only be more apparent - and make their eventual recognition of being in love seem more appropriate." Both "Semi-Tough" and "Silver Streak" earned her a reputation "as a popular modern stylist of screwball comedy" and "The Guardian" noted how Clayburgh "had the kind of warmth and witty sophistication barely seen in Hollywood since Carole Lombard and Jean Arthur".


title: Jill Clayburgh

text: Clayburgh's breakthrough came in 1978 when she received the first of her two Academy Award for Best Actress nominations for Paul Mazursky's "An Unmarried Woman". In what would be her career-defining role, Clayburgh was cast as Erica, the courageous abandoned wife who struggles with her new 'single' identity after her stockbroker husband leaves her for a younger woman. Upon release, "An Unmarried Woman" drew praise and was popular at the box office, briefly making Clayburgh, at 34, a star. Clayburgh's performance garnered some of the best reviews of her career: Roger Ebert called the film "a journey that Mazursky makes into one of the funniest, truest, sometimes most heartbreaking movies I've ever seen. And so much of what's best is because of Jill Clayburgh, whose performance is, quite simply, luminous. Clayburgh takes chances in this movie. She's out on an emotional limb. She's letting us see and experience things that many actresses simply couldn't reveal" while "The New York Times" wrote, "Miss Clayburgh is nothing less than extraordinary in what is the performance of the year to date. In her we see intelligence battling feelingreason backed against the wall by pushy needs."


title: Jill Clayburgh

text: In addition to her Oscar nomination, Clayburgh also earned her first Golden Globe nomination for Best Actress in a Motion Picture – Drama (both of which she lost to Jane Fonda for "Coming Home") and won the Best Actress Award at the Cannes Film Festival, which she and Isabelle Huppert shared.


title: Jill Clayburgh

text: During this time, she turned down the lead in "Norma Rae", a film that brought Sally Field her first Oscar. Still, in 1979, Clayburgh had a career peak after starring in two movies that garnered her widespread acclaim. The first was Bernardo Bertolucci's "La Luna" (1979), which she made in Italy. The film presents an incestuous relationship between a mother and her drug-addicted son, and was poorly received at the time. Clayburgh agreed to star in this film because she felt that "most great roles explore something that is socially taboo." Bertolucci was especially impressed with her work, having complimented her ability "to move from one extreme to the other in the same shot, be funny and dramatic within the same scene." Despite the film's controversy, Clayburgh's performance as a manipulative opera singer was generally praised: Critic Richard Brody called it "her most extravagant role" and a review in "The New York Times" felt she was "extraordinary under impossible circumstances." Also, in the "London Review of Books", Angela Carter wrote, "Jill Clayburgh, seizing by the throat the opportunity of working with a great European director, gives a bravura performance: she is like the life force in person".


title: Jill Clayburgh

text: Her second and last film of 1979 was Alan J. Pakula's "Starting Over", a romantic comedy with Burt Reynolds and Candice Bergen. Pakula hired her because, “the extraordinary thing is that she’s so many people. In a Jill Clayburgh movie you don’t know what you’re going to get." As a nursery-school teacher who falls reluctantly in love with Reynold's divorced character, her performance was lauded by "The New York Times": "Miss Clayburgh delivers a particularly sharp characterization that's letter-perfect during the first part of the story and unconvincing in the second, through no fault of her own." "Starting Over" earned her a second Oscar and Golden Globe nomination for Best Actress. Also that year, she later returned to the stage with "In the Boom Boom Room" as a go-go dancer. She had wanted to play this role since 1972 when the play originally premiered on Broadway, but she lost the role to Madeline Kahn. Although she wasn't cast in David Rabe's play, she later married him in 1979.


title: Jill Clayburgh

text: Her back-to-back success with "An Unmarried Woman" and "Starting Over" led writer Mel Gussow to suggest that Clayburgh was one of the few "stars for the 80's fresh, natural anti‐ingenues" alongside Meryl Streep and Diane Keaton, adding, "These are stage actresses who have become movie stars on their own terms, free of “glamour,” ready to clown as well as to play heroines." In 1980, she was cast opposite Michael Douglas in a romantic comedy, "It's My Turn", in which she teaches the proof of the snake lemma. Novelist Eleanor Bergstein, who had written the screenplay, was delighted with Clayburgh's casting. “To me,” says Bergstein. “Jill is one of the few actresses who looks like she has imagined her life, made her life happen. I think that divides women in a way, women whose intelligence animates their faces. They have willed themselves to be beautiful, to be exactly who they are. Their minds inform their faces. I think Jill is like that. Lots of actresses are just the opposite.” Clayburgh herself was attracted to the part because “Kate is the closest person to myself that I have ever played. People always say, ‘Oh, "An Unmarried Woman", that’s you.' But really, of course, it’s not.” The following year, she was a conservative Supreme Court justice in "First Monday in October", a comedy with Walter Matthau. Her performance was praised and earned her a Golden Globe nomination for Best Actress in a Motion Picture – Comedy or Musical.


title: Jill Clayburgh

text: By the mid 1980s, Clayburgh appeared in fewer and less successful films, despite turning to more dramatic material. She played a valium addict and documentarist in "I'm Dancing as Fast as I Can" (1981), written by David Rabe, her husband. "I guess people look at me and they think I'm a ladylike character," said Clayburgh, "but it's not what I do best. I do best with characters who are coming apart at the seams." The film received negative reviews, but Janet Maslin of "The New York Times" liked Clayburgh's performance and wrote that she played her high-powered career woman "earnestly and vigorously." In the controversial "Hanna K." (1983), she was a court-appointed Israeli-American lawyer assigned to defend a Palestinian man for director Costa-Gavras. The film was a box office failure and hurt her career. Upset by the film's reception, Clayburgh gave up cinema for three years, during which time she was busy bringing up her children.


title: Jill Clayburgh

text: Alongside then-rising stars Raúl Julia and Frank Langella, Clayburgh returned to Broadway for a revival of Noël Coward's "Design For Living" (1984–85), directed by George C. Scott, which ran for 245 performances. Writing for the "Christian Science Monitor", John Beaufort wrote, "Jill Clayburgh's Gilda is not merely sexy and volatile. She can be sweetly feminine. She is a woman struggling both to find herself and to discover where she belongs in this triangle. In more than one respect, Miss Clayburgh grasps the deeper as well as the more superficially amusing aspects of her dilemma."


title: Jill Clayburgh

text: As her feature film career waned, Clayburgh began accepting roles in television movies, including "Where Are the Children?" (1986) as a divorcée who gets revenge on her ex-spouse, and "Miles to Go..." (1986). She returned to film in 1987 when she drew praise for portraying a shallow, sophisticated Manhattan magazine writer in Andrei Konchalovsky's little-seen independent film "Shy People"; although the film flopped, this was her most substantial film role after "Hanna K". "The Guardian" found her "amusing" while Ebert called Clayburgh's work "sadly overlooked" and her "other best role" after "An Unmarried Woman".


title: Jill Clayburgh

text: After "Shy People", Clayburgh took on a series of roles in the television films "Who Gets the Friends?" (1988) and "Fear Stalk" (1989), where she portrayed a budding cartoonist in the former and a strong-willed soap opera producer in the latter, before playing an investigator studying a child-abuse case in "Unspeakable Acts" (1990). In 1991, Clayburgh earned decent reviews for her role as English actress and singer Jill Ireland in the television biopic "Reason for Living: The Jill Ireland Story" (1991), which detailed Ireland's struggle to beat cancer and to help her adopted son get past his heroin addiction. Although Clayburgh never met Ireland, she read her book and listened to taped interviews with her in preparation. Ken Tucker of "Entertainment Weekly" praised Clayburgh's accent in "Reason for Living", writing "Quite aside from her smooth assurance, Clayburgh pulls off Ireland’s English accent without calling attention to herself." This performance led the "New York Times" to write that her small-screen work was "a sign of the times: older actresses accustomed to playing strong roles are finding their best work [in film] on television."


title: Jill Clayburgh

text: Gradually, Clayburgh shifted into being more of a supporting character actress in the '90s, taking on roles as diverse as an antagonistic judge in "Trial: The Price of Passion" (1992) and the interfering wife of Alan Alda's character in "Whispers in the Dark" (1992). After appearing in Ben Gazzara's "Beyond the Ocean" (1990), which was shot in Bali, and the unreleased "Pretty Hattie's Baby" (1991), she became typecast as an attractive maternal figure: she was the long-missing matriarch in "Rich in Love" (1992), a wheelchair-user mom in "Firestorm: 72 Hours in Oakland" (1993) and Eric Stoltz's single mother in "Naked in New York" (1993). A review in "People" magazine felt Clayburgh "[did] her best as the footloose mother" in "Rich in Love", while Roger Ebert praised her casting in "Naked in New York" as "exactly on target". She also played Kitty Menendez, who was murdered by her sons, in "Honor Thy Father and Mother: The True Story of the Menendez Murders" (1993), a role which "Variety" perceived to be "incomplete, but that has more to do with the script than Clayburgh’s performance." She continued to play concerned, protective mothers in "For the Love of Nancy" (1994), "The Face on the Milk Carton" (1995), "Going All the Way" (1997), "Fools Rush In" (1997), "When Innocence Is Lost" (1997) and "Sins of the Mind" (1997), and was in "good form" as the forceful, pushy stage mother in "Crowned and Dangerous" (1997).


title: Jill Clayburgh

text: In the late '90s, Clayburgh guest-starred on episodes of "Law & Order" and "Frasier", and starred in another short-lived sitcom, "Everything's Relative" (1999), and a short-lived series, "Trinity" (1999).


title: Jill Clayburgh

text: After appearing in "My Little Assassin" (1999) and "The Only Living Boy in New York" (2000), she had her first prominent lead role since "Hanna K." and "Shy People" in Eric Schaeffer's comedy "Never Again" (2001). Roger Ebert praised Clayburgh "for do[ing] everything humanly possible to create a character who is sweet and believable" and called it "a reminder of Clayburgh's gifts as an actress", while Stephen Holden of the "New York Times" credited her for lending "emotional weight" to the part of "a desperately lonely 54-year-old single mother." Also in 2001, she appeared in "Falling" and had a semi-recurring role on "Ally McBeal" as Ally's mother and on "The Practice", before becoming a regular in another short-lived show, "Leap of Faith" (2002).


title: Jill Clayburgh

text: She returned to off-Broadway as a falsely convicted mother-of-two in Bob Balaban's production of "The Exonerated" (2002–04) with Richard Dreyfuss. Writing for "Variety" magazine, Charles Isherwood commended Clayburgh for playing her part "with clear-eyed dignity." She then appeared in "Phenomenon II" (2003) and received an Emmy nomination for guest appearances in the series "Nip/Tuck" in 2005. That year she continued her resurgent stage career in "A Naked Girl on the Appian Way", which ran for 69 performances. More successful was "The Busy World is Hushed" (2005–06) on off-Broadway, where she replaced Christine Lahti and played a widowed Episcopal minister and scholar. "Variety" critic David Rooney praised Clayburgh's "wisdom and quiet humor while refusing to define Hannah’s questionable behavior and convictions as right or wrong, sound or unsound" and her "embrace of the woman’s uncertainties, mak[ing] her all the more human."


title: Jill Clayburgh

text: In 2006, she appeared on Broadway in Neil Simon's "Barefoot in the Park" with Patrick Wilson and Amanda Peet; she played Peet's mother, a role originated by Mildred Natwick. It ran for 109 performances and was met with mixed reviews. Still, Clayburgh's performance drew praise and the "New York Times" critic Ben Brantley lauded "her winning way with dialogue that can make synthetic one-liners sound like filigree epigrams. Trim and dazzlingly blond, she is a glamorous eyeful in Isaac Mizrahi's rich dowager costumes." She returned to the screen that same year as a therapist's eccentric wife in Ryan Murphy's all-star ensemble dramedy "Running with Scissors", an autobiographical tale of teenage angst and dysfunction based on the book by Augusten Burroughs; also starring Annette Bening, Gwyneth Paltrow and Evan Rachel Wood, Clayburgh's supporting performance earned her a Best Supporting Actress nomination by the St. Louis Gateway Film Critics Association. By the end of 2006, Clayburgh played a wistful eccentric in what was her last stage appearance, "The Clean House" (2006–07) on off-Broadway, and was praised for her "goofy lightness" by "The Post Gazette".


title: Jill Clayburgh

text: During 2007–2009, Clayburgh appeared in the ABC television series "Dirty Sexy Money", playing the wealthy socialite Letitia Darling. She then played Jake Gyllenhaal's mother in Edward Zwick's "Love & Other Drugs" (2010) and Kristen Wiig's mother in Paul Feig's acclaimed blockbuster comedy "Bridesmaids" (2011), which was the last film that Clayburgh completed.


title: Jill Clayburgh

text: Clayburgh had chronic lymphocytic leukemia for more than 20 years and dealt with it privately before dying from it at her home in Lakeville, Connecticut, on November 5, 2010.


title: Jill Clayburgh

text: Clayburgh dated actor Al Pacino from 1967 to 1972. She married screenwriter and playwright David Rabe in 1979. They had two children: son Michael Rabe and daughter actress Lily Rabe.


title: Melissa Sue Anderson

text: Melissa Sue Anderson (born September 26, 1962) is an American-Canadian actress. She began her career as a child actress after appearing in several commercials in Los Angeles. Anderson is known for her role as Mary Ingalls in the NBC drama series "Little House on the Prairie" (1974–1983), for which she received a nomination for the Primetime Emmy Award for Outstanding Lead Actress in a Drama Series.