title: Philippa of Hainault

text: As the financial demands of the recent Hundred Years' War were enormous, Philippa wisely advised the King to take interest in the nation's commercial expansion as a different method of covering the expenses. She established the textile industry in Norwich by encouraging Flemish weavers to settle there and promoted coal mining in Tynedale.


title: Philippa of Hainault

text: In 1364 or 1365, Edward III demanded the return of Hainaut and other inheritances which had been given over to the dukes of Bavaria–Straubing in the name of Philippa, but he was unsuccessful as the custom in those regions favoured male heirs.


title: Philippa of Hainault

text: Philippa served as regent of England during the absence of her spouse in 1346. Facing a Scottish invasion, she gathered the English army, fought the Scots at the Battle of Neville's Cross near Durham, and rallied the English soldiers on horse before them prior to the battle. This event resulted in an English victory and the Scottish King David II being taken prisoner, and held captive for eleven years.


title: Philippa of Hainault

text: Philippa accompanied her husband on expeditions to Scotland and the rest of Europe in the early campaigns of the Hundred Years War, where she won acclaim for her gentle nature and compassion. She was also remembered for persuading her husband to spare the lives of the Burghers of Calais, whom he had planned to execute as an example to the townspeople following his successful siege of that port.


title: Philippa of Hainault

text: On 15 August 1369, Queen Philippa died of an illness similar to edema in Windsor Castle. She was given a state funeral six months later on 9 January 1370 and was interred at Westminster Abbey. Her alabaster effigy was executed by sculptor Jean de Liège. Her tomb was placed on the northeast side of the Chapel of Edward the Confessor and on the opposite side of her husband's grandparents, Edward I and Eleanor of Castile. Eight years later, Edward III died and was buried next to Philippa. By all accounts, their forty-year marriage had been happy.


title: Philippa of Hainault

text: Philippa and Edward had thirteen children, including five sons who lived into adulthood. Three of their children died of the Black Death in 1348. The rivalry of their numerous descendants would bring about the long-running and bloody dynastic wars known as the Wars of the Roses in the 15th century.


title: Philippa of Hainault

text: Philippa is a character in "The Accursed Kings", a series of French historical novels by Maurice Druon. She was portrayed by Françoise Burgi in the 1972 French miniseries adaptation of the series, and by Marie de Villepin in the 2005 adaptation.


title: Philippa of Hainault

text: In 2003, she was voted as 5th on the list of 100 Great Black Britons. However, the decision to include her on the list has been criticised, with many historians noting that there was no evidence that suggested Philippa has any African ancestry.


title: Nollywood

text: Nollywood is a sobriquet that originally referred to the Nigerian film industry. The origin of the term dates back to the early 2000s, traced to an article in "The New York Times". Due to the history of evolving meanings and contexts, there is no clear or agreed-upon definition for the term, which has made it a subject of several controversies.


title: Nollywood

text: The origin of the term "Nollywood" remains unclear; Jonathan Haynes traced the earliest usage of the word to a 2002 article by Matt Steinglass in "the New York Times", where it was used to describe Nigerian cinema. Charles Igwe noted that Norimitsu Onishi also used the name in a September 2002 article he wrote for "the New York Times". The term continues to be used in the media to refer to the Nigerian film industry, with its definition later assumed to be a portmanteau of the words "Nigeria" and "Hollywood", the American major film hub.


title: Nollywood

text: Definition of which films are considered Nollywood has always been a subject of debate. Alex Eyengho defined Nollywood as "the totality of activities taking place in the Nigerian film industry, be it in English, Yoruba, Hausa, Igbo, Itsekiri, Edo, Efik, Ijaw, Urhobo or any other of the over 300 Nigerian languages". He further stated that "the historical trajectory of Nollywood started since the pre and post independent Nigeria, with the theatrical (stage) and cinematic (celluloid) efforts of the likes of Chief Hubert Ogunde, Chief Amata, Baba Sala, Ade Love, Eddie Ugbomah and a few others".


title: Nollywood

text: Over the years the term "Nollywood" has also been used to refer to other affiliate film industries, whose films are usually co-produced with Nigeria and/or distributed by Nigerian companies. The term has also been used for Nigerian/African diaspora films considered to be affiliated with Nigeria or made specifically to capture the Nigerian audience. There is no clear definition on how "Nigerian" a film has to be in order to be referred to as "Nollywood".


title: Nollywood

text: Some stakeholders have constantly expressed their disagreement over the term; giving reasons such as the fact that term was coined by a foreigner, as such another form of imperialism. It has also been argued that the term is an imitation of what was already in existence (Hollywood) rather than an identity in itself, that is original and uniquely African.


title: Nollywood

text: Film-making in Nigeria is divided largely along regional, and marginally ethnic and religious lines. Thus, there are distinct film industries – each seeking to portray the concern of the particular section and ethnicity it represents. However, there is the English-language film industry which is a melting pot for filmmaking from most of the regional industries.


title: Nollywood

text: The Yoruba-language cinema is a sub-industry of Nollywood, with most of its practitioners in the Western region of Nigeria. The Yoruba-language cinema began as actors of various Yoruba traveling theatre groups began to take their works beyond the stage to delve into movie production using the Celluloid format, as far back as the mid-1960s. These practitioners are considered in some quarters to be the first true Nigerian filmmakers. Movies like "Kongi's Harvest" (1972), "Bull Frog in The Sun" (1971), "Bisi, Daughter of The River" (1977), "Jaiyesimi" (1980), and "Cry Freedom" (1981) fall into this era of a blossoming Yoruba movie industry. Practitioners like Ola Balogun, Duro Ladipo and Adeyemi Afolayan (Ade Love) played a significant role when they came out with "Ajani Ogun" in 1976. This film was one of the few huge success that helped put the Yoruba-language cinema on the map, and it was followed by other productions by Hubert Ogunde and others. One of the first blockbusters from Nigeria, came from the Yoruba language industry; a notable example is "Mosebolatan" (1985) by Moses Olaiya which grossed ₦107,000 (approx. 2015 ₦44.2 million) in five days of its release.


title: Nollywood

text: The Hausa-language cinema, also known informally as "Kannywood", is also a sub-industry of Nollywood, mainly based in Kano. The cinema, which is the largest in Northern Nigeria, slowly evolved from the productions of RTV Kaduna and Radio Kaduna in the 1960s. Veterans like Dalhatu Bawa and Kasimu Yero pioneered drama productions that became popular with the Northern audience. The 1990s saw a dramatic change in the Northern Nigerian cinema, eager to attract more Hausa audience who find Bollywood movies more attractive, Kannywood; a cinematic synthesis of Indian and Hausa culture evolved and became extremely popular. "Turmin Danya" ("The Draw"), 1990, is usually cited as the first commercially successful Kannywood film. It was quickly followed by others like "Gimbiya Fatima" and "Kiyarda Da Ni". Sunusi Shehu of "Tauraruwa Magazine" created the term "Kannywood" in 1999 and it soon became the popular reference term for the industry. By 2012, over 2000 film companies were registered with the Kano State Filmmakers Association.


title: Nollywood

text: Nollywood USA is a broad term, that is used to refer to Nigerian films made in the diaspora. Although they are popularly called "Nollywood USA", these movies can be shot in any non-African country. These films are typically made by Nigerian filmmakers living in the diaspora and they are typically made for the Nigerian audience. Like the "Nollywood" term, the definition of "Nollywood USA" is vague.


title: Nollywood

text: Nollywood USA movies typically tell Nigerian stories, and they usually star established Nollywood actors, alongside upcoming Nigerian/African actors living in the diaspora. The movies usually have their premieres in Nigeria and they also sometimes secure national theatrical release like the regular Nollywood movies.


title: Nollywood

text: In 2012, it was announced that Nollywood would be celebrating its 20-year anniversary. This year marked the 20th year after the release of direct-to-video movie "Living in Bondage" (1992), which arguably marked the boom in the video film era. The anniversary was eventually celebrated in June 2013.


title: Nollywood

text: The event was later revealed to be a decision of a segment of the industry and not a unanimously agreed event; the event was organized by Association of Movie Producers (AMP), an association consisting of producers of video films. Since announcement of the "Nollywood @ 20" event in 2012 until its celebration in 2013, the event had sparked controversies from many stakeholders; most of whom believed the industry was much older than 20 years. Since Nollywood has been a term for the entire Nigerian film industry, it was argued that "Living in Bondage" cannot be used to celebrate the Nigerian film industry, stating that the film wasn't, in fact, the first Nigerian video film, neither was it the first "successful" video film, much less the first Nigerian film.


title: Nollywood

text: This controversial celebration also gave rise to reports that another segment of the industry, the "Association of Nigeria Theatre Arts Practitioners (ANTP)" are planning to rename the industry into another term which would encompass the entire history of Nigerian film industry, since the term Nollywood has allegedly become ethnically dichotomized. While it was argued by supporters of the event that it was the "Nollywood brand" that was being celebrated and not the industry, counter-arguments were made that the term "Nollywood" came into existence only in the 2000s, so explanations were needed on how the "Nollywood Brand" could be extended to the year 1992 which isn't specifically significant in any way, and why not just to the very first Nigerian film that was made.


title: Nollywood

text: Alex Eyengho had noted in a 2012 article that the term "Nollywood" was absent during the formative years of both the video film era and the Golden Age. Seun Apara, in his article on "360Nobs.com" stated: "It's either the promoters of the event didn't do their research well or intentionally do not want to reckon with history". Adegboyega Oyeniya comments: "I don't know what they are talking about by celebrating 'Nollywood @ 20'; are they celebrating Ramsey Tokunbo Nouah or Genevieve Nnaji? Probably, they are celebrating fortune. These people should stop deceiving Nigerians". Some media outlets also reported that the event was a result of greed and selfish interests, as the organizers visited political figures to solicit funds in the name of the Industry, but allegedly shared the funds raised amongst themselves. Another issue raised to fault the event is that the real "achievers" in Nollywood were not honoured, but rather the practitioners at almost the same level with the organizers of the supposed flawed event were honoured.


title: Nollywood

text: Several filmmakers and stakeholders expressed their displeasure with the supposed false celebration; Kunle Afolayan commented: "The whole idea of "Nollywood at 20" does not make sense to me because the Nollywood that I know is more than 20 years. I remember my father shot a film about 37 years ago and I also grew up in the industry. As far as am concerned, it's absolute crap". In another interview, he stated: "If Nollywood is the name that people decide to call the movie industry in Nigeria, then I am part of it. If Nollywood is what they say is 20 years, then I am not part of that Nollywood because I have been doing film business for more than 30 years now". Jide Kosoko also commented: "The Nigerian movie industry as far as I'm concerned is not 20 years. If we all truly belong to the same industry, then the industry I belong to is not 20 years. There is a need to tell the world the sincere story of our industry and don't rubbish the pioneers. As far as I am concerned, what they are celebrating is "Living in Bondage" and not Nollywood". Tunde Kelani stated: "how will Nollywood be celebrating 20 years and I am over 40 years in the industry?".


title: Nollywood

text: President of Actors Guild of Nigeria at the time, Ibinabo Fiberesima, admitted that Nollywood is more than 20, but gave what was considered an unconvincing statement on the reason behind the event, stating: "It's about celebrating our own even though Nollywood is more than 20 years. It's been long that people have been celebrating us but right now, we are celebrating ourselves and giving lots back to the society. It's a good step we have taken especially now that the qualities of our movies have improved".


title: LuLaRoe

text: LuLaRoe is a United States-based multi-level marketing company that sells women's clothing. It was founded in 2012 by DeAnne Brady and her husband Mark Stidham and is currently based in Corona, California.


title: LuLaRoe

text: As a multi-level marketing scheme, LuLaRoe recruits independent distributors (referred to by the firm as "fashion consultants") to sell products directly, often through social media. LuLaRoe reported sales of approximately US$1 billion in 2016, making it one of the largest firms in the multi-level marketing industry at the time, and by 2017, there were approximately 80,000 independent distributors selling the company's clothing.


title: LuLaRoe

text: The company has received criticism and faced lawsuits from distributors and consumer advocates over several issues related to its business model, and for problems with the quality and design of its products.


title: LuLaRoe

text: A class-action lawsuit filed in California in October 2017 and a lawsuit filed by the Washington State Attorney General in January 2019 accused LuLaRoe of being a pyramid scheme.


title: LuLaRoe

text: LuLaRoe was incorporated on May 1, 2013. The company's name was derived by combining the names of Brady's first three granddaughters; Lucy, Lola, and Monroe.


title: LuLaRoe

text: In 2014, LuLaRoe added skirts and dresses to its product line. In mid-2014, LuLaRoe introduced a line of leggings, which would go on to become LuLaRoe's most prominent product. With 23 employees and 750 distributors, the company did $9.8 million in sales. By July 2015, the firm had 2,000 distributors. In an August 2016 interview, LuLaRoe's CEO Mark Stidham claimed that the firm was on track to exceed US$1 billion in sales, and that LuLaRoe had 26,000 distributors and was shipping approximately 350,000 units a day. By April 2017, LuLaRoe had more than 80,000 distributors.


title: LuLaRoe

text: In early 2017, a class-action lawsuit was filed against LuLaRoe by customers, who complained that the firm's proprietary point-of-sale software incorrectly calculated sales tax rates on interstate sales, and in jurisdictions that do not charge sales tax on clothing. These complaints, combined with complaints over poor quality, led to the company's Better Business Bureau (BBB) rating being downgraded to "F" in January 2017.


title: LuLaRoe

text: In October 2017, a class-action lawsuit filed in California accused LuLaRoe of being a pyramid scheme. Plaintiffs in the suit allege the company engaged in "misconduct, including unfair business practices, misleading advertising, and breach of contract." According to the $1 billion lawsuit, which LuLaRoe argues is baseless and inaccurate, the company allegedly advised its distributors "to borrow money [...] take out credit cards, and some were even asked to sell their breast milk" as ways to buy additional inventory.


title: LuLaRoe

text: In January 2018, the National Down Syndrome Society (NDSS), a charity that had previously worked with LuLaRoe, ended its relationship with the company after a top distributor mocked people with mental disabilities during a livestream sale. The NDSS requested that LuLaRoe sever ties with the distributor, but LuLaRoe declined, stating that they accepted the distributor's apology. The video, and LuLaRoe's reaction to it, prompted widespread online criticism.


title: LuLaRoe

text: In December 2018, in the midst of mounting debt, layoffs, and an exodus of top sellers, LuLaRoe was sued by its chief clothing supplier, Providence Industries, for nearly $49 million. The lawsuit claimed that LuLaRoe was insolvent and had not paid its bills for seven months, and accused founders Mark and DeAnne Stidham of hiding assets in "shell" companies to fund their "lavish lifestyle" and to "hinder, delay, and defraud the creditors."


title: LuLaRoe

text: In January 2019, the Washington State Attorney General's Office filed a lawsuit against LuLaRoe, as well as company CEO Mark Stidham and president DeAnne Stidham, alleging that the multilevel marketing company is an illegal "pyramid scheme," making misleading income claims, and encouraging its consultants to focus more on recruitment than selling clothes to customers. In addition, LuLaRoe's chief clothing supplier, Providence Industries, also filed a lawsuit demanding a seizure of assets. In February 2019, amid hundreds of new complaints totaling 300 cases, the company once again received an "F" rating from the BBB. In October 2019, LuLaRoe announced it would be closing its distribution center in Corona, CA, relocating that part of the business to South Carolina, and laying off 167 people.


title: LuLaRoe

text: In November 2019, LuLaRoe filed a countersuit against its former chief supplier, Providence Industries, seeking at least $1 billion in damages.


title: LuLaRoe

text: In February 2021, LuLaRoe agreed to pay $4.74 million to settle the Washington lawsuit. The settlement will be distributed to LuLaRoe distributors in Washington state. LuLaRoe denied wrongdoing. The settlement prohibits the company from operating a pyramid scheme and also requires it to publish accurate income disclosures, among other measures to improve transparency.


title: LuLaRoe

text: LuLaRoe clothing is only sold by the company through multi-level marketing distributors. These distributors purchase inventory from LuLaRoe wholesale, which they then resell to consumers. LuLaRoe distributors are required to purchase an initial inventory of clothing and marketing materials that cost between $4,925 and $9,000 () and are recommended to keep around $20,000 worth of inventory on hand.


title: LuLaRoe

text: Distributors can be compensated from two potential revenue streams: from direct sales to customers, and from a commission based on sales made by "downline" distributors they recruit. According to the company's income disclosure statement, in 2015 the average annual commission earned from downline distributors was $85.


title: LuLaRoe

text: LuLaRoe distributors sell LuLaRoe products through a party plan, through pop-up boutiques, or online using private groups that they have set up on Facebook. During a scheduled online event, LuLaRoe distributors use live-streaming video to present their current inventory to members of their Facebook group, with the distributor appearing on-screen to exhibit and describe each item.


title: LuLaRoe

text: LuLaRoe distributors are disproportionately more likely to be in poorer rural areas than urban ones. An example cited by "Quartz" notes that LuLaRoe lists 10 distributors in Manhattan (population of 1.6 million), and 10 distributors in Pueblo, Colorado, (population of 110,000). This is consistent with other contemporary MLMs, which have concentrated in rural areas that have been slower to recover from the 2008 economic crisis.


title: LuLaRoe

text: LuLaRoe's main products are brightly patterned leggings, shirts, and dresses. The company's clothes tend toward modesty, based partly on the Stidhams' affiliation with The Church of Jesus Christ of Latter-day Saints. LuLaRoe releases 5,000 copies of any given pattern, and once a product has sold out, it is generally not reissued. LuLaRoe distributors can choose styles and sizes, but not specific patterns, and each distributor is provided different products for their inventory. Distributors have noted that some patterns (known as "unicorns") are significantly easier to sell than others.


title: LuLaRoe

text: The garments are manufactured in Asian and Central American factories via MyDyer, a Los Angeles-based apparel company that also produces for other retailers.


title: LuLaRoe

text: In late 2016, LuLaRoe began receiving many reports from customers that the firm's leggings ripped and developed holes easily, in some cases shortly after being worn for the first time. In January 2017, the BBB downgraded the company's rating to "F" in response to the company's failure to address complaints, as well as for issues with charging sales tax in places that do not levy sales tax on clothes.


title: LuLaRoe

text: In 2017, customers shared photos of the ripped leggings on social media and created a Facebook group related to the complaints. The same month, a class-action lawsuit was filed against the company by a group of customers. LuLaRoe's head of production attributed the damage to a production process that weakens the fibers while softening them. LuLaRoe's CEO initially downplayed the damage rates as statistically insignificant, but in response to the complaints, on April 24, 2017, the firm implemented new policies to make it easier for customers and distributors to receive refunds on defective merchandise.


title: LuLaRoe

text: In August 2017, multiple distributors complained on social media that they had still not received the refunds promised to them by LuLaRoe. In September, LuLaRoe abruptly ended the changes to its return policy, which it had described as a "waiver". Distributors now receive only 90% of cost and pay for shipping and handling, along with other stricter stipulations. The change in policy prompted a backlash on social media, and a petition to grandfather in the old policies for distributors who were in process of canceling their distributorships.


title: LuLaRoe

text: During 2021, LuLaRoe received an F rating from the Better Business Bureau. its rating had risen to C.


title: Windows Update

text: Windows Update is a Microsoft service for the Windows 9x and Windows NT families of operating system, which automates downloading and installing Microsoft Windows software updates over the Internet. The service delivers software updates for Windows, as well as the various Microsoft antivirus products, including Windows Defender and Microsoft Security Essentials. Since its inception, Microsoft has introduced two extensions of the service: Microsoft Update and Windows Update for Business. The former expands the core service to include other Microsoft products, such as Microsoft Office and Microsoft Expression Studio. The latter is available to business editions of Windows 10 and permits postponing updates or receiving updates only after they have undergone rigorous testing.


title: Windows Update

text: As the service has evolved over the years, so has its client software. For a decade, the primary client component of the service was the Windows Update web app that could only be run on Internet Explorer. Starting with Windows Vista, the primary client component became Windows Update Agent, an integral component of the operating system.


title: Windows Update

text: The service provides several kinds of updates. "Security updates" or "critical updates" mitigate vulnerabilities against security exploits against Microsoft Windows. "Cumulative updates" are updates that bundle multiple updates, both new and previously released updates. Cumulative updates were introduced with Windows 10 and have been backported to Windows 7 and Windows 8.1.


title: Windows Update

text: Microsoft routinely releases updates on the second Tuesday of each month (known as the Patch Tuesday), but can provide them whenever a new update is urgently required to prevent a newly discovered or prevalent exploit. System administrators can configure Windows Update to install critical updates for Microsoft Windows automatically, so long as the computer has an Internet connection.


title: Windows Update

text: In Windows 10 and Windows 11, the use of Windows Update is mandatory, however, the software agreement states that users may stop receiving updates on their device by disconnecting their device from the Internet.


title: Windows Update

text: Windows Update was introduced as a web app with the launch of Windows 98 and offered additional desktop themes, games, device driver updates, and optional components such as NetMeeting. Windows 95 and Windows NT 4.0 were retroactively given the ability to access the Windows Update website and download updates designed for those operating systems, starting with the release of Internet Explorer 4. The initial focus of Windows Update was free add-ons and new technologies for Windows. Security fixes for Outlook Express, Internet Explorer and other programs appeared later, as did access to beta versions of upcoming Microsoft software, e.g. Internet Explorer 5. Fixes to Windows 98 to resolve the Year 2000 problem were distributed using Windows Update in December 1998. Microsoft attributed the sales success of Windows 98 in part to Windows Update.


title: Windows Update

text: The Windows Update web app requires either Internet Explorer or a third-party web browser that supports the ActiveX technology. The first version of the web app, version 3, does not send any personally-identifiable information to Microsoft. Instead, the app downloads a full list of every available update and chooses which one to download and install. But the list grew so large that the performance impact of processing became a concern. Arie Slob, writing for the Windows-help.net newsletter in March 2003, noted that the size of the update list had exceeded , which caused delays of more than a minute for dial-up users. Windows Update v4, released in 2001 in conjunction with Windows XP, changed this. This version of the app makes an inventory of the system's hardware and Microsoft software and sends them to the service, thus offloading the processing burden to Microsoft servers.


title: Windows Update

text: "Critical Update Notification Utility" (initially "Critical Update Notification Tool") is a background process that checks the Windows Update web site on a regular schedule for new updates that have been marked as "Critical". It was released shortly after Windows 98.


title: Windows Update

text: By default, this check occurs every five minutes, plus when Internet Explorer starts; however, the user could configure the next check to occur only at certain times of the day or on certain days of the week. The tool queries the Microsoft server for a file called "codice_1", which contained a list of all the critical updates released for the operating system. The tool then compares this list with the list of installed updates on its machine and displays an update availability notification. Once the check is executed, any custom schedule defined by the user is reverted to the default. Microsoft stated that this ensures that users received notification of critical updates in a timely manner.


title: Windows Update

text: An analysis done by security researcher H. D. Moore in early 1999 was critical of this approach, describing it as "horribly inefficient" and susceptible to attacks. In a posting to BugTraq, he explained that, "every single Windows 98 computer that wishes to get an update has to rely on a single host for the security. If that one server got compromised one day, or an attacker cracks the [Microsoft] DNS server again, there could be millions of users installing trojans every hour. The scope of this attack is big enough to attract crackers who actually know what they are doing..."


title: Windows Update

text: Microsoft continued to promote the tool through 1999 and the first half of 2000. Initial releases of Windows 2000 shipped with the tool. The tool did not support Windows 95 and Windows NT 4.0.


title: Windows Update

text: "Automatic Updates" is the successor of the Critical Update Notification Utility. It was released in 2000, along with Windows Me. It supports Windows 2000 SP3 as well.


title: Windows Update

text: Unlike its predecessor, Automatic Updates can download and install updates. Instead of the five-minute schedule used by its predecessor, Automatic Updates checks the Windows Update servers once a day. After Windows Me is installed, a notification balloon prompts the user to configure the Automatic Updates client. The user can choose from three notification schemes: Being notified before downloading the update, being notified before installing the update, or both. If new updates are ready to be installed, the user may install them before turning off the computer. A shield icon will be displayed on the Shutdown button during this time.


title: Windows Update

text: Windows XP and Windows 2000 SP3 include Background Intelligent Transfer Service, a Windows service for transferring files in the background without user interaction. As a system component, it is capable of monitoring the user's Internet usage, and throttling its own bandwidth usage in order to prioritize user-initiated activities. The Automatic Updates client for these operating systems was updated to use this system service.


title: Windows Update

text: Automatic Updates in Windows XP gained notoriety for repeatedly interrupting the user while working on their computer. Every time an update requiring a reboot was installed, Automatic Updates would prompt the user with a dialog box that allowed the user to restart immediately or dismiss the dialog box, which would reappear in ten minutes; a behavior that Jeff Atwood described as "perhaps the naggiest dialog box ever."


title: Windows Update

text: In 2013, it was observed that shortly after the startup process, Automatic Updates (codice_2) and Service Host (codice_3 in Windows XP would claim 100% of a computer's CPU capacity for extended periods of time (between ten minutes to two hours), making affected computers unusable. According to Woody Leonhart of InfoWorld, early reports of this issue could be seen in Microsoft TechNet forums in late May 2013, although Microsoft first received large number of complaints about this issue in September 2013. The cause was an exponential algorithm in the evaluation of superseded updates which had grown large over the decade following the release of Windows XP. Microsoft's attempts to fix the issue in October, November and December proved futile, causing the issue to be escalated to the top priority.


title: Windows Update

text: Starting with Windows Vista and Windows Server 2008, "Windows Update Agent" replaces both the Windows Update web app and the Automatic Updates client. It is in charge of downloading and installing software update from Windows Update, as well as the on-premises servers of Windows Server Updates Services or System Center Configuration Manager.


title: Windows Update

text: Windows Update Agent can be managed through a Control Panel applet, as well as Group Policy, Microsoft Intune and Windows PowerShell. It can also be set to automatically download and install both "important" and "recommended" updates. In prior versions of Windows, such updates were only available through the Windows Update web site. Additionally, Windows Update in Windows Vista supports downloading Windows Ultimate Extras, optional software for Windows Vista Ultimate Edition.


title: Windows Update

text: Unlike Automatic Updates in Windows XP, Windows Update Agent in Windows Vista and Windows 7 allows the user to postpone the mandatory restart (required for the update process to complete) for up to four hours. The revised dialog box that prompts for the restart appears under other windows, instead of on top of them. However, standard user accounts only have 15 minutes to respond to this dialog box. This was changed with Windows 8: Users have 3 days (72 hours) before the computer reboots automatically after installing automatic updates that require a reboot. Windows 8 also consolidates the restart requests for non-critical updates into just one per month. Additionally, the login screen notifies them of the restart requirements.


title: Windows Update

text: Windows Update Agent makes use of the Transactional NTFS feature introduced with Windows Vista to apply updates to Windows system files. This feature helps Windows recover cleanly in the event of an unexpected failure, as file changes are committed atomically.


title: Windows Update

text: Windows 10 contains major changes to Windows Update Agent operations; it no longer allows the manual, selective installation of updates. All updates, regardless of type (this includes hardware drivers), are downloaded and installed automatically, and users are only given the option to choose whether their system would reboot automatically to install updates when the system is inactive, or be notified to schedule a reboot. Microsoft offers a diagnostic tool that can be used to hide troublesome device drivers and prevent them from being reinstalled, but only after they had been already installed, then uninstalled without rebooting the system.


title: Windows Update

text: Windows Update Agent on Windows 10 supports peer-to-peer distribution of updates; by default, systems' bandwidth is used to distribute previously downloaded updates to other users, in combination with Microsoft servers. Users may optionally change Windows Update to only perform peer-to-peer updates within their local area network.


title: Windows Update

text: Windows 10 also introduced cumulative updates. For example, if Microsoft released updates KB00001 in July, KB00002 in August, and KB00003 in September, Microsoft would release cumulative update KB00004 which packs KB00001, KB00002, and KB00003 together. Installing KB00004 will also install KB00001, KB00002 and KB00003, mitigating the need for multiple restarts and reducing the number of downloads needed. KB00004 may also include other fixes with their own KB-number that were not separately released. A disadvantage of cumulative updates is that downloading and installing updates that fix individual problems is no longer possible. KB stands for knowledge base as in Microsoft Knowledge Base.


title: Windows Update

text: "Windows Update for Business" is a term for a set of features in the Pro, Enterprise and Education editions of Windows 10, intended to ease the administration of Windows across organizations. It enables IT pros to:


title: Windows Update

text: These features were added in Windows 10 version 1511. They are intended for large organizations with many computers, so they can logically group their computers for gradual deployment. Microsoft recommends a small set of pilot computers to receive the updates almost immediately, while the set of most critical computers to receive them after every other group has done so, and has experienced their effects.


title: Windows Update

text: Other Microsoft update management solutions, such as Windows Server Update Services or System Center Configuration Manager, do not override Windows Update for Business. Rather, they force Windows 10 into the "dual scan mode". This can cause confusion for administrators who do not comprehend the full ramifications of the dual scan mode.


title: Windows Update

text: As organizations continued to use more computers, the per-machine Windows Update clients started to become unwieldy and insufficient. In response to the need of organizations for deploying updates to many machines, Microsoft introduced Software Update Services (SUS), which was later renamed Windows Server Update Services (WSUS). A component of the Windows Server family of operating systems, WSUS downloads updates for Microsoft products to a server computer on which it is running and redistributes them to the computers within the organization over a local area network (LAN). One of the benefits of this method is a reduction in the consumption of Internet bandwidth, equal to "(N-1)×S", where N is the number of computers in the organization and S is the size made by the updates. Additionally, WSUS permits administrators to test updates on a small group of test computers before deploying them to all systems, in order to ensure that business continuity is not disrupted because of the changes of the updates. For very large organizations, multiple WSUS servers can be chained together hierarchically. Only one server in this hierarchy downloads from the Internet.


title: Windows Update

text: Update packages distributed via the Windows Update service can be individually downloaded from Microsoft Update Catalog. These updates can be installed on computers without internet access (e.g. via USB flash drive) or slipstreamed with a Windows installation. In case of the former, Windows Update Agent (codice_4) can install these files. In case of the latter, Microsoft deployment utilities such as DISM, WADK and MDT can consume these packages.


title: Windows Update

text: Microsoft offers System Center Configuration Manager for very complex deployment and servicing scenarios. The product integrates with all of the aforesaid tools (WSUS, DISM, WADK, MDT) to automate the process.


title: Windows Update

text: A number of tools have been created by independent software vendors which provide the ability for Windows Updates to be automatically downloaded for, or added to, an online or offline system. One common use for offline updates is to ensure a system is fully patched against security vulnerabilities before being connected to the Internet or another network. A second use is that downloads can be very large, but may be dependent on a slow or unreliable network connection, or the same updates may be needed for more than one machine. AutoPatcher, WSUS Offline Update, PortableUpdate, and Windows Updates Downloader are examples of such tools.


title: Windows Update

text: At the beginning of 2005, Windows Update was being accessed by about 150 million people, with about 112 million of those using Automatic Updates. As of 2008, Windows Update had about 500 million clients, processed about 350 million unique scans per day, and maintained an average of 1.5 million simultaneous connections to client machines. On Patch Tuesday, the day Microsoft typically releases new software updates, outbound traffic could exceed 500 gigabits per second. Approximately 90% of all clients used automatic updates to initiate software updates, with the remaining 10% using the Windows Update web site. The web site is built using ASP.NET, and processes an average of 90,000 page requests per second.


title: Windows Update

text: Traditionally, the service provided each patch in its own proprietary archive file. Occasionally, Microsoft released service packs which bundled all updates released over the course of years for a certain product. Starting with Windows 10, however, all patches are delivered in cumulative packages. On 15 August 2016, Microsoft announced that effective October 2016, all future patches to Windows 7 and 8.1 would become cumulative as with Windows 10. The ability to download and install individual updates would be removed as existing updates are transitioned to this model. This has resulted in increasing download sizes of each monthly update. An analysis done by Computerworld determined that the download size for Windows 7 x64 has increased from 119.4MB in October 2016 to 203MB in October 2017. Initially, Microsoft was very vague about specific changes within each cumulative update package. However, since early 2016, Microsoft has begun releasing more detailed information on the specific changes.


title: Windows Update

text: In 2011, the update service was decommissioned for Windows 98, 98 SE, ME and NT4 and the old updates for those systems were removed from its servers.


title: Windows Update

text: On August 3, 2020, the update service was decommissioned for Windows 2000, XP, Server 2003 and Vista due to Microsoft discontinuing SHA-1 updates. The old updates are still available on the Microsoft Update Catalog.


title: Windows Update

text: At the February 2005 RSA Conference, Microsoft announced the first beta of "Microsoft Update", an optional replacement for Windows Update that provides security patches, service packs and other updates for both Windows and other Microsoft software. The initial release in June 2005 provided support for Microsoft Office 2003, Exchange 2003, and SQL Server 2000, running on Windows 2000, XP, and Server 2003. Over time, the list has expanded to include other Microsoft products, such as Windows Live, Windows Defender, Visual Studio, runtimes and redistributables, Zune Software, Virtual PC and Virtual Server, CAPICOM, Microsoft Lync, Microsoft Expression Studio, and other server products. It also offers Silverlight and Windows Media Player as optional downloads if applicable to the operating system.


title: Windows Update

text: "Office Update" is a free online service that allows users to detect and install updates for certain Microsoft Office products.


title: Windows Update

text: The original update service supported Office 2000, Office XP, Office 2003 and Office 2007. On 1 August 2009 Microsoft decommissioned the Office Update service, merging it with Microsoft Update. Microsoft Update does not support Office 2000.


title: Windows Update

text: With the introduction of the Office 365 licensing program, however, Microsoft once again activated a separate Office update service.


title: Nagoya Grampus

text: The team had its most successful season up to 1995 when it was managed by Arsène Wenger, well known for his subsequent exploits at Arsenal. They won the Emperor's Cup and finished second in the J.League, with Dragan Stojković and Gary Lineker on the team. The 1995 success was eclipsed on November 20, 2010, when the club won its first J.League trophy, under the management of Stojković.


title: Nagoya Grampus

text: The team's name was derived from the two most prominent symbols of Nagoya: the two golden grampus dolphins on the top of Nagoya Castle, and the "Maru-Hachi" (Circle eight), the city's official symbol.


title: Nagoya Grampus

text: Toyota Motor SC was overshadowed by its colleague Toyota Automated Loom Works SC (founded in 1946 and which was one of the founding members of the Japan Soccer League). When Toyota ALW were relegated to regional leagues in 1968, Toyota Motor saw an opportunity to rise at their expense.


title: Nagoya Grampus

text: In 1972 the club was founding members of the JSL's Second Division and its inaugural champions. They remained in the JSL until the J.League's founding in 1993. They were relegated to the JSL Division 2 in 1977. After a brief return in 1987–88, they were promoted for good in 1989–90 and remained in the top flight for 26 years, until 2016.


title: Nagoya Grampus

text: Nagoya Grampus Eight was an original member (""Original Ten"") of the J.League in 1993. In 1996, future Arsenal manager Arsène Wenger led Grampus to the 1996 Emperor's Cup and a runners-up finish in the J.League, the club's best finish. The team's name "Nagoya Grampus Eight" was changed to just "Nagoya Grampus" at the start of the 2008 season. In 2008, Nagoya appointed former player Dragan Stojković as manager. They finished in third place and qualified for the AFC Champions League for the first time. Stojković has since led the club to winning the J.League in the 2010 season, featuring a squad consisting of Marcus Tulio Tanaka, Mu Kanazaki, Seigo Narazaki, Yoshizumi Ogawa, Keiji Tamada and Joshua Kennedy.


title: Nagoya Grampus

text: After a poor 2016 season, Nagoya Grampus were relegated to J2 League for the first time in their history. Boško Gjurovski left his post as manager. On 4 January 2017, Yahiro Kazama was appointed as the club's new manager. On 3 December 2017, Nagoya Grampus drew 0-0 against Avispa Fukuoka in the promotion playoff final, securing promotion back to J1 League at the first time of asking due to their higher regular season position than Avispa Fukuoka.


title: Nagoya Grampus

text: Since Nagoya were dealt a 5–0 defeat by the Kashima Antlers at the Kashima Soccer Stadium on 16 May in the 1993 J.League season opener, Nagoya suffered a losing streak of 22 consecutive games to the Kashima Antlers at the Kashima Soccer Stadium which included Emperor's Cup and J.League Cup games. Nagoya finally got their first victory over the Kashima Antlers at the Kashima Soccer Stadium on 23 August of the 2008 J.League season, some 15 years later.


title: Nagoya Grampus

text: The following players have been selected by their country in the World Cup, while playing for Nagoya Grampus:


title: Nagoya Grampus

text: (As of 2015): 33 seasons in the top tier, 12 seasons in the second tier and 6 seasons in the Regional Leagues.


title: Nagoya Grampus

text: In the Captain Tsubasa manga series, one character was player of Nagoya Grampus and is the goalkeeper Ken Wakashimazu which was player of Yokohama Flügels before the closing of the Yokohama team. In 2013, the midfielder Shingo Aoi wear the Nagoya Grampus jersey in a Yoichi Takahashi tribute to the 20 years of J.League.


title: Camila Cabello discography

text: American singer Camila Cabello has released three studio albums, one soundtrack album, one extended play (EP), 29 singles (including 7 as a featured artist), 4 promotional singles, and 34 music videos. According to RIAA, Cabello has sold 38.5 million albums and singles in the United States. Her 2017 smash hit "Havana" is certified diamond in the US, making her the first hispanic female artist to do so. "Billboard" listed Cabello as the 87th Top Artists of the 2010s, as well as the 33rd Top Social 50 of the Decade. Her debut album "Camila" placed at No. 142 on "Billboard" 200 Decade-End Chart, while "Havana" was placed at No. 59 on "Billboard" Hot 100 Decade-End chart respectively.


title: Camila Cabello discography

text: Cabello began to establish herself as a solo artist with the release of several collaborations, including "Bad Things" with Machine Gun Kelly, which peaked at number four on the US "Billboard" Hot 100 in 2016. After leaving musical girl group Fifth Harmony in December 2016, she released the solo single "Crying in the Club" to a modest performance. Refocusing her sound to Latin-influenced music, her eponymous debut studio album "Camila" (2018) debuted at number one on the US "Billboard" 200. The album's lead single, "Havana", featuring American rapper Young Thug, became the best-selling digital single of 2018 worldwide according to the International Federation of the Phonographic Industry (IFPI), with equivalent sales of 19 million units globally.


title: Camila Cabello discography

text: In June 2019, Cabello and Canadian singer Shawn Mendes released their duet "Señorita", from the deluxe edition of Mendes' third studio album. The song became the third best-selling single of 2019 worldwide, with combined sales and track-equivalent streams of 16.1 million units globally. "Senorita" was included on Cabello's second studio album "Romance" released on December 6, 2019, "Romance" was supported by "Liar" and "Shameless" and spawned the hit "My Oh My" which peaked at number 12 on the US "Billboard" Hot 100. "Romance" peaked at number 3 on the US "Billboard" 200, and number 1 in Canada.


title: Camila Cabello discography

text: In July 2021 Cabello released the "Don't Go Yet" the first single from her 3rd studio album "Familia". "Don't Go Yet" peaked at number 28 on the "Billboard" Global 200. Cabello then followed this up in March 2022 with the release of her 2nd single from "Familia," "Bam Bam" ft Ed Sheeran. "Bam Bam" became a global hit, peaking at number 5 on the "Billboard" Global 200, and number 21 on the US Billboard Hot 100. "Familia" was released on April 8, 2022, and though it performed modestly in the US, peaking at number 10 on the US "Billboard" 200, it did well internationally, peaking at number 6 in Canada, number 9 in the UK and number 4 in Spain, the latter two her highest entries on those charts since "Camila".


title: Willam Belli

text: Willam Belli (, born June 30, 1982), mononymously known as Willam, is an American drag queen, actor, singer-songwriter, reality television personality, author, and YouTuber. Willam came to prominence as a contestant on the fourth season of "RuPaul's Drag Race" in 2012, but was disqualified in the "Frenemies" challenge.


title: Willam Belli

text: Before appearing on "Drag Race", Willam worked as an actor, most notably playing the recurring role of transgender woman Cherry Peck in Ryan Murphy's medical drama "Nip/Tuck". She has continued to perform in a variety of films, television series and web series, often in drag. In 2018, she appeared in the critically acclaimed film "A Star Is Born". For her performance on the dark comedy web series "EastSiders", she was nominated for a Daytime Emmy Award for Outstanding Supporting Actor in a Digital Daytime Drama Series.


title: Willam Belli

text: Since 2012, Willam has recorded three albums of comedy music, mostly consisting of parodies of popular songs. Her second album, "Shartistry in Motion", debuted at number one on the "Billboard" Comedy Albums chart. Between 2012 and 2014, she recorded several songs as part of the group DWV (alongside drag queens Vicky Vox and Detox), including the parodies "Chow Down" and "Boy Is a Bottom", whose music videos were viral successes. Following the breakup of DWV, Willam formed another drag supergroup, the AAA Girls, with Courtney Act and Alaska Thunderfuck.


title: Willam Belli

text: Willam Belli was born in Philadelphia. He is the younger of two children. Belli states he is of Yugoslav and Italian heritage. He lived in Florida for middle school and high school. Belli's father worked at the Kennedy Space Center. His aunt is television director Mary Lou Belli.


title: Willam Belli

text: Belli was overweight when he was young but lost the extra pounds by becoming vegetarian before being emancipated at 16. Belli met his husband Bruce, at nineteen. They were married on September 9, 2008.


title: Willam Belli

text: Belli's first acting credit was as the role of a street hustler named Bart Jaker on two episodes of "The District" (2002) and his first TV appearance was on an episode of the game show "Street Smarts". He later appeared in the TV series "Boston Public", "Cold Case", "The Shield", "My Name Is Earl" and most notably "Nip/Tuck" as the transgender character Cherry Peck. Throughout the 2000s he would go on to play small roles in many television shows. He also had a small role in the film "American Wedding".


title: Willam Belli

text: In 2008, Belli was featured on the single artwork for the song "Breakin' Up" by Rilo Kiley. He has also modeled as part of the Tranimal Master Class Workshop at the Machine Project, which was photographed by Austin Young.


title: Willam Belli

text: Belli is a member of the band Tranzkuntinental, which made its debut at The Roxy in 2009. The band was started by Charlie Paulson and Xander Smith and features drag queens Detox, Kelly Mantle, Rhea Litré, and Vicky Vox.


title: Willam Belli

text: In January 2011, he was featured in Rihanna's music video "S&M" along with Detox and Morgan McMichaels as back-up dancers.


title: Willam Belli

text: World of Wonder contacted Willam's management asking for him to audition for the fourth season of "RuPaul's Drag Race". In November 2011, Logo TV announced that Belli was among 13 contestants competing on the fourth season. Fellow castmate Chad Michaels had competed with Belli in the California Entertainer of the Year Pageant in 2010. Belli won the main challenges in the episodes "Float Your Boat" and "Frenemies", but was disqualified in the latter. In the episode "Reunited", Belli stated that his disqualification was due to conjugal visits made by his husband in his hotel room. By Belli's own account however, in the years since airing season 4, Willam has refuted the "official story" in multiple interviews.


title: Willam Belli

text: Belli's most recent reassertion is in an interview with YouTuber Joseph Shepherd in February 2019, where Belli claims that the 'so-called' official reason was just a fabrication by the show's creators for the purpose of portraying a more palatable scenario of Belli's departure from the show. In that interview Willam claimed that the genuine reason for his removal was due to increasing hostilities and issues between the contestants and the crew. Willam claims that many of the crew were rude and condescending towards the drag queens in general, with some of the crew members not even bothering to try to learn the contestant's names - sharing one example of a crew member repeatedly calling season 4 fellow contestant Latrice Royale - "La-something", despite all the crew having cards with the photographs of the queens/contestants (in and out of drag) worn around their necks. This led the queens to label some of the crew and their bad attitudes, plus some interactions between cast and crew, as being racist.


title: Willam Belli

text: Willam also claimed that outside of filming hours the queens weren't being adequately fed, for example noting that $75 was all that was allocated to feed the 12 contestants, Willam claims that this necessitated visits to the store for food etc. Willam also revealed that he frequently got other contestants high and/or drunk, as well as also attempting to steal things from the set, things feather fans and RuPaul branded Iron fist shoes. According to Belli, the conjugal visit story was made up by producers and Willam agreed to "go along with the excuse" so that "everyone looked okay". Belli used the publicity of his disqualification to release his single "Chow Down", which was a parody of Wilson Phillips' "Hold On" that addressed the 2012 Chick-fil-A same-sex marriage controversy. The song featured Detox and Vicky Vox.


title: Willam Belli

text: On March 12, 2012, he released his first single "Trouble", which was produced by RuPaul's "Red Hot" collaborator Tom Trujillo. The music video for the song was directed by porn director Chi Chi LaRue and premiered on Logo TV.


title: Willam Belli

text: On March 21, Belli released "The Vagina Song", a parody of "Billionaire" by Travie McCoy featuring Bruno Mars as his third single, which had been previously uploaded to YouTube in 2010. The music video was directed by Michael Serrato, who also directed Belli's music video for "Chow Down".


title: Willam Belli

text: Belli released "Love You Like a Big Schlong" on April 29, 2012, which became a viral hit being viewed more than a million times on YouTube alone. Produced by Uncle Slam, the song parodies "Love You Like a Love Song" by Selena Gomez & the Scene. The song was inspired by Belli's loss to 7-year-old Eden Wood in a lip syncing contest during a segment of the 2012 NewNowNext Awards.


title: Willam Belli

text: In November 2012, Belli was featured with country music artist Drake Jensen on a cover of Tammy Wynette's "Stand by Your Man". That same month, Belli self-released his debut album "The Wreckoning" via his website.


title: Willam Belli

text: Beginning in December 2012, Belli began a YouTube series associated with thestylishvids titled, "Willam's Beatdown". A comedy segment involving insult humor and video reviews, the series would eventually be renewed for a second, third, fourth, fifth and sixth season that then premiered on Belli's self-titled channel. In January 2013, Belli would have his biggest viral hit with 20 million hits on YouTube alone, when he released "Boy Is a Bottom", featuring Detox and Vicky Vox, to coincide with the fifth season premiere of "RuPaul's Drag Race". Its timing and the use of social media made it a very well received release. The song is a parody of "Girl on Fire" by Alicia Keys and also features an altered version of the "breakdown" from "My Lovin' (You're Never Gonna Get It)" by En Vogue. "Boy Is a Bottom" debuted at number six on "Billboard"'s Comedy Digital Songs, selling 3,000 downloads in its first week.


title: Willam Belli

text: On August 14, 2013, Belli was featured along with Shangela, Detox, Raven, Morgan McMichaels, Landon Cider, Shannel, and Courtney Act, in Lady Gaga's lyric video for her single "Applause".


title: Willam Belli

text: Belli's trio, including Detox and Vicky Vox, called DWV, officially split in June 2014 due to a personal conflict between the members.


title: Willam Belli

text: Belli then became an American Apparel Ad Girl alongside "Drag Race" alumni Courtney Act and Alaska Thunderfuck 5000 which they supported with a single entitled, "American Apparel Ad Girls". They also released a second single together, "Dear Santa, Bring Me a Man" for the Christmas season.


title: Willam Belli

text: On January 13, 2017, he released a solo version of the "DWV" hit "Boy Is a Bottom", in Spanish, entitled, "Es Una Pasiva", which went on to top the comedy iTunes chart. Belli self-released his sophomore studio album, "Shartistry in Motion", on June 2.


title: Willam Belli

text: Belli released his first book "Suck Less: Where There's a Willam, There's a Way" in October 2016 through Grand Central Publishing. In 2017, he released his first perfume collaboration with Xyrena, Scented by Willam.


title: Willam Belli

text: On May 18, 2017, it was revealed that Fullscreen had ordered a talk show to be hosted by Belli. "Suck Less", billed as a weekly half-hour call-in show 'where Willam throws shade and shows how to slay the game of life in six-inch stilettos' is set to debut in the summer. Friends from Belli's everyday life, as well as some of his favorite drag queens are expected to put in guest appearances over the course of the 13-episode series.


title: Willam Belli

text: In 2018, Willam appeared in the critically acclaimed film "A Star Is Born". Willam and fellow drag queen Shangela play queens working in a drag bar alongside Lady Gaga's character Ally when she's discovered by famous country singer Jackson Maine, played by Bradley Cooper. Willam's character, Emerald, is a Dolly Parton impersonator who flirts with Jackson. The dialogue in his scenes was mostly improvised, including a memorable moment in which his character has Jackson autograph her silicone breastplate. Bradley Cooper, who also directed the film, said that Willam and Shangela "blew his mind" with their ad-libbing.


title: Willam Belli

text: On July 18, 2018, the first episode of Belli's "Drag Race"-themed podcast co-hosted with Alaska Thunderfuck and entitled "Race Chaser", was published on the Forever Dog Network. In 2020 Alaska and Willam announced that they would be setting up their own podcast network in collaboration with Forever Dog, Moguls of Media (MOM), featuring a "star-studded roster of iconic drag queens and queer luminaries" to bridge "the past, present, and future of LGBTQ+ entertainment". Podcasts established under the Moguls of Media brand and executive produced by Willam and Alaska include "The Chop", hosted by Latrice Royale and Manila Luzon; "Very That", hosted by Delta Work and Raja; "Hi Jinkx!", hosted by Jinkx Monsoon; "Famous This Week", hosted by Priyanka and formerly Brooke Lynn Hytes; "Sloppy Seconds", hosted by Big Dipper and Meatball; "Wanna Be On Top?", hosted by Shea Couleé; and "Hall & Closet", hosted by Jaida Essence Hall and Heidi N Closet.


title: Willam Belli

text: In 2019, Belli launched his own makeup line, Suck Less Face & Body. In June 2019, a panel of judges from "New York" magazine placed her ninth on their list of "the most powerful drag queens in America", a ranking of 100 former "Drag Race" contestants.


title: Willam Belli

text: In 2021, Belli was announced as the star of "Iconic Justice", a courtroom show in which Belli will hear and rule on various legal and social disputes between LGBTQ people.


title: Willam Belli

text: Belli was nominated for his performance on the Netflix dark comedy web series "EastSiders" at the 47th Daytime Emmy Awards.


title: Willam Belli

text: Belli was nominated for his role on "RuPaul's Drag Race" at the fifth annual NewNowNext Awards which aired on Logo network on April 9, 2012. He lost to Nadia G. of "Bitchin' Kitchen" which airs on the Food Network Canada and the Cooking Channel.


title: Go Fish

text: Go Fish or Fish is a card game usually played by two to five players, although it can be played with up to 10 players. It can be played in about 5 to 15 minutes.


title: Go Fish

text: Five cards are dealt from a standard 52-card deck (54 counting Jokers) to each player, or seven cards if there are only two players. The remaining cards are shared between the players, usually spread out in a disorderly pile referred to as the "ocean" or "pool".


title: Go Fish

text: The player whose turn it is to play asks another player for their cards of a particular face value. For example, Alice may ask, "Bob, do you have any threes?" Alice must have at least one card of the rank she requested. Bob must hand over all cards of that rank if possible, and is responsible for delivering the cards to the player no matter their location. If he has none, Bob tells Alice to "go fish" (or just simply "fish"), and Alice draws a card from the pool and places it in her own hand. Then it is the next player's turn – unless the card Alice drew is the card she asked for, in which case she shows it to the other players, and she gets another turn. When any player at any time has four cards of one face value, it forms a book, and the cards must be placed face up in front of that player.


title: Go Fish

text: Play proceeds to the left. When all sets of cards have been laid down in books, the game ends. The player with the most books wins.


title: Go Fish

text: If, when fishing, a player draws a rank they did not have, they should ask for it on their next turn. Otherwise, they should rotate among the ranks that they already hold. In the more difficult variants, strategy often requires memorizing which cards each player possesses. Unlike many card games, Go Fish depends on the honor system; lying about the contents of one's hand is difficult to prevent.


title: Go Fish

text: It is often beneficial for the player to conceal the cards they hold in order to prevent other players from knowing which cards they can ask for. This can be accomplished by consistently asking different players for the same rank of card.


title: Go Fish

text: Instead of using a standard 52 playing card deck, various specialty decks have been manufactured including the 169 count playing card Kids Classic Go Fish Card Game by U.S. Games Systems. Other specialist card packs which can be used to play similar games have also been produced including the Safari Pals packs which use animal characteristics to form the sets and packs which use personalized names to form the sets.


title: The Show Must Go On (Queen song)

text: "The Show Must Go On" is a song by British rock band Queen, featured as the twelfth and final track on their 1991 album, "Innuendo". It is credited to Queen, but written mainly by Brian May. The song chronicles the effort of frontman Freddie Mercury continuing to perform despite approaching the end of his life, although his diagnosis with HIV/AIDS had not yet been made public in spite of ongoing media speculation claiming that he was seriously ill. When the band recorded the song in 1990, Mercury's condition had deteriorated to the point that May had concerns as to whether he was physically capable of singing it. May recalls; "I said, 'Fred, I don't know if this is going to be possible to sing.' And he went, 'I'll fucking do it, darling'—vodka down—and went in and killed it, completely lacerated that vocal".


title: The Show Must Go On (Queen song)

text: It was released as a single in the United Kingdom on 14 October 1991 in promotion for the "Greatest Hits II" album, just six weeks before Mercury died. Following Mercury's death on 24 November 1991, the song re-entered the British charts and spent as many weeks in the top 75 (five) as it did upon its original release, initially reaching a peak of 16. A live version with Elton John on vocals appeared on Queen's "Greatest Hits III" album.


title: The Show Must Go On (Queen song)

text: The song was first played live on 20 April 1992, during The Freddie Mercury Tribute Concert, performed by the three remaining members of Queen, with Elton John singing lead vocals and Black Sabbath guitarist Tony Iommi playing rhythm guitar. It has since been played live by Queen + Paul Rodgers and Queen + Adam Lambert with Rodgers citing one of the performances as the best of his career. Since its release, the song has appeared on television, film (including an operatic version in "Moulin Rouge!"), and has been covered by a number of artists.


title: The Show Must Go On (Queen song)

text: After listening to John Deacon and Roger Taylor playing the chord sequence that later on would be the basis for almost the entire song, Brian May sat down with Freddie Mercury and the two of them decided the theme of the song and wrote some lyrics. May wrote down the rest of the words as well as the melody, and added a bridge with a chord sequence inspired by Pachelbel's Canon. May was convinced the song's title was too predictable and offered to change it, but Mercury refused.


title: The Show Must Go On (Queen song)

text: Demo versions featured May singing, having to sing some parts in falsetto because they were too high. When May presented the final demo to Mercury, he had doubts that Mercury would be physically capable of singing the song's highly demanding vocal line, due to the extent of his illness at the time. To May's surprise, when the time came to record the vocals, Mercury consumed a measure of vodka and said "I'll fucking do it, darling!" then proceeded to perform the vocal line.


title: The Show Must Go On (Queen song)

text: May sang most of the backing vocals (including the last line) and played Korg M1 synthesiser as well as guitar. Producer David Richards suggested the key-shift in the second verse.


title: The Show Must Go On (Queen song)

text: The lyrics are full of allusions, metaphors and other figures of speech, making it somewhat difficult to understand. Thinly disguised tragedy ahead is announced. In the end, the text refers to the determination, the furious desire to live ("I have to find the will to carry on with the show") in spite of vanishing strength ("inside my heart is breaking, my make-up may be flaking"). From the perspective of harmony, the song begins in B minor; then there is a modulation to C# Minor as if the song implied a hope (an increase of tone); but eventually it falls back to B minor.


title: The Show Must Go On (Queen song)

text: Jim Hutton, Mercury's partner who was with him for the last 6 years until his death, mentions the lyric that refers to the use of make up during his last days:


title: The Show Must Go On (Queen song)

text: Due to Mercury having contracted HIV/AIDS, his health started to rapidly deteriorate; as a result, no new footage of the lead singer was shot. The music video instead consisted of a montage of clips spanning Queen's music videos from 1981 to 1991, as a precursor to the imminent release of the band's "Greatest Hits II" album spanning that period. Footage from promo videos from the 1980s are shown in the montage, apart from "Under Pressure" and "Hammer to Fall", including "I Want to Break Free", "Friends Will Be Friends", "I'm Going Slightly Mad", "Breakthru", "Radio Ga Ga", "The Miracle", "The Invisible Man", "Headlong", "Calling All Girls", "Body Language", "Innuendo", "Back Chat", "Who Wants to Live Forever", "Scandal" and "One Vision". This, along with the manner of the song's lyrics, continued to fuel long-running media reports that Mercury was seriously ill, although it was still officially denied that anything was seriously wrong. The following month, Mercury finally announced that he was suffering from AIDS, and he died barely 24 hours after this announcement. The music video was compiled and edited by Austrian director team DoRo, consisting of Rudi Dolezal and Hannes Rossacher.


title: The Show Must Go On (Queen song)

text: Celine Dion recorded a studio version of Queen's "The Show Must Go On" and released it as a digital single on 20 May 2016. The track features Lindsey Stirling on violin.


title: The Show Must Go On (Queen song)

text: In 2007, Dion performed "The Show Must Go On" as a tribute to Freddie Mercury on a TF1 TV Special with French singers, Christophe Maé and David Hallyday. Dion performed the song live during her Taking Chances World Tour in 2008, paying tribute to Queen and Mercury. Her performance was released on "" and "" in 2010. Since 2015, she has performed "The Show Must Go On" for her Las Vegas residency show, "Celine".


title: The Show Must Go On (Queen song)

text: Dion also performed the song during the 2016 "Billboard" Music Awards on 22 May 2016, where she received the Icon Award. It was her first performance outside the Colosseum at Caesars Palace since her husband, René Angélil died in January 2016. The performance received rave reviews. It was released on YouTube and Vevo on 3 June 2016. Dion also performed "The Show Must Go On" during her 2016 and 2017 tours.


title: The Show Must Go On (Queen song)

text: On 20 May 2016, "The Show Must Go On" was released on iTunes, Amazon.com and other digital platforms, and became available on streaming services, including YouTube and Vevo.


title: The Show Must Go On (Queen song)

text: In France, "The Show Must Go On" debuted at number twenty-three, selling 1,000 copies in the first week. In Canada, it entered the Hot Digital Songs chart at number twenty-three as well. "The Show Must Go On" also debuted at number eighty-nine on the Canadian Hot 100. In Quebec, Dion entered the ADISQ chart at the top. In the US, "The Show Must Go On" entered the Pop Digital Songs chart at number forty-five. In Belgium Wallonia, it peaked at number forty-seven on the Ultratip chart.


title: Lust for Life (Lana Del Rey album)

text: Lust for Life is the fifth studio album by American singer-songwriter Lana Del Rey, released on July 21, 2017, through Polydor and Interscope worldwide and Urban in Germany. Marking a return to the "hip-hop inspired" sound of her major-label debut, "Lust for Life" features production from past collaborators Rick Nowels, Kieron Menzies and Emile Haynie, while also working for the first time with producers Boi-1da, Max Martin, Benny Blanco and Metro Boomin. It also features guest appearances from The Weeknd, ASAP Rocky, Stevie Nicks, Sean Lennon, and Playboi Carti. The album and its title were announced on March 29, 2017, through a trailer on Del Rey's official Vevo channel on YouTube.


title: Lust for Life (Lana Del Rey album)

text: "Lust for Life" received positive reviews from music critics and was nominated for a Grammy Award in the category of Best Pop Vocal Album at the 60th Annual Grammy Awards, becoming Del Rey's second nomination in the category. The album achieved commercial success, debuting at number one on the US "Billboard" 200 chart, becoming her second number-one album.


title: Lust for Life (Lana Del Rey album)

text: The lead single, "Love" was released to critical acclaim and moderate success, peaking at number 44 on the US "Billboard" Hot 100, while the title track, featuring the Weeknd, peaked at number 64. "Summer Bummer" featuring ASAP Rocky and Playboi Carti; and "Groupie Love" also featuring ASAP Rocky were released as the third and fourth singles in the United Kingdom and Italy respectively.


title: Lust for Life (Lana Del Rey album)

text: To promote the album, Del Rey embarked on her fourth headlining concert tour, entitled LA to the Moon Tour, which commenced in January 2018.


title: Lust for Life (Lana Del Rey album)

text: Lana Del Rey first discussed the follow-up album to "Honeymoon" during an interview with "NME" magazine in December 2015. When asked where she would like to go with it and when it would be released, she replied by saying, "I do have early thoughts about what I'd like to do with it. My label, Interscope, is pretty flexible and open to my records coming out at any time, so I don't have that pressure. I'm just happy to be able to keep on making music I can stand behind. That's enough for me." In February 2016, during Clive Davis's Pre-Grammy Gala, Del Rey told "Billboard" that her upcoming record would be a different direction from "Honeymoon", while retaining the same aesthetic.


title: Lust for Life (Lana Del Rey album)

text: On February 18, 2017, the album's lead single, "Love", was released. On April 18, in an interview with Courtney Love for "Dazed", Del Rey confirmed a collaboration on the album with the Weeknd called "Lust for Life", and a collaboration with Sean Lennon called "Tomorrow Never Came". She claimed to have worked with Max Martin for the title track, and was inspired by The Shangri-Las for the record's sound. A collaboration with Stevie Nicks entitled "Beautiful People, Beautiful Problems" was also confirmed to be featured on the album. The second single, "Lust for Life", was released on April 19. The title of the album was announced on March 29, 2017, when Del Rey released a trailer for the album, and the album's cover art was released by Del Rey on social media on April 11, 2017. The album was released on July 21, 2017.


title: Lust for Life (Lana Del Rey album)

text: "Lust for Life" mixes numerous music styles. It was described by "Stereogum" as "Lana Del Rey’s version of an A-list pop album, with a big budget and big-name contributors." Its sound was also described as "new-age folk" by "Billboard" and "trap pop" by "Vulture". "Rolling Stone" defined "Lust for Life" "her poppiest turn since her debut". The record features recurring trap rhythms, classic rock references, "sepia-toned" orchestral backings, and Del Rey singing with a "hip-hop affectation". "The Daily Telegraph" stated that the album "lets a bit of light into the darkness of Del Rey's moody past works," noting that "there's a sense of heightened drama in punchy Phil Spector style sixties back beats and the way the heavy timpani criss-crosses with echoing digital trap beats, all swathed in a gauzy haze of Shangri Las style girl group harmonies." "The Guardian" described the album's sound as "sleek contemporary-sounding soundscapes," and noted "Summer Bummer"'s "eerie production and futuristic melancholy sounding closer to a track from Frank Ocean's "Blonde" than her usual 50s and 60s enthralled shtick." "The A.V. Club" praised its modern simplicity, noting that "its beats are subtle hip-hop twitches or electro-pop swells, with percussion redolent of faraway fireworks booms or mellifluous melodic washes." "Pitchfork" stated that the album "presented alt-pop’s quintessential sad girl as actually—could it be?—happy."


title: Lust for Life (Lana Del Rey album)

text: In January 2017, the lead single from the record, "Love", was registered online on Harry Fox Agency under the alternate title "Young in Love". Fans began the speculate that the song would be featured on Del Rey's upcoming record, and on February 17, 2017, promotional posters for the "Love" music video directed by Rich Lee were put on display across Los Angeles. Later that day, the song leaked online, forcing Del Rey to officially release the song earlier than she had expected. The song was officially released worldwide on February 18, and the music video on February 20. "Love" debuted at number 44 on the "Billboard" Hot 100 and number two on Hot Rock Songs. On April 19, BBC Radio 1 premiered Del Rey's new song, "Lust for Life", featuring singer the Weeknd. The official audio was released to the iTunes Store and streaming services a few hours later as the second single from the album.


title: Lust for Life (Lana Del Rey album)

text: "Summer Bummer" featuring ASAP Rocky and Playboi Carti was released to UK radio as the third single from the album on July 28, 2017. "Groupie Love" featuring ASAP Rocky was released to Italian radio as the fourth single from the album on July 28, 2017.


title: Lust for Life (Lana Del Rey album)

text: On May 15, Del Rey released "Coachella – Woodstock in My Mind" as the album's first promotional single.


title: Lust for Life (Lana Del Rey album)

text: Though not released as a single, "White Mustang" was accompanied by a music video published on September 17, 2017. The video illustrates a futuristic Los Angeles in an aesthetic reminiscence of "High by the Beach". It was released as the second promotional single.


title: Lust for Life (Lana Del Rey album)

text: On July 24, 2017, Del Rey began a small promotional tour at the Brixton Academy in London in promotion of "Lust for Life". Other stops on the promotional tour include San Diego, Anaheim, Glasgow, Liverpool, San Francisco, Santa Barbara and New York City. Aside from these select side shows, Del Rey embarked on an official world tour entitled the LA to the Moon Tour to further promote the album, as her first official headlining concert tour since The Endless Summer Tour in 2015. The tour began on January 5, 2018, in Minneapolis, Minnesota, and further includes shows in North America, South America, Australia and Europe. Del Rey was accompanied by Kali Uchis and Jhene Aiko as opening acts.


title: Lust for Life (Lana Del Rey album)

text: "Lust for Life" received positive reviews. At Metacritic, which assigns a normalized rating out of a 100 to reviews from mainstream publications, the album received an average score of 77, based on 26 reviews, indicating "generally favorable reviews", becoming Del Rey's second best reviewed album at the time, behind "Honeymoon" (2015).


title: Lust for Life (Lana Del Rey album)

text: Neil McCormick of "The Daily Telegraph" said the album is a "welcome throwback to the hip hop swagger that pushed through her fantastic 2012 debut "Born to Die"". Jon Pareles of "The New York Times" wrote a favorable review, saying the album "in rare moments, hints at a wink behind Ms. Del Rey's somber lullabies." In a very positive review from "GQ Magazine", Kevin Long wrote that "Like Lorde's "Melodrama", "Lust for Life" is an accomplished piece of art, an antidote to the banal tunes permeating the charts and one of the best albums released this year so far."


title: Lust for Life (Lana Del Rey album)

text: "Billboard" named "Lust for Life" their album of the week, writing "In a 2017 pop game riddled with thirst, trend-hops and burn-outs, Lana Del Rey has earned a remarkable, singular consistency." Writing for "The Independent", Roison O'Connor wrote that ""Lust For Life" is more of an elaboration on her favourite subjects rather than a repetition, in fact, it's her most expansive album to date," concluding that "Del Rey is far more self-aware than she has been on her previous albums." El Hunt of "DIY" wrote that "Lust for Life" is "a record that is prepared to be truly vulnerable, and is all the more impactful for it."


title: Lust for Life (Lana Del Rey album)

text: "Lust for Life" debuted at number one on the US "Billboard" 200 with 107,000 album-equivalent units of which 80,000 were pure album sales, marking Del Rey's second number one on the chart. The album also notably kept Tyler The Creator’s Flower Boy from the number one spot by 1,000 units The record also debuted at number one on the UK Albums Chart with sales of 24,972 copies giving Del Rey her third number-one album on the chart. In South Korea, the album debuted at number 57 on the Gaon Album Chart and at number five on the international version of the same chart.


title: Rob Liefeld

text: Robert Liefeld (; born October 3, 1967) is an American comic book creator. A prominent writer and artist in the 1990s, he is known for co-creating the character Cable with writer Louise Simonson and the character Deadpool with writer Fabian Nicieza. In the early 1990s, Liefeld gained popularity due to his work on Marvel Comics' "The New Mutants" and later "X-Force". In 1992, he and several other popular Marvel illustrators left the company to found Image Comics, which started a wave of comic books owned by their creators rather than by publishers. The first book published by Image Comics was Liefeld's "Youngblood" #1.


title: Rob Liefeld

text: Liefeld has been called one of the most controversial figures in the comic industry for his drawing skills, business practices, and controversial comments.


title: Rob Liefeld

text: Rob Liefeld was born October 3, 1967, the younger child of a Baptist minister and a part-time secretary. He and his sister, seven years his senior, grew up in Anaheim, California.


title: Rob Liefeld

text: Liefeld's love of comics began as a child, which led early on to his decision to be a professional artist, a practice that began with his tracing artwork from comic books. As a high-school student, he took basic fundamental art courses, and attended comic book conventions at the nearby Disneyland Hotel, where he met creators such as George Pérez, John Romita Jr., Jim Shooter, Bob Layton, Mike Zeck and Marv Wolfman. Liefeld cites Pérez, along with John Byrne and Frank Miller, as major influences. He has also noted how the influence of Arthur Adams is visible in his art.


title: Rob Liefeld

text: After graduating from high school, Liefeld took life drawing classes at a local junior college, working odd jobs for about a year, including as a pizza delivery man and construction worker, while practicing his artwork, samples of which he sent to small comics publishers, as he was too intimidated to send them to the "Big Two" companies of Marvel Comics and DC Comics.


title: Rob Liefeld

text: Among the editors he sent art samples around 1985 to Gary Carlson of Megaton Comics. Carlson was working on "Megaton" #4, and was looking for replacements for artists who had moved on to bigger projects. Liefeld's submission packet consisted mostly of pinups of DC Comics characters like the Teen Titans and Legion of Super Heroes, as well as some sketches of Megaton characters. Some of these earlier pinups are visible on Liefeld's website. Although Carlson thought Liefeld's depictions of his characters was not sufficiently accurate, and exhibited what Carlson characterized as "some goofy anatomy", he found Liefeld's storytelling to be clear, and his rendering style evocative of the influence of artist George Pérez. Although Carlson liked Liefeld's work overall, he felt the young artist was not ready for professional work. Weeks later he received another set of samples that were an improvement, and later still, a four-page Berserker story (not to be confused with the Marvel or Top Cow characters of the same name), along with pinups of the Megaton characters Ultragirl and Ultraman. Carlson used one of the pinups as the inside front cover to "Megaton" #5, and Liefeld's Ultragirl pinup in the company's Who's Who-type reference book "Megaton Explosion" #1 (June 1987). The book also featured an entry for Liefeld's own creation, a team of superheroes called Youngblood, the very first appearance of that team in print.


title: Rob Liefeld

text: Carlson and his colleague Chris Ecker later met with the teenaged Liefeld, who at that point had not yet obtained his driver's license, at the Ramada O'Hare Hotel, which was then the location of the Chicago ComiCon. Impressed with the artist's enthusiasm and the new art samples he showed them, Carlson gave Liefeld a test script in order to judge his ability to draw a page-to-page comics story. Although Carlson was impressed with Liefeld's layouts, the story was eventually drawn by Gary Thomas by the time it saw print in "Megaton" #7. Two months later Liefeld drew the team in an advertisement in "Megaton" #8 (August 1987), which indicated that it would next appear in "Megaton Special" #1, by Liefeld and writer Hank Kanalz, with a cover by artist Jerry Ordway. However, Megaton Comics went out of business before that comic was printed.


title: Rob Liefeld

text: Learning from a friend of a comic book convention in San Francisco where a large number of editors would be in attendance, Liefeld and his friend drove several hours to San Francisco, where they stayed with his aunt and uncle. At the convention, he showed editors his samples and offered a package, which consisted of 10 pages of sequential art featuring his own characters. Editor Dick Giordano, to whom Liefeld showed his samples at the DC booth, requested that Liefeld send him more samples. Although Liefeld was apprehensive about approaching the Marvel booth, he did so at his friend's urging, and as a result, editor Mark Gruenwald offered Liefeld a job illustrating an eight-page "Avengers" backup story featuring the Black Panther, much to the 19-year-old artist's surprise. Though the published story was ultimately illustrated by another artist, Liefeld was later given character design work by the publisher. His first published story, was a DC Comics Bonus Book insert in "Warlord" #131 (September 1988). Editor Robert Greenberger recalled that Liefeld "was discovered by my office-mate, Jonathan Peterson, who was scrambling to find something for him to do. I had the "Warlord" Bonus Book slot coming up, so to keep Rob from finding work at our rival, I tapped him for that." Next came the five-issue miniseries "Hawk and Dove" for DC Comics, the first issue of which was published with an October 1988 cover date. It was this work that first garnered Liefeld visibility among readers of mainstream comics. That same year, Liefeld drew "Secret Origins" #28.


title: Rob Liefeld

text: Liefeld's layouts for "Hawk and Dove" #5, which took place in a chaos dimension, were oriented sideways so that a reader would have to turn the comic book at a right angle to read them. Because this was done without prior editorial approval, editor Mike Carlin cut and pasted the panels into the proper order, and Karl Kesel lightboxed them onto DC comics paper to ink them. The letters column of "Hawk and Dove" #5 mentions that Liefeld "showed something new to an editor who thought he'd seen everything." Liefeld explained this was how the dimension had been portrayed the only other time it had been shown. Kesel disputed this, asserting that this was the first time that dimension had been shown, but a 2007 article in CBR.com pointed out that artist Erik Larsen had indeed portrayed that realm in this manner in "Doom Patrol" #14, which had been published three months prior.


title: Rob Liefeld

text: Shortly thereafter, Liefeld began doing work for Marvel Comics as well, his first assignment for them being "The Amazing Spider-Man Annual" #23. In 1989, Liefeld became the penciller for the Marvel series "The New Mutants", starting with issue #86. He is generally credited for turning this lowest-selling title of the "X-Men" franchise into a financial success, which underlined the increased popularity and clout that his stint on the title had earned him.


title: Rob Liefeld

text: With "The New Mutants" #98, Liefeld assumed full creative control over the series, penciling, inking, and plotting, with Fabian Nicieza writing dialog. The "New Mutants" series ended with issue 100, and was replaced with a revamped version of the team called "X-Force", whose 1991 debut issue sold four million copies, setting an industry-wide record later broken by Chris Claremont and Jim Lee's "X-Men" (vol. 2) #1. The sales numbers were propelled by 1990s direct market sales strategies: five variant edition trading cards were polybagged with "X-Force" #1 to encourage sales of multiple copies to single collectors, while "X-Men" #1 was sold with five variant covers. As of 2013, "X-Force" #1 remains the second highest-selling comic book in history.


title: Rob Liefeld

text: In mid-1990, Levi's began producing a series of TV commercials directed by Spike Lee for their 501 button fly jeans, which included an onscreen 800 number that viewers who worked in unique jobs could call in order to appear in the company's commercials. After calling the number and leaving a message describing himself and his career, Liefeld appeared in one of the commercials, in which Lee interviews Liefeld about his career and his creation, "X-Force".


title: Rob Liefeld

text: Liefeld was subsequently interviewed by Stan Lee in the second episode of the 1991 documentary series "The Comic Book Greats", in which he discussed how he broke into the industry, demonstrated his drawing technique, and talked about his Levi's commercial.


title: Rob Liefeld

text: Liefeld's relationship with Marvel began to break down in 1991 when he announced plans in a black-and-white advertisement in the "Comics Buyer's Guide" to publish an original title with competitor Malibu Comics. The exact title is unknown, but according to journalist Michael Dean, it was something to the effect of "The X-Cutioners", a title whose similarity to Marvel's X-Men family of titles evoked the ire of Marvel editor Bob Harras, who threatened to fire Liefeld if he used that title.


title: Rob Liefeld

text: Liefeld and several other popular young artists including Jim Lee, Todd McFarlane, Erik Larsen, Whilce Portacio, Jim Valentino and Marc Silvestri left Marvel in 1992 to form Image Comics. Each co-founder formed his own studio under the Image banner, such as Liefeld's Extreme Studios. Liefeld's superhero team series "Youngblood", which is partially a derivative of a 1991 "Teen Titans" series Liefeld had proposed to DC Comics, was the first comic Image published. He appeared on an episode of "The Dennis Miller Show" to promote the book.


title: Rob Liefeld

text: The series' first issue met with negative reception from fans and critics for the unclear storytelling effected not only by Liefeld's art, but by the book's flip format, which some readers found confusing, as well as the book's poor anatomy; incorrect perspective; non-existent backgrounds; poor dialogue and the late shipping of the book, a problem that continued with subsequent issues. In an interview in "Hero Illustrated" #4 (October 1993), Liefeld conceded disappointment with the first four issues of "Youngblood", calling the first issue a "disaster". Liefeld explained that production problems, as well as sub-par scripting by his friend and collaborator Hank Kanalz, whose employment Liefeld later terminated, resulted in work that was lower in quality than that which Liefeld produced when Fabian Nicieza scripted his plots on "X-Force", and that reprints of those four issues would be re-scripted. Writer and "Comics Buyer's Guide" columnist Peter David pointed to Liefeld's scapegoating of Kanalz as an example of Liefeld's failure to take responsibility for his project, and evidence that genuine collaboration with good writers like Louise Simonson and Fabian Nicieza, which some of the Image founders did not appreciate, had previously reflected better on Liefeld's art.


title: Rob Liefeld

text: Other titles produced by Liefeld's Extreme Studios during the 1990s included "Brigade", "Bloodstrike", "Glory", "Prophet", "Supreme", "Team Youngblood", "Youngblood Strikefile", "Troll", "New Men" and "Avengelyne".


title: Rob Liefeld

text: In 1996, Liefeld's and Lee's studios signed with Marvel to re-envision several of the company's core series, an event called "Heroes Reborn." Liefeld was contracted to write twelve issues of "The Avengers", co-written with Jeph Loeb, and was to pencil twelve issues of "Captain America." Due to disappointing sales, Marvel terminated the agreement after six issues, and reassigned the two series to Lee's studio, one of the most controversial episodes in Liefeld's career.


title: Rob Liefeld

text: In June 1996, Marc Silvestri temporarily left Image with his "Top Cow" imprint over conflicts with Liefeld, with Image Comics executive director Larry Marder saying that Liefeld "was making an increasing number of business decisions that were counterproductive to being a business partner." In early September, Liefeld issued a press release stating he was resigning his position at Image and leaving the group. Nearly simultaneously, the other Image partners issued a press release stating that they had fired Liefeld. His resignation came only minutes before the second meeting that would have forced him out. Liefeld moved all his publishing ventures into a new company, Awesome Comics. This new enterprise, announced in April 1997 as a partnership between Liefeld and Malibu Comics founding partner Scott Mitchell Rosenberg, concentrated its efforts on newer properties.


title: Rob Liefeld

text: After leaving "Captain America", Liefeld attempted to buy the rights to Fighting American, a similarly patriotically themed 1954 character from Captain America's creators, Joe Simon and Jack Kirby. The still-living Simon and Kirby's widow agreed to a figure Liefeld felt was too high, and he created a new similar character, Agent America. Simon threatened to sue, and the parties renegotiated a deal acceptable to all. Marvel Comics then sued Liefeld, who was allowed to use the character but not have him throw his shield weapon, a distinctive trait of Captain America.


title: Rob Liefeld

text: Liefeld also hired comic book writer Alan Moore to revive many of Liefeld's creations. Moore wrote a few issues of "Youngblood" and "Glory," but his most lauded work for Liefeld was on "Supreme", for which Moore won the 1997 Eisner Award for Best Writer.


title: Rob Liefeld

text: Awesome's initial releases included new properties like "Kaboom!", created by Jeff Matsuda. Awesome ceased operation in 2000 due to the departure of its primary investor.


title: Rob Liefeld

text: In the 2000s, Liefeld returned to his former characters in the X-Men franchise, providing pencils for the occasional cover and/or interior of "Cable" and "X-Force" until the early 2000s, when both were canceled.


title: Rob Liefeld

text: In 2004, he reunited with Fabian Nicieza for an "X-Force" limited series and illustrated the early covers for Nicieza's "Cable and Deadpool". In that same year, Liefeld formed Arcade Comics and once again announced plans to revive "Youngblood". These involved reprinting older material and providing the art for two new series "Youngblood: Bloodsport" with Mark Millar and "Youngblood: Genesis" with Brandon Thomas. Although the former only published one issue, Liefeld expressed hopes to finish the series.


title: Rob Liefeld

text: Liefeld and writer Jeph Loeb returned to the Heroes Reborn Universe with "Onslaught Reborn", a five-issue limited series that premiered in November 2006. It met with poor reviews.


title: Rob Liefeld

text: In 2007, Liefeld and writer Robert Kirkman collaborated on a revival of "Killraven". Although five issues of the series were finished, the project was cancelled without any of them being printed.


title: Rob Liefeld

text: In July 2007, it was announced that Rob Liefeld and Youngblood would be returning to Image Comics after years of self-publication. This new partnership marks the first time in a decade that Liefeld and Image would collaborate on a project. This "Youngblood" series was written by Joe Casey with art by Derec Donovan and Val Staples, and covers by Liefeld. It debuted in January 2008. Liefeld took over writing and art duties with issue #9, though that would be the series' final issue. To commemorate the event, and the 15th anniversary of Image Comics, the 2007 San Diego Comic-Con was headlined by the Image Founders panel, where all seven of the original Image Comics founders appeared on stage together.


title: Rob Liefeld

text: 2010 saw Liefeld return to the Deadpool character, first by penciling issue #1 of the "Prelude to Deadpool Corps" series, the issue focusing on Lady Deadpool. Liefeld became the regular artist on "Deadpool Corps", providing the interior art for the first nine issues.


title: Rob Liefeld

text: In March 2011, Liefeld was announced as the artist on "The Infinite", a mini-series written by Robert Kirkman. In January 2012, this project was canceled by Liefeld after Kirkman's studio, Skybound, disagreed on the work of a new inker Liefeld hired to draw 14 of the pages in issue #5, which Liefeld re-inked as a result.


title: Rob Liefeld

text: In June 2011, he was announced as the artist on a new "Hawk and Dove" series, with writer Sterling Gates, as part of The New 52, DC Comics' relaunch of their entire superhero line, returning Liefeld to the characters that helped establish him in the industry. When that book was canceled as of issue #8, Liefeld was hired to take over three other titles: "Grifter", "Deathstroke" and "The Savage Hawkman", plotting all three, while also writing and drawing "Deathstroke". Though he indicated in July 2012 that he would stay on the titles for a run that would end in 2013, he abruptly quit DC Comics in late August 2012, announcing that the #0 issues to be published in September would be his last. Though he characterized his experience on The New 52 as an overall positive one, he did not disguise his animosity toward editor Brian Smith, with whom his clashes were among his reasons for leaving the company. Other reasons he cited were frequent rewrites of his material, and the overall corporate culture that was more prevalent now that both DC and Marvel were owned by large media conglomerates. Liefeld also referred to Scott Clark's artwork on "Grifter" as "crap". Liefeld indicated that he would return to focusing on his creator-owned properties at Image, including "Bloodstrike", "Brigade", as well as other projects yet to be specified. In response to these events, artist Pete Woods defended DC editorial, stating that the restrictions placed on creators was the result of a plan they had for all 52 of their titles that required them to be consistent with one another. Editor Tom Brevoort and writer Gail Simone defended Brian Smith, disputing Liefeld's characterization of him, leading to a heated exchange on Twitter between Liefeld and Brevoort, and eventually head "Batman" writer Scott Snyder as well.