title: Doctor Who (film)

text: Outside, they find the ambulance with the Master and Lee waiting for them, offering them a ride. The Doctor does not immediately recognise the Master, but discovers his true identity en route, and he and Grace escape, but not before the Master can spit an ooze-like substance on Holloway's wrist. The two continue to the Institute and obtain the clock, returning to the TARDIS. The Doctor installs the clock and successfully closes the Eye, but finds the damage to reality too great and that he must revert time before the Eye was opened to prevent the destruction of Earth. As he connects the proper TARDIS circuits to do this, the Master remotely takes control of Grace's body, causing her eyes to become inhuman, and she strikes the Doctor unconscious.


title: Doctor Who (film)

text: The Doctor wakes to find himself chained above the Eye, the Master poised to take his remaining regenerations while Lee and Grace watch. The Doctor is able to break the Master's control on Lee, and Lee refuses to open the Eye for the Master. The Master kills him, and then releases his control on Grace to return her eyes to normal. He forces her to open the Eye and then begins drawing the Doctor's lifeforce. Grace, under her own control, is able to complete the final circuits to put the TARDIS into a time-holding pattern, preventing Earth's destruction, and then goes to free the Doctor. The Master kills her, but this has given enough time for the Doctor to free himself and attack the Master. The Doctor gains the upper hand and pushes the Master into the Eye. The Eye closes and time reverts a few minutes, undoing Lee and Grace's deaths.


title: Doctor Who (film)

text: With no further risk to Earth, the Doctor prepares to leave. Lee returns his possessions, and the Doctor warns him not to be in San Francisco on the next New Year's Eve. The Doctor offers Grace the opportunity to travel with him, but she politely refuses, and instead kisses him goodbye. The Doctor departs alone in his TARDIS.


title: Doctor Who (film)

text: Producer Philip Segal had been trying for some years to launch a new American-produced series of "Doctor Who", but the Fox Network — the only American network that showed any interest — was only prepared to commit to a single telemovie. It was hoped that, should the telemovie be successful, Fox might be persuaded to reconsider a series; however, the telemovie's ratings performance in America was not strong enough to hold Fox's interest.


title: Doctor Who (film)

text: The production budget for the movie (as revealed in the book "Doctor Who: Regeneration") was US$5 million, with the Fox Network spending $2.5 million, BBC Television contributing $300,000, and the remaining $2.2 million split between BBC Worldwide and Universal Television.


title: Doctor Who (film)

text: Casting sessions took place in March 1994; actors who actually auditioned for the role include Liam Cunningham, Mark McGann, Robert Lindsay, Tim McInnerny, Nathaniel Parker, Peter Woodward, John Sessions, Anthony Head, and Tony Slattery. Paul McGann was first considered around the time of these auditions, but did not formally audition for the part until later.


title: Doctor Who (film)

text: Among the actors who were invited to audition for the role of the Doctor but declined the opportunity were Christopher Eccleston and Peter Capaldi. Eccleston and Capaldi later played the Ninth and Twelfth incarnations of the Doctor, respectively, in the revived series of "Doctor Who" which began in 2005. Eccleston turned down the offer to audition for the TV Movie because, at the time, he felt he did not want to be associated with a "brand name" so early in his career. Capaldi declined because he felt it was unlikely that he would be given the part.


title: Doctor Who (film)

text: Of those actors who originally auditioned for the role of the Doctor, a number guest-starred in the series when it returned from 2005:


title: Doctor Who (film)

text: The movie was filmed on 35mm film in Vancouver, British Columbia, the first time any "Doctor Who" story had been filmed in North America.


title: Doctor Who (film)

text: In the 2005 "Doctor Who Confidential" episode "Weird Science", and on the DVD commentary, Sylvester McCoy reveals that during the sequence where he locks the casket with his sonic screwdriver, he held the tool pointing the wrong way around (although in the original series, it is seen being used both ways). The sonic screwdriver was blurred in post-production to conceal the error.


title: Doctor Who (film)

text: The opening pre-credits sequence went through a number of modifications, with several different voice-overs recorded. At one stage the voice-over was to be made by the old Master, played by Gordon Tipple; in the end this was not used. Tipple is still credited as "The Old Master", though in the final edit his appearance is very brief, stationary, and mute. Had the original pre-titles voice-over been used, it would have been unclear what incarnation of the Doctor Sylvester McCoy portrays in the movie (as he is simply credited as "The Old Doctor"). Only the rewritten narration (as read by Paul McGann) makes his number of regenerations clear. The sequence of the TARDIS flying through the time vortex was briefly reused in the opening of "Doctor Who and the Curse of Fatal Death", as the Master observes Rowan Atkinson's Doctor.


title: Doctor Who (film)

text: Instead of designing a new "Doctor Who" logo for this film, it was decided instead to use a modified version of the logo that was used for the Jon Pertwee era of the original series (with the exception of the final season). This logo, being the last logo used on an "official" Doctor Who broadcast before the 2005 revival, was, until 2018, used by the BBC for most "Doctor Who" merchandise relating to the first eight Doctors. In 2018, efforts were made to make the show's merchandise more uniform, and so most items of merchandise began to use the logo designed for Jodie Whittaker's time as the Doctor, abandoning the "Movie" logo for the first time in 22 years.


title: Doctor Who (film)

text: John Debney was commissioned to write the score for this film, and intended to replace Ron Grainer's original theme with a new composition. Ultimately Debney did in fact use an arrangement of Grainer's music for the theme, although Grainer goes uncredited.


title: Doctor Who (film)

text: Both DVD releases are labelled "Doctor Who: The Movie". The VHS release contains both the name "Doctor Who" and the phrase "The Sensational Feature Length Film" (plausibly read as a subtitle). The novelisation was labelled simply "The Novel of the Film". The 2021 "Target Collection" reissue of the novelisation is titled "The TV Movie". The most common fan usage appears to refer to it as "The Television Movie" or "TVM", or variations thereof.


title: Doctor Who (film)

text: Upon translation into French, this film was renamed "Le Seigneur du Temps" (literal translation: "The Lord of Time").


title: Doctor Who (film)

text: "TVM" is the production code used in the BBC's online episode guide. The actual code used during production is 50/LDX071Y/01X. "Doctor Who Magazine"s "Complete Eighth Doctor Special" gives the production code as #83705. Big Finish Productions uses the code 8A, and numbers its subsequent Eighth Doctor stories correspondingly.


title: Doctor Who (film)

text: The movie debuted on the Edmonton, Alberta CITV-TV station on 12 May 1996, two days prior to its Fox Network broadcast.


title: Doctor Who (film)

text: Commercials on the Fox network advertising the film used special effects footage from the 1986 story "The Trial of a Time Lord", although this footage was not used in the movie. This marked the first time that footage from the original BBC series had been shown on a major American network. The advertisements also used a different arrangement of the Doctor Who theme music from that heard in the film.


title: Doctor Who (film)

text: The movie received disappointing US ratings. It received 5.6 million viewers, a total 9% share of the audience. However, when shown on BBC One in the United Kingdom on Monday 27 May at 8.30pm, thirteen days after its American broadcast, it received over 9 million viewers in the UK alone. It received a 75% Audience Appreciation score.


title: Doctor Who (film)

text: Third Doctor actor Jon Pertwee died a few days after the US broadcast of the film, and the UK broadcast included an epitaph to the actor. The UK broadcast was also edited for broadcast in a pre-Watershed timeslot, with around 1 minute of cuts made. The scenes where Chang Lee's friends are fired upon was cut because of the BBC's sensitivity about gun violence following the Dunblane massacre three months before. The operating room scene was also extensively cut, in particular shots involving the cardiac probe and the Seventh Doctor's dying scream, and the shot of the Master breaking Chang Lee's neck was also removed.


title: Doctor Who (film)

text: Maureen Paton in the "Daily Express" praised the movie "At last we have a grown-up hi-tech Doctor Who in Paul McGann...only a low-tech Luddite would miss the endearing amateurism of the old teatime serial format...the makers would be mad not to pursue the option of a series." Matthew Bond of "The Times", by contrast stated "If the series is to return it will need stronger scripts than this simplistic offering, which struggled to fill eighty-five minutes and laboured somewhat in its search for wit". The letters pages of the "Radio Times" were divided between viewers who liked and disliked the TVM. Discussing the TVM, writer Gary Gillatt criticised it for having "too many unnecessary references" to the show's backstory. Gillatt added "although very entertaining, stylishly directed and perfectly played, the TV movie perhaps tried a little too hard to be what "Doctor Who" once was, rather than crusading to demonstrate what it could be in the future".


title: Doctor Who (film)

text: The unedited version was released on DVD in the UK in 2001 titled as "Doctor Who: The Movie", and was re-released in 2007 as a limited edition with an alternative cover sleeve (but with no change in content) as part of a series of classic series re-releases aimed at attracting fans of the revived series to the older shows.


title: Doctor Who (film)

text: Both the edited and unedited versions have also been released in countries such as Australia and New Zealand.


title: Doctor Who (film)

text: The 2010 DVD box set "Revisitations" contains the movie with new, updated Special Edition DVD features. It included a new commentary with Paul McGann and Sylvester McCoy, an hour-long documentary on the time in between the film and the series' cancellation in 1989, a documentary on the 7 years it took to get the film made, a documentary on the 8th Doctor's comic strip adventures, a documentary on the media reaction to the 8th Doctor, a documentary on the ties between "Blue Peter" and "Doctor Who" as well as all of the original features, including the original commentary with Geoffrey Sax.


title: Doctor Who (film)

text: Due to complex licensing issues, no VHS release of the film occurred in North America, and for more than a decade no DVD release occurred, either. Finally, on 25 August 2010, Dan Hall of 2entertain confirmed that the 2010 updated version would be released in North America sometime in the next twelve months following extensive negotiations with Universal Studios. Two months afterward, a North American DVD release date for the 2-disc "Doctor Who: The Movie – Special Edition" was announced to be 8 February 2011.


title: Doctor Who (film)

text: In 2013 it was released on DVD again as part of the "Doctor Who: The Doctors Revisited 5–8" box set, alongside the classic serials "Earthshock", "Vengeance on Varos", and "Remembrance of the Daleks". Alongside a documentary on the Eighth Doctor, it also features an introduction from current show runner Steven Moffat. This was also released in North America.


title: Doctor Who (film)

text: The movie was released as a 2-disc Blu-ray set in Region 2 on 19 September 2016. The footage was not re-scanned from the original film negatives. Instead it is a 1080/50i upscale which suffered from the same PAL speedup issue as previous home media releases.


title: Doctor Who (film)

text: Music from the movie was on a promotional-only soundtrack album published by the composer, John Debney. Additional music was contributed by John Sponsler and Louis Febre. Although the composer of the Doctor Who Theme, Ron Grainer, did not receive screen credit for his composition in the TV movie broadcast, the CD finally attributes the proper credit on its cover. The entire score was re-released with previously unreleased cues as the eighth disc of the eleven disc "" on 29 September 2014.


title: Doctor Who (film)

text: The television movie was novelised by Gary Russell and published by BBC Books 15 May 1996. It was the first novelisation of a televised "Doctor Who" story to not be published by Target Books (or related companies) since "Doctor Who and the Crusaders" in 1966.


title: Doctor Who (film)

text: Basing the adaptation on an early draft of the script, Russell adjusted some details to make it more consistent with the original series, and the novelisation also contains elements that were cut from the shooting script for timing reasons.


title: Doctor Who (film)

text: The novelisation was the first "Doctor Who" novel published by BBC Books. The book was actually published prior to the conclusion of Virgin Books' contract for publishing original "Doctor Who" fiction, so the next release by BBC Books did not occur for about a year when the Eighth Doctor Adventures series began with "The Eight Doctors". The novelisation was released as a standalone work and is not considered part of this series. The Eighth Doctor Adventures series ran until 2005 when it was discontinued.


title: Doctor Who (film)

text: The novel was also released as an audio book on 2 June 1997, read by Paul McGann. This reading was later included on the 2004 MP3 CD "Tales from the TARDIS Volume Two". A revised Target Books edition titled "The TV Movie" was published in paperback and as an audiobook 11 March 2021.


title: Alison O'Donnell (actor)

text: Alison O'Donnell is a Scottish television, stage and film actress from Motherwell. She is known for her ongoing role as Detective Sergeant Alison 'Tosh' McIntosh in the BBC crime drama series "Shetland".


title: Alison O'Donnell (actor)

text: O'Donnell was born in the early 1980s and grew up in Motherwell with two older sisters. She initially studied international law at university but dropped out after three months to take up acting.


title: Alison O'Donnell (actor)

text: Early in her acting career O'Donnell mainly worked in theatre, featuring in productions of "Boys", "The Hard Man", "Eigengrau", and "Yerma". She had small roles in BBC television productions "Feel the Force" (2006) and "Holby City" (2012). She played a lead role in "My Romantic History", a play at the Edinburgh Fringe which won the "2011 Fringe First" award.


title: Alison O'Donnell (actor)

text: From 2013 to present she has appeared in the recurring role of DS Alison 'Tosh' McIntosh, in the Scottish television crime drama, "Shetland" made by ITV Studios for the BBC.


title: Alison O'Donnell (actor)

text: In 2017 she was part of the cast of the BBC Radio 4 play "Synonymous", written by her husband, D.C. Jackson.


title: Alison O'Donnell (actor)

text: O'Donnell's partner is Scottish playwright D.C. Jackson; they have two children. They met while O'Donnell played the lead role in Jackson's play, "My Romantic History", at the Traverse in Edinburgh, but only became a couple later.


title: Doc Watson

text: Arthel Lane "Doc" Watson (March 3, 1923 – May 29, 2012) was an American guitarist, songwriter, and singer of bluegrass, folk, country, blues, and gospel music. Watson won seven Grammy awards as well as a Grammy Lifetime Achievement Award. Watson's fingerstyle and flatpicking skills, as well as his knowledge of traditional American music, were highly regarded. Blind from a young age, he performed publicly both in a dance band and solo, as well as for over 15 years with his son, guitarist Merle Watson, until Merle's death in 1985 in an accident on the family farm.


title: Doc Watson

text: Watson was born in Deep Gap, North Carolina. According to Watson on his three-CD biographical recording "Legacy", he got the nickname "Doc" during a live radio broadcast when the announcer remarked that his given name Arthel was odd and he needed an easy nickname. A fan in the crowd shouted "Call him Doc!", presumably in reference to the literary character Sherlock Holmes's companion, Doctor Watson. The name stuck.


title: Doc Watson

text: An eye infection caused Watson to lose his vision before his second birthday. He attended North Carolina's school for the blind, the Governor Morehead School, in Raleigh, North Carolina.


title: Doc Watson

text: In a 1989 radio interview with Terry Gross on the Fresh Air show on National Public Radio, Watson explained how he got his first guitar. His father told him that if he and his brother David chopped down all the small dead chestnut trees along the edge of their field, he could sell the wood to a tannery. Watson bought a Sears Silvertone from Sears Roebuck with his earnings, while his brother bought a new suit. Later in that same interview, Watson explained that his first high-quality guitar was a Martin D-18.


title: Doc Watson

text: Watson's earliest influences were country roots musicians and groups such as the Carter Family and Jimmie Rodgers. The first song he learned to play on the guitar was "When Roses Bloom in Dixieland", first recorded by the Carter Family in 1930. Watson stated in an interview with "American Songwriter" that, "Jimmie Rodgers was the first man that I started to claim as my favorite." Watson proved to be a natural musical talent and within months was performing on local street corners playing songs from the Delmore Brothers, Louvin Brothers, and Monroe Brothers alongside his brother Linny. By the time Watson reached adulthood, he had become a proficient acoustic and electric guitar player.


title: Doc Watson

text: In 1953, Watson joined the Johnson City, Tennessee–based Jack Williams's country and western swing band on electric guitar. The band seldom had a fiddle player, but was often asked to play at square dances. Following the example of country guitarists Grady Martin and Hank Garland, Watson taught himself to play fiddle tunes on his Gibson Les Paul electric guitar. He later transferred the technique to acoustic guitar, and playing fiddle tunes became part of his signature sound. During his time with Jack Williams, Watson also supported his family as a piano tuner.


title: Doc Watson

text: In 1960, as the American folk music revival grew, Watson took the advice of folk musicologist and Smithsonian curator Ralph Rinzler and began playing acoustic guitar and banjo exclusively. That move ignited Watson's career when he played on his first recording, "Old Time Music at Clarence Ashley's". Also of pivotal importance for his career was his February 11, 1961, appearance at P.S. 41 in Greenwich Village. He subsequently began to tour as a solo performer and appeared at universities and clubs like the Ash Grove in Los Angeles. Watson would eventually get his big break and rave reviews for his performance at the renowned Newport Folk Festival in Newport, Rhode Island in 1963. Watson recorded his first solo album in 1964 and began performing with his son, Merle, the same year.


title: Doc Watson

text: After the folk revival waned during the late 1960s, Watson's career was sustained by his performance of the Jimmy Driftwood song "Tennessee Stud" on the 1972 live album recording "Will the Circle Be Unbroken". As popular as ever, Doc and Merle began playing as a trio with T. Michael Coleman on bass guitar in 1974. The trio toured the globe during the late seventies and early eighties, recording nearly fifteen albums between 1973 and 1985, and bringing Doc and Merle's unique blend of acoustic music to millions of new fans. In 1985, Merle died in a tractor accident on his family farm. Two years later Merle Fest was inaugurated in remembrance of him.


title: Doc Watson

text: Watson played guitar in both flatpicking and fingerpicking style, but is best known for his flatpick work. His guitar playing skills, combined with his authenticity as a mountain musician, made him a highly influential figure during the folk music revival. Watson pioneered a fast and flashy bluegrass lead guitar style including fiddle tunes and crosspicking techniques which were adopted and extended by Clarence White, Tony Rice and many others. Watson was also an accomplished banjo player and sometimes accompanied himself on harmonica as well. Known also for his distinctive and rich baritone voice, Watson over the years developed a vast repertoire of mountain ballads, which he learned via the oral tradition of his home area in Deep Gap, North Carolina.


title: Doc Watson

text: Watson played a Martin model D-18 guitar on his earliest recordings. In 1968, Watson began a relationship with Gallagher Guitars when he started playing their G-50 model. His first Gallagher, which Watson referred to as "Ol' Hoss", was on display at the Country Music Hall of Fame in Nashville, Tennessee before residing at the Gallagher shop until 2012, when it was auctioned through Christie's on November 27, 2012. In 1974, Gallagher created a customized G-50 line to meet Watson's preferred specifications, which bears the Doc Watson name. In 1991, Gallagher customized a personal cutaway guitar for Watson that he played until his death and which he referred to as "Donald" in honor of Gallagher guitar's second-generation proprietor and builder, Don Gallagher. During his last years, Watson played a Dana Bourgeois dreadnought given to him by Ricky Skaggs for his 80th birthday. Another of Watson's favorites was his Arnold guitar, "The Jimmie", built by luthier John Arnold as a tribute to the famous 1926 Martin 00-18 played by Jimmie Rodgers.


title: Doc Watson

text: In 1994, Watson teamed up with musicians Randy Scruggs and Earl Scruggs to contribute the classic song "Keep on the Sunny Side" to the AIDS benefit album Red Hot + Country produced by the Red Hot Organization.


title: Doc Watson

text: In his later life, Watson scaled back his touring schedule. He was generally joined onstage by his grandson (Merle's son) Richard, as well as longtime musical partners David Holt or Jack Lawrence. On June 19, 2007, Watson was accompanied by Australian guitar player Tommy Emmanuel at a concert at the Bass Performance Hall in Fort Worth, Texas. Watson also performed, accompanied by Holt and Richard, at the Hardly Strictly Bluegrass festival in San Francisco in 2009, as he had done in several previous years.


title: Doc Watson

text: Watson hosted the annual MerleFest music festival held every April at Wilkes Community College in Wilkesboro, North Carolina. The festival features a vast array of acoustic style music focusing on the folk, bluegrass, blues and old-time music genres. It was named in honor of Merle Watson and is one of the most popular acoustic music festivals in the world, drawing over 70,000 music fans each year. The festival has continued after his death.


title: Doc Watson

text: In 1947, Watson married Rosa Lee Carlton, the daughter of popular fiddle player Gaither Carlton. The couple had two children, Eddy Merle (named after country music legends Eddy Arnold and Merle Travis) in 1949 and Nancy Ellen in 1951.


title: Doc Watson

text: On April 29, 2012, Watson performed with the Nashville Bluegrass Band on the Creekside Stage at MerleFest. It was an annual tradition for Watson to join the Nashville Bluegrass Band for a gospel set on the festival's Sunday morning. It would be his final performance.


title: Doc Watson

text: On May 21, 2012, Watson fell at his home. He was not seriously injured in the fall, but an underlying medical condition prompted surgery on his colon. Watson died on May 29, 2012, at Wake Forest Baptist Medical Center of complications following the surgery at the age of 89. He is buried in the Merle and Doc Watson Memorial Cemetery, Deep Gap, Watauga County, North Carolina, with his wife and son.


title: Doc Watson

text: In 2002, High Windy Audio released a multi-CD biographical album of Watson's work, titled "Legacy". The collection features audio interviews with Watson interspersed with music, as well as a complete recording of a live performance at the Diana Wortham Theatre in Asheville, North Carolina. The collection won the 2002 Grammy Award for Best Traditional Folk Album.


title: Doc Watson

text: In 2010, Blooming Twig Books published a comprehensive biography of Watson, written by Kent Gustavson. The book, titled "", features never before published content regarding Watson's life and career, gleaned from interviews with Watson's friends and collaborators, including Norman Blake, Sam Bush, members of the Seeger family, Michelle Shocked and many others. The book also goes into detail on the life, supporting role and untimely death of Merle Watson. An updated edition was released by Sumach-Red Books in March 2012.


title: Doc Watson

text: In April 2013, Open Records released a multi-disc collection of unreleased recordings by Watson. The collection, titled "Milestones", features 94 songs as well as stories, remembrances, and over 500 photographs. The collection was created by Watson's daughter, Nancy, and is being produced by ETSU Bluegrass and ETSU professor Roy Andrade.


title: Doc Watson

text: In 1986, Watson received the North Carolina Award and in 1994 he received a North Carolina Folk Heritage Award. He is a recipient of a 1988 National Heritage Fellowship awarded by the National Endowment for the Arts, which is the United States government's highest honor in the folk and traditional arts. In 2000, Watson was inducted into the International Bluegrass Music Hall of Honor in Owensboro, Kentucky. In 1997, Watson received the National Medal of Arts from U.S. President Bill Clinton. In 2010, he was awarded an honorary doctor of music degree from Berklee College of Music in Boston, Massachusetts.


title: Doc Watson

text: A portion of the U.S. Route 421 near Deep Gap (Watson's birthplace) bears a sign reading, "Doc and Merle Watson Highway", dedicating it to Watson and his son.


title: Cyberstalking

text: Cyberstalking is the use of the Internet or other electronic means to stalk or harass an individual, group, or organization. It may include false accusations, defamation, slander and libel. It may also include monitoring, identity theft, threats, vandalism, solicitation for sex, doxing, or blackmail.


title: Cyberstalking

text: Cyberstalking is often accompanied by realtime or offline stalking. In many jurisdictions, such as California, both are criminal offenses. Both are motivated by a desire to control, intimidate or influence a victim. A stalker may be an online stranger or a person whom the target knows. They may be anonymous and solicit involvement of other people online who do not even know the target.


title: Cyberstalking

text: Cyberstalking is a criminal offense under various state anti-stalking, slander and harassment laws. A conviction can result in a restraining order, probation, or criminal penalties against the assailant, including jail.


title: Cyberstalking

text: There have been a number of attempts by experts and legislators to define cyberstalking. It is generally understood to be the use of the Internet or other electronic means to stalk or harass an individual, a group, or an organization. Cyberstalking is a form of cyberbullying; the terms are often used interchangeably in the media. Both may include false accusations, defamation, slander and libel. Cyberstalking may also include monitoring, identity theft, threats, vandalism, solicitation for sex, or gathering information that may be used to threaten or harass. Cyberstalking is often accompanied by real-time or offline stalking. Both forms of stalking may be criminal offenses.


title: Cyberstalking

text: Stalking is a continuous process, consisting of a series of actions, each of which may be entirely legal in itself. Technology ethics professor Lambèr Royakkers defines cyberstalking as perpetrated by someone without a current relationship with the victim. About the abusive effects of cyberstalking, he writes that:


title: Cyberstalking

text: [Stalking] is a form of mental assault, in which the perpetrator repeatedly, unwantedly, and disruptively breaks into the life-world of the victim, with whom he has no relationship (or no longer has), with motives that are directly or indirectly traceable to the affective sphere. Moreover, the separated acts that make up the intrusion cannot by themselves cause the mental abuse, but do taken together (cumulative effect).


title: Cyberstalking

text: There is a distinction between cyber-trolling and cyber-stalking. Research has shown that actions that can be perceived to be harmless as a one-off can be considered to be trolling, whereas if it is part of a persistent campaign then it can be considered stalking.


title: Cyberstalking

text: Cyberstalking author Alexis Moore separates cyberstalking from identity theft, which is financially motivated. Her definition, which was also used by the Republic of the Philippines in their legal description, is as follows:


title: Cyberstalking

text: When identifying cyberstalking "in the field," and particularly when considering whether to report it to any kind of legal authority, the following features or combination of features can be considered to characterize a true stalking situation: malice, premeditation, repetition, distress, obsession, vendetta, no legitimate purpose, personally directed, disregarded warnings to stop, harassment and threats.


title: Cyberstalking

text: According to "Law Enforcement Technology", cyberstalking has increased with the growth of new technology and new ways to stalk victims. "Disgruntled employees pose as their bosses to post explicit messages on social network sites; spouses use GPS to track their mates' every move. Even police and prosecutors find themselves at risk, as gang members and other organized criminals find out where they live — often to intimidate them into dropping a case."


title: Cyberstalking

text: In January 2009, the Bureau of Justice Statistics in the United States released the study "Stalking Victimization in the United States," which was sponsored by the Office on Violence Against Women. The report, based on supplemental data from the National Crime Victimization Survey, showed that one in four stalking victims had been cyberstalked as well, with the perpetrators using internet-based services such as email, instant messaging, GPS, or spyware. The final report stated that approximately 1.2 million victims had stalkers who used technology to find them. The Rape, Abuse and Incest National Network (RAINN), in Washington D.C. has released statistics that there are 3.4 million stalking victims each year in the United States. Of those, one in four reported experiencing cyberstalking.


title: Cyberstalking

text: According to Robin M. Kowalski, a social psychologist at Clemson University, cyberbullying has been shown to cause higher levels of anxiety and depression for victims than normal bullying. Kowalksi states that much of this stems from the anonymity of the perpetrators, which is a common feature of cyberstalking as well. According to a study by Kowalksi, of 3,700 bullied middle-school students, a quarter had been subjected to a form of online harassment.


title: Cyberstalking

text: According to Joey Rushing, a District Attorney of Franklin County, Alabama, there is no single definition of a cyberstalker - they can be either strangers to the victim or have a former/present relationship. "[Cyberstalkers] come in all shapes, sizes, ages and backgrounds. They patrol Web sites looking for an opportunity to take advantage of people."


title: Cyberstalking

text: Harassment and stalking because of gender online, also known as online gender-based violence, is common, and can include rape threats and other threats of violence, as well as the posting of the victim's personal information. It is blamed for limiting victims' activities online or driving them offline entirely, thereby impeding their participation in online life and undermining their autonomy, dignity, identity, and opportunities.


title: Cyberstalking

text: Cyberstalking of intimate partners is the online harassment of a current or former romantic partner. It is a form of domestic violence, and experts say its purpose is to control the victim in order to encourage social isolation and create dependency. Harassers may send repeated insulting or threatening e-mails to their victims, monitor or disrupt their victims' e-mail use, and use the victim's account to send e-mails to others posing as the victim or to purchase goods or services the victim does not want. They may also use the Internet to research and compile personal information about the victim, to use in order to harass him or her.


title: Cyberstalking

text: Profiling of stalkers shows that almost always they stalk someone they know or, via delusion, think they know, as is the case with stalkers of celebrities or public persons in which the stalkers feel they know the celebrity even though the celebrity does not know them. As part of the risk they take for being in the public eye, celebrities and public figures are often targets of lies or made-up stories in tabloids as well as by stalkers, some even seeming to be fans.


title: Cyberstalking

text: In one noted case in 2011, actress Patricia Arquette quit Facebook after alleged cyberstalking. In her last post, Arquette explained that her security warned her Facebook friends to never accept friend requests from people they do not actually know. Arquette stressed that just because people seemed to be fans did not mean they were safe. The media issued a statement that Arquette planned to communicate with fans exclusively through her Twitter account in the future.


title: Cyberstalking

text: Web 2.0 technologies have enabled online groups of anonymous people to self-organize to target individuals with online defamation, threats of violence and technology-based attacks. These include publishing lies and doctored photographs, threats of rape and other violence, posting sensitive personal information about victims, e-mailing damaging statements about victims to their employers, and manipulating search engines to make damaging material about the victim more prominent. Victims frequently respond by adopting pseudonyms or going offline entirely.


title: Cyberstalking

text: Experts attribute the destructive nature of anonymous online mobs to group dynamics, saying that groups with homogeneous views tend to become more extreme. As members reinforce each others' beliefs, they fail to see themselves as individuals and lose a sense of personal responsibility for their destructive acts. In doing so they dehumanize their victims, becoming more aggressive when they believe they are supported by authority figures. Internet service providers and website owners are sometimes blamed for not speaking out against this type of harassment.


title: Cyberstalking

text: A notable example of online mob harassment was the experience of American software developer and blogger Kathy Sierra. In 2007 a group of anonymous individuals attacked Sierra, threatening her with rape and strangulation, publishing her home address and Social Security number, and posting doctored photographs of her. Frightened, Sierra cancelled her speaking engagements and shut down her blog, writing "I will never feel the same. I will never be the same."


title: Cyberstalking

text: Corporate cyberstalking is when a company harasses an individual online, or an individual or group of individuals harasses an organization. Motives for corporate cyberstalking are ideological, or include a desire for financial gain or revenge.


title: Cyberstalking

text: Mental profiling of digital criminals has identified psychological and social factors that motivate stalkers as: envy; pathological obsession (professional or sexual); unemployment or failure with own job or life; intention to intimidate and cause others to feel inferior; the stalker is delusional and believes he/she "knows" the target; the stalker wants to instill fear in a person to justify his/her status; belief they can get away with it (anonymity); intimidation for financial advantage or business competition; revenge over perceived or imagined rejection.


title: Cyberstalking

text: Preliminary work by Leroy McFarlane and Paul Bocij has identified four types of cyberstalkers: the vindictive cyberstalkers noted for the ferocity of their attacks; the composed cyberstalker whose motive is to annoy; the intimate cyberstalker who attempts to form a relationship with the victim but turns on them if rebuffed; and collective cyberstalkers, groups with a motive. According to Antonio Chacón Medina, author of "Una nueva cara de Internet, El acoso" ("A new face of the Internet: stalking"), the general profile of the harasser is cold, with little or no respect for others. The stalker is a predator who can wait patiently until vulnerable victims appear, such as women or children, or may enjoy pursuing a particular person, whether personally familiar to them or unknown. The harasser enjoys and demonstrates their power to pursue and psychologically damage the victim.


title: Cyberstalking

text: Cyberstalkers find their victims by using search engines, online forums, bulletin and discussion boards, chat rooms, and more recently, through social networking sites, such as MySpace, Facebook, Bebo, Friendster, Twitter, and Indymedia, a media outlet known for self-publishing. They may engage in live chat harassment or flaming or they may send electronic viruses and unsolicited e-mails. Cyberstalkers may research individuals to feed their obsessions and curiosity. Conversely, the acts of cyberstalkers may become more intense, such as repeatedly instant messaging their targets. More commonly they will post defamatory or derogatory statements about their stalking target on web pages, message boards, and in guest books designed to get a reaction or response from their victim, thereby initiating contact. In some cases, they have been known to create fake blogs in the name of the victim containing defamatory or pornographic content.


title: Cyberstalking

text: When prosecuted, many stalkers have unsuccessfully attempted to justify their behavior based on their use of public forums, as opposed to direct contact. Once they get a reaction from the victim, they will typically attempt to track or follow the victim's internet activity. Classic cyberstalking behavior includes the tracing of the victim's IP address in an attempt to verify their home or place of employment. Some cyberstalking situations do evolve into physical stalking, and a victim may experience abusive and excessive phone calls, vandalism, threatening or obscene mail, trespassing, and physical assault. Moreover, many physical stalkers will use cyberstalking as another method of harassing their victims.


title: Cyberstalking

text: A 2007 study led by Paige Padgett from the University of Texas Health Science Center found that there was a false degree of safety assumed by women looking for love online.


title: Cyberstalking

text: Legislation on cyberstalking varies from country to country. Cyberstalking and cyberbullying are relatively new phenomena, but that does not mean that crimes committed through the network are not punishable under legislation drafted for that purpose. Although there are often existing laws that prohibit stalking or harassment in a general sense, legislators sometimes believe that such laws are inadequate or do not go far enough, and thus bring forward new legislation to address this perceived shortcoming. The point overlooked is that enforcing these laws can be a challenge in these virtual communities. The reason being, these issues are very unique to law enforcement agencies who have never faced cases related to cyberstalking. In the United States, for example, nearly every state has laws that address cyberstalking, cyberbullying, or both.


title: Cyberstalking

text: In countries such as the US, in practice, there is little legislative difference between the concepts of "cyberbullying" and "cyberstalking." The primary distinction is one of age; if adults are involved, the act is usually termed "cyberstalking," while among children it is usually referred to as "cyberbullying." However, as there have not been any formal definitions of the terms, this distinction is one of semantics and many laws treat "bullying" and "stalking" as much the same issue.


title: Cyberstalking

text: In Australia, the Stalking Amendment Act (1999) includes the use of any form of technology to harass a target as forms of "criminal stalking."


title: Cyberstalking

text: In 2012, there was a high-profile investigation into the death of Amanda Todd, a young Canadian student who had been blackmailed and stalked online before committing suicide. The Royal Canadian Mounted Police were criticized in the media for not naming one of her alleged stalkers as a person of interest.


title: Cyberstalking

text: In the Fifteenth Congress of the Republic of the Philippines, a cyberstalking bill was introduced by Senator Manny Villar. The result was to "urge the Senate Committees on Science and Technology, and Public Information and Mass Media to conduct an inquiry, in aid of legislation, on the increasing occurrence of cyber stalking cases and the modus operandi adopted in the internet to perpetuate crimes with the end in view of formulating legislation and policy measures geared towards curbing cyber stalking and other cyber crimes and protect online users in the country."


title: Cyberstalking

text: A conviction can result in a restraining order, probation, or criminal penalties against the assailant, including jail. Cyberstalking specifically has been addressed in recent U.S. federal law. For example, the Violence Against Women Act, passed in 2000, made cyberstalking a part of the federal interstate stalking statute. The current US Federal Anti-Cyber-Stalking law is found at .


title: Cyberstalking

text: Still, there remains a lack of federal legislation to specifically address cyberstalking, leaving the majority of legislative at the state level. A few states have both stalking and harassment statutes that criminalize threatening and unwanted electronic communications. The first anti-stalking law was enacted in California in 1990, and while all fifty states soon passed anti-stalking laws, by 2009 only 14 of them had laws specifically addressing "high-tech stalking." The first U.S. cyberstalking law went into effect in 1999 in California. Other states have laws other than harassment or anti-stalking statutes that prohibit misuse of computer communications and e-mail, while others have passed laws containing broad language that can be interpreted to include cyberstalking behaviors, such as in their harassment or stalking legislation.


title: Cyberstalking

text: Sentences can range from 18 months in prison and a $10,000 fine for a fourth-degree charge to ten years in prison and a $150,000 fine for a second-degree charge.


title: Cyberstalking

text: While some laws only address online harassment of children, there are laws that protect adult cyberstalking victims. While some sites specialize in laws that protect victims age 18 and under, current and pending cyberstalking-related United States federal and state laws offer help to victims of all ages.


title: Cyberstalking

text: Most stalking laws require that the perpetrator make a credible threat of violence against the victim; others include threats against the victim's immediate family; and still others require the alleged stalker's course of conduct constitute an implied threat. While some conduct involving annoying or menacing behavior might fall short of illegal stalking, such behavior may be a prelude to stalking and violence and should be treated seriously.


title: Cyberstalking

text: Online identity stealth blurs the line on infringement of the rights of would-be victims to identify their perpetrators. There is a debate on how internet use can be traced without infringing on protected civil liberties.


title: Cyberstalking

text: There have been a number of high-profile legal cases in the United States related to cyberstalking, many of which have involved the suicides of young students. In thousands of other cases, charges either were not brought for the cyber harassment or were unsuccessful in obtaining convictions. As in all legal instances, much depends on public sympathy towards the victim, the quality of legal representation and other factors that can greatly influence the outcome of the crime – even if it will be considered a crime.


title: Cyberstalking

text: In the case of a fourteen-year-old student in Michigan, for instance, she pressed charges against her alleged rapist, which resulted in her being cyberstalked and cyberbullied by fellow students. After her suicide in 2010 all charges were dropped against the man who allegedly raped her, on the basis that the only witness was dead. This is the despite the fact that statutory rape charges could have been pressed.


title: Cyberstalking

text: In another case of cyberstalking, college student Dharun Ravi secretly filmed his roommate's sexual liaison with another man, then posted it online. After the victim committed suicide, Ravi was convicted in of bias intimidation and invasion of privacy in "New Jersey v. Dharun Ravi". In 2012 he was sentenced to 30 days in jail, more than $11,000 in restitution and three years of probation. The judge ruled that he believes Ravi acted out of "colossal insensitivity, not hatred."


title: Khasi people

text: The Khasi people are an ethnic group of Meghalaya in north-eastern India with a significant population in the bordering state of Assam, and in certain parts of Bangladesh. Khasi people form the majority of the population of the eastern part of Meghalaya, that is Khasi Hills, constituting 78.3% of the region's population, and is the state's largest community, with around 48% of the population of Meghalaya. They are among the few Austroasiatic-speaking peoples in South Asia. The Khasi tribe holds the distinction of being one of the few remaining matriarchal tribes of the world. Under the Constitution of India, the Khasis have been granted the status of Scheduled Tribe.


title: Khasi people

text: Khasi mythology traces the tribe's original abode to ("The Seven Huts"). According to the Khasi mythology, (God, the Lord Master) had originally distributed the human race into 16 heavenly families (). However, seven out of these 16 families were stuck on earth while the other 9 in heaven. According to the myth, a heavenly ladder resting on the sacred Lum Sohpetbneng Peak (located in the present-day Ri-Bhoi district) enabled people to go freely and frequently to heaven whenever they pleased until one day they were tricked into cutting a divine tree which was situated at Lum Diengiei Peak (also in present-day East Khasi Hills district), a grave error which prevented them access to the heavens forever. This myth is often seen as a metaphor of how nature and trees, in particular, are the manifestation of the divine on Earth and destroying nature and trees means severing our ties with the Divine. Like the Japanese, the Khasis use the rooster as a symbol because they believe that it was he who aroused God and also humbly paved and cleared the path for God to create the Universe at the beginning of time. The rooster is the symbol of morning marking a new beginning and a new sunrise.


title: Khasi people

text: Khasian is closely related to Palaungic language of Myanmar. Pre-Khasian migrated through Upper Burma to Brahmaputra Valley on the way to Meghalaya.


title: Khasi people

text: The Khasi language is classified as part of the Austroasiatic language family. According to Peter Wilhelm Schmidt, the Khasi people are related to the Mon-Khmer people of Southeast Asia. Multiple types of research indicate that the Austroasiatic populations in India are derived from migrations from Southeast Asia during the Holocene period. Many of the words are similar to other Austroasiatic languages such as Palaung and Khmer language:


title: Khasi people

text: There are also words similar to those in Sino-Tibetan languages, such as meaning "I," which is the same in Tibetan, Burmese, and Old Chinese as it is in Khasi. Traces of connections with the Kachin tribe of North Myanmar have also been in the Khasis. The Khasi people also have their own word for the Himalayan mountains which is "Ki Lum Mankashang" which means that at one point in time, they did cross the mighty mountains. Therefore, all these records and their present culture, features, and language strongly show that they also have a strong Tibeto-Himalayan-Burman influence. The word "Khas" means hills and they have always been people of cold and hilly regions and have never been connected to the plains or arid regions. This nature-loving tribe calls the wettest place on Earth their home. The village of Mawsynram in Meghalaya receives 467 inches of rain per year.


title: Khasi people

text: Primarily an oral language, they had no script of their own, until the arrival of the Welsh missionaries. The Welsh missionaries originally used the Bengali script before resorting to the Roman script to transcribe the Sohra dialect of the Khasi language. Particularly significant in this regard was a Welsh evangelist, Thomas Jones.


title: Khasi people

text: The Khasi first came in contact with the British in 1823, after the latter captured Assam. The area inhabited by the Khasi became a part of the Assam Province after the Khasi Hill States (which numbered to about 25 kingdoms) entered into a subsidiary alliance with the British.


title: Khasi people

text: The main crops produced by the Khasi people are betel leaves, areca nut, oranges, pineapples, plums, litchis, local varieties of rice and vegetables.


title: Khasi people

text: Many Khasi sociologists classify the Khasi tribe in the following seven sub-tribes, which are collectively also known as the Children of the Seven Huts:


title: Khasi people

text: According to the 2011 Census of India, over 1.41 million Khasi lived in Meghalaya in the districts of East Khasi Hills, West Khasi Hills, South West Khasi Hills, Ri-Bhoi, West Jaintia Hills and East Jaintia Hills. In Assam, their population reached 35,000.


title: Khasi people

text: The traditional Khasi male dress is a , a longish sleeveless coat without collar, fastened by thongs in front. Nowadays, most male Khasis have adopted western attire. On ceremonial occasions they appear in a and sarong with an ornamental waist-band and they may also wear a turban.


title: Khasi people

text: The traditional Khasi female dress is called the or , both of which are rather elaborate with several pieces of cloth, giving the body a cylindrical shape. On ceremonial occasions, they may wear a crown of silver or gold. A spike or peak is fixed to the back of the crown, corresponding to the feathers worn by the menfolk. The consists of two pieces of material fastened at each shoulder. The "Dhara" consists of a single piece of material also fastened at each shoulder.


title: Khasi people

text: The Khasis are, for the most part, monogamous. Young men and women are permitted considerable freedom in the choice of mates. Potential marriage partners are likely to have been acquainted before betrothal. Once a man has selected his desired spouse, he reports his choice to his parents. They then secure the services of a mediator to make the arrangements with the woman's family (provided that the man's clan agree with his choice). The parents of the woman ascertain her wishes and if she agrees to the arrangement her parents check to make certain that the man to be wed is not a member of their clan (since Khasi clans are exogamous, marital partners may not be from the same clan). If this is satisfactory then a wedding date is set.


title: Khasi people

text: Divorce is relatively common, with causes ranging from incompatibility to lack of offspring. This ceremony traditionally consists of the husband handing the wife 5 cowries or paisa which the wife then hands back to her husband along with 5 of her own. The husband then throws these away or gives them to a village elder who throws them away. Present-day Khasis divorce through the Indian legal system.


title: Khasi people

text: The type of marriage is the determining factor in the marital residence. In short, post marital residence for a married man when an heiress (known as ) is involved must be matrilocal (that is, in his mother-in-law's house), while post-marital residence when a non-heiress is involved is neolocal. Traditionally (though nowadays rule is not absolutely true), a Khasi man returns to his Iing-Kur (maternal home) upon the death of his spouse (if she is a Khadduh and they both have no children). These practices are the result of rules governing inheritance and property ownership. These rules are themselves related to the structure of the Khasi Kur (clan system).


title: Khasi people

text: Khasi names are known for their originality and elaborate nature. The given names may be invented by parents for their children, and these can be based on traditional native names, Christian names, or other English words. The family names, which they call "surnames," remain typically in the native Khasi language.


title: Khasi people

text: The Khasi people do not have sub-tribes, a confusion that sometimes arises from the expression . This term is mainly based on the geographical location a Khasi inhabits. Khasi inhabiting the northern part are known as Bhoi, as that area is often called Ri Bhoi. People in the east are known as the Pnar, and they call their land Rilum Jaintia. The south are called War or Ri War, because of its mountainous regions and soil fertility. The west has a number of regional names: Maram, Rimen, Khatsawphra, Mawiang, Lyngam. A Khasi who inhabits the central area is known as Khynriam. The War inhabitants of the Khasi community designed and built living root bridges of the War region.


title: Khasi people

text: The traditional political structure of the Khasi community is democratic in nature. In the past, the Khasis consisted of independent native states called Syiemships, where male elders of various clans under the leadership of the Chief (called U Syiem) would congregate during Durbars or sessions and come to a decision regarding any dispute or problem that would arise in the Syiemship. At the village level, there exists a similar arrangement where all the residents of the village or town come together under the leadership of an elected Headman (called U Rangbah Shnong) to decide on matters pertaining to the locality. This system of village administration is much like the Panchayati Raj prevalent in most Indian States. There were around 25 independent native states on record which were annexed and acceded to the Indian Union. The Syiems of these native states (called Hima) were traditionally elected by the people or ruling clans of their respective domains. Famous among these Syiemships are Hima Mylliem, Hima Khyrim, Hima Nongkhlaw, amongst others. These Syiemships continue to exist and function till today under the purview of the Khasi Hills Autonomous District Council (KHADC), which draws its legal power and authority from the Sixth Schedule of the Constitution of India.


title: Khasi people

text: Before the arrival of Christian missionaries and post- conversion, almost all of the Khasi people practiced an indigenous tribal religion. The main Christian denominations today followed among the Khasis include Catholicism, Anglicanism, Presbyterianism (largest Christian denomination among the Khasis), and others. Around 80% of the Khasi tribe numbering around 1.2 million are Christian of various denominations (mainly Presbyterian and Catholic) and 20% of them numbering around


title: Khasi people

text: 0.3 million still follow their indigenous khasi religion called "Ka Niam Khasi". In Khasi traditional religion Niam Khasi, the principal deity U Blei Nongthaw, who is formless is the Supreme creator of the whole universe.


title: Khasi people

text: According to a 1998-99 research by the National Family Health Survey of India (NFHS), the Khasi tribe, along with Jayantia and Garo had the highest fertility in India at TFR=4.57.


title: Khasi people

text: According to genetic study in 2007, the Khasi people of Meghalaya carry around 72.8% Haplogroup O, 10.8% Haplogroup F, 6.5% halpogroup H and 4.4% Haplogroup P.


title: Richie Tozier

text: Richard "Richie" Tozier is a fictional character created by Stephen King and one of the main characters of his 1986 novel "It". The character is a member of "The Losers Club" and is seen to be the comic relief of the group; however, his loudmouthed antics often get him in trouble, leading to him being called "Richie 'Trashmouth' Tozier" and his friends often using the phrase "Beep Beep Richie" when they want him to be quiet. He was portrayed by Seth Green as a child and Harry Anderson as an adult in the 1990 miniseries adaptation of the novel, and by Ankur Javeri as a child and Nasirr Khan as an adult in the novel's 1998 television series adaptation. He was later portrayed by Finn Wolfhard as a child and Bill Hader as an adult in the 2017 film and its 2019 sequel.


title: Richie Tozier

text: Richard (Richie) Tozier was born on March 7, 1946 (novel), 1950 (miniseries), or 1976 (films) and is the son of Maggie and Wentworth Tozier. Richie is known for his loudmouthed and sarcastic personality, which led to him being called "Richie 'Trashmouth' Tozier" by his peers. Richie is good friends with Bill Denbrough and the other members of The Losers Club Stanley Uris, Eddie Kaspbrak, Ben Hanscom, Beverly Marsh, and Mike Hanlon. After Bill's younger brother Georgie is killed by Pennywise the Dancing Clown, Richie and his friends each have individual encounters with Pennywise before facing It collectively at Neibolt Street. After this encounter, they believe they have killed It, but they take an oath that if they have not succeeded, they will one day return to Derry to finish the job.


title: Richie Tozier

text: 27 years later, Richie is a disc-jockey in Beverly Hills and one of the only members of The Losers Club to have never married. Richie receives a call from Mike – who remained behind in Derry – that It has returned, causing the death of Adrian Mellon. Richie returns to Derry and reunites with The Losers Club, with whom he encounters It once again. Eventually, the group descends into the sewers to kill It by performing the Ritual of Chud. During the ritual, It mortally wounds and kills Eddie, leaving Richie devastated.


title: Richie Tozier

text: Richie was portrayed by Seth Green as a child, and by Harry Anderson as an adult in the 1990 miniseries, and by Ankur Javeri as a child and Nasir Khan as an adult (named "Raja") in the 1998 television series. The adult portrayal is well known for a scene where Pennywise taunts him in a public library, which has become iconic for Tim Curry's over-the-top performance.


title: Richie Tozier

text: Richie was portrayed again by Finn Wolfhard in the 2017 film and as an adult by Bill Hader in the 2019 sequel. This interpretation of Richie tends to make more pop-culture references and becomes a stand-up comedian as an adult rather than a DJ. A popular fan theory of Wolfhard's interpretation of the character is that his family has a tendency to neglect Richie and that he struggles with ADHD.


title: Richie Tozier

text: In the adaptation of "It Chapter Two", Richie is portrayed as being secretly in love with Eddie Kaspbrak until the latter's death, and Eddie remained unaware of these feelings. It is confirmed that Richie's reason for making jokes are just in part a defense mechanism to hide his feelings for Eddie, as most of his jokes target him, as opposed to just trying to be humorous as in the book or other adaptation of "IT". This film incorporates a scene where, when Eddie is killed by Pennywise, Richie is visibly more upset than the rest of the Losers' Club. It is revealed in one of the final scenes of the film that Richie recarves his and Eddie's initials into a bridge.


title: Richie Tozier

text: Director Andy Muschietti has stated that the decision to depict Richie as gay in "It Chapter Two" was based on this interpretation of the book. Stephen King said that while he didn't intend for there to be an unrequited romance between the two characters, he approved of the storyline, saying "it’s one of those things that’s kind of genius, because it echoes the beginning [with Adrian Mellon's gay bashing]. It comes full circle. At least there’s love involved. Somebody cares for [Eddie,] and that echoes the love that Adrian’s partner has for him. So that was cool.”


title: Richie Tozier

text: Richie is known as being the comedian of The Losers Club, often telling jokes at inappropriate times, which leads to his friends often saying "Beep Beep, Richie" when they want him to stop talking. Richie's humor has been viewed as being either a defense mechanism, or a call for attention. It has been speculated that Richie uses his comedy as a defense mechanism, to hide his fear of not only Pennywise, but his fear of not being accepted by The Losers Club. Once Richie has his first encounter with Pennywise, his comedy turns into a coping mechanism as well, hiding his fears of the supernatural being and the possibility of his death at the hands of the creature. Strictly in "It Chapter Two", it has been interpreted by some fans that Richie's comedic defense mechanism also doubles as him hiding his romantic feelings for Eddie Kaspbrak. It has also been speculated that Richie's comedy derives from a feeling of neglect by his parents, and as a cry for attention from his friends. He wants to have the attention and love from his friends that he doesn't receive at home from his parents.


title: Richie Tozier

text: Richie briefly appears in a cameo appearance in King's novel "11/22/63". In the novel, after the events of Pennywise, Richie is seen dancing with Beverly preparing for a talent show. The two are approached by time traveler Jake Epping, who enquires about the Dunning family. Afterwards, Epping teaches the two how to dance properly. However, this meeting is erased by the end of the novel as Epping removes his mark on history.


title: Richie Tozier

text: In King's novel "Duma Key", the song excerpt in the beginning is by a band called Shark Puppy. In the credits page of the book, the song is written by R. Tozier and W. Denbrough.


title: Richie Tozier

text: The portrayals of Richie in the 2017 remake by Wolfhard and the 2019 sequel by Hader were both highly praised and considered to be "show-stealers". Both portrayals were noted for their comedic relief and chemistry with their fellow cast members, in particular between Wolfhard and Jack Dylan Grazer for the first film and Hader and James Ransone in the second. Hader's portrayal was noted for its blend of comedy and drama when required, as well as the subtle references to Richie's sexuality and his implicated love for Eddie, referred to by Pennywise as his "dirty little secret."


title: Howl (poem)

text: "Howl", also known as "Howl for Carl Solomon", is a poem written by Allen Ginsberg in 1954–1955 and published in his 1956 collection "Howl and Other Poems". The poem is dedicated to Carl Solomon.


title: Howl (poem)

text: Ginsberg began work on "Howl" in 1954. In the Paul Blackburn Tape Archive at the University of California, San Diego, Ginsberg can be heard reading early drafts of his poem to his fellow writing associates. "Howl" is considered to be one of the great works of American literature. It came to be associated with the group of writers known as the Beat Generation.


title: Howl (poem)

text: It is not true that "Howl" was written as a performance piece and later published by poet Lawrence Ferlinghetti of City Lights Books. This myth was perpetuated by Ferlinghetti as part of the defense's case during the poem's obscenity trial. Upon the poem's release, Ferlinghetti and the bookstore's manager, Shigeyoshi Murao, were charged with disseminating obscene literature, and both were arrested. On October 3, 1957, Judge Clayton W. Horn ruled that the poem was not obscene.


title: Howl (poem)

text: According to Ginsberg's bibliographer and archivist Bill Morgan, it was a terrifying peyote vision that was the principal inspiration for "Howl". This occurred on the evening of October 17, 1954, in the Nob Hill apartment of Sheila Williams, Ginsberg's girlfriend at that time, with whom he was living. Ginsberg had the terrifying experience of seeing the façade of the Sir Francis Drake Hotel in the San Francisco fog as the monstrous face of a child-eating demon. As was his wont, Ginsberg took notes on his vision, and these became the basis for Part II of the poem.


title: Howl (poem)

text: In late 1954 and 1955, in an apartment he had rented at 1010 Montgomery Street in the North Beach neighborhood of San Francisco, Ginsberg worked on the poem, originally referring to it by the working title "Strophes." Some drafts were purportedly written at a coffeehouse called Caffe Mediterraneum in Berkeley, California; Ginsberg had moved into a small cottage in Berkeley a few blocks from the campus of the University of California on September 1, 1955. Many factors went into the creation of the poem. A short time before the composition of "Howl", Ginsberg's therapist, Dr. Philip Hicks, encouraged him to realize his desire to quit his market-research job and pursue poetry full-time and to accept his own homosexuality. He experimented with a syntactic subversion of meaning called parataxis in the poem "Dream Record: June 8, 1955" about the death of Joan Vollmer, a technique that became central in "Howl".


title: Howl (poem)

text: Ginsberg showed this poem to Kenneth Rexroth, who criticized it as too stilted and academic; Rexroth encouraged Ginsberg to free his voice and write from his heart. Ginsberg took this advice and attempted to write a poem with no restrictions. He was under the immense influence of William Carlos Williams and Jack Kerouac and attempted to speak with his own voice spontaneously. Ginsberg began the poem in the stepped triadic form he took from Williams but, in the middle of typing the poem, his style altered such that his own unique form (a long line based on breath organized by a fixed base) began to emerge.


title: Howl (poem)

text: Ginsberg experimented with this breath-length form in many later poems. The first draft contained what later became Part I and Part III. It is noted for relating stories and experiences of Ginsberg's friends and contemporaries, its tumbling, hallucinatory style, and the frank address of sexuality, specifically homosexuality, which subsequently provoked an obscenity trial. Although Ginsberg referred to many of his friends and acquaintances (including Neal Cassady, Jack Kerouac, William S. Burroughs, Peter Orlovsky, Lucien Carr, and Herbert Huncke), the primary emotional drive was his sympathy for Carl Solomon, to whom it was dedicated; he met Solomon in a mental institution and became friends with him.


title: Howl (poem)

text: Ginsberg later stated this sympathy for Solomon was connected to bottled-up guilt and sympathy for his mother's schizophrenia (she had been lobotomized), an issue he was not yet ready to address directly. In 2008, Peter Orlovsky told the co-directors of the 2010 film "Howl" that a short moonlit walk—during which Orlovsky sang a rendition of the Hank Williams song "Howlin’ At the Moon"—may have been the encouragement for the title of Ginsberg's poem. "I never asked him, and he never offered," Orlovsky told them, "but there were things he would pick up on and use in his verse form some way or another. Poets do it all the time." The Dedication by Ginsberg states he took the title from Kerouac.


title: Howl (poem)

text: The poem was first performed at the Six Gallery in San Francisco on October 7, 1955. The reading was conceived by Wally Hedrick—a painter and co-founder of the Six—who approached Ginsberg in mid-1955 and asked him to organize a poetry reading at the Six Gallery. "At first, Ginsberg refused. But once he'd written a rough draft of Howl, he changed his 'fucking mind', as he put it." Further evidence that this was not performance art but poetry; a written piece that Ginsberg would not and has not ever described as anything but a poem---not a performance piece.


title: Howl (poem)

text: Ginsberg was ultimately responsible for inviting the readers (Gary Snyder, Philip Lamantia, Philip Whalen, Michael McClure and Kenneth Rexroth) and writing the invitation. "Howl" was the second to the last reading (before "A Berry Feast" by Snyder) and was considered by most in attendance the highlight of the reading. Many considered it the beginning of a new movement, and the reputation of Ginsberg and those associated with the Six Gallery reading spread throughout San Francisco. In response to Ginsberg's reading, McClure wrote: "Ginsberg read on to the end of the poem, which left us standing in wonder, or cheering and wondering, but knowing at the deepest level that a barrier had been broken, that a human voice and body had been hurled against the harsh wall of America..."


title: Howl (poem)

text: Jack Kerouac gave a first-hand account of the Six Gallery performance (in which Ginsberg is renamed 'Alvah Goldbrook' and the poem becomes 'Wail') in Chapter 2 of his 1958 novel, "The Dharma Bums":Anyway I followed the whole gang of howling poets to the reading at Gallery Six that night, which was, among other important things, the night of the birth of the San Francisco Poetry Renaissance. Everyone was there. It was a mad night. And I was the one who got things jumping by going around collecting dimes and quarters from the rather stiff audience standing around in the gallery and coming back with three huge gallon jugs of California Burgundy and getting them all piffed so that by eleven o'clock when Alvah Goldbrook was reading his poem 'Wail' drunk with arms outspread everybody was yelling 'Go! Go! Go!' (like a jam session) and old Rheinhold Cacoethes the father of the Frisco poetry scene was wiping his tears in gladness.Soon afterwards, it was published by Lawrence Ferlinghetti, who ran City Lights Bookstore and the "City Lights Press." Ginsberg completed Part II and the "Footnote" after Ferlinghetti had promised to publish the poem. "Howl" was too short to make an entire book, so Ferlinghetti requested some other poems. Thus the final collection contained several other poems written at that time; with these poems, Ginsberg continued the experimentation with long lines and a fixed base he'd discovered with the composition of "Howl" and these poems have likewise become some of Ginsberg's most famous: "America", "Sunflower Sutra", "A Supermarket in California", etc.


title: Howl (poem)

text: The earliest extant recording of "Howl" was thought to date from March 18, 1956. (The Blackburn Collection recordings show otherwise.) Ginsberg and Snyder, after hitch-hiking from San Francisco, read from their poems in the Anna Mann dormitory at Reed College, Snyder's alma mater. This recording, discovered in mid-2007 on a reel-to-reel tape in the Reed College archives, contains only Part I of "Howl". After beginning to read Part II, Ginsberg said to the audience, "I don't really feel like reading anymore. I just sorta haven't got any kind of steam."


title: Howl (poem)

text: The poem consists of 112 paragraph-like lines, which are organized into three parts, with an additional footnote.


title: Howl (poem)

text: Called by Ginsberg "a lament for the Lamb in America with instances of remarkable lamb-like youths", Part I is perhaps the best known, and communicates scenes, characters, and situations drawn from Ginsberg's personal experience as well as from the community of poets, artists, political radicals, jazz musicians, drug addicts, and psychiatric patients whom he encountered in the late 1940s and early 1950s. Ginsberg refers to these people, who were underrepresented outcasts in what the poet believed to be an oppressively conformist and materialistic era, as "the best minds of my generation". He describes their experiences in graphic detail, openly discussing drug use and homosexual activity at multiple points.


title: Howl (poem)

text: Most lines in this section contain the fixed base "who". In "Notes Written on Finally Recording "Howl"," Ginsberg writes, "I depended on the word 'who' to keep the beat, a base to keep measure, return to and take off from again onto another streak of invention".


title: Howl (poem)

text: Ginsberg says that Part II, in relation to Part I, "names the monster of mental consciousness that preys on the Lamb". Part II is about the state of industrial civilization, characterized in the poem as "Moloch". Ginsberg was inspired to write Part II during a period of peyote-induced visionary consciousness in which he saw a hotel façade as a monstrous and horrible visage which he identified with that of Moloch, the Biblical idol in Leviticus to whom the Canaanites sacrificed children.


title: Howl (poem)

text: Ginsberg intends that the characters he portrays in Part I be understood to have been sacrificed to this idol. Moloch is also the name of an industrial, demonic figure in Fritz Lang's "Metropolis", a film that Ginsberg credits with influencing "Howl, Part II" in his annotations for the poem (see especially "Howl: Original Draft Facsimile, Transcript & Variant Versions"). Most lines in this section contain the fixed base "Moloch". Ginsberg says of Part II, "Here the long line is used as a stanza form broken into exclamatory units punctuated by a base repetition, Moloch."


title: Howl (poem)

text: Part III, in relation to Parts I, II and IV, is "a litany of affirmation of the Lamb in its glory", according to Ginsberg. It is directly addressed to Carl Solomon, whom Ginsberg met during a brief stay at a psychiatric hospital in 1949; called "Rockland" in the poem, it was actually Columbia Presbyterian Psychological Institute. This section is notable for its refrain, "I'm with you in Rockland", and represents something of a turning point away from the grim tone of the "Moloch"-section. Of the structure, Ginsberg says Part III is "pyramidal, with a graduated longer response to the fixed base".


title: Howl (poem)

text: The closing section of the poem is the "Footnote", characterized by its repetitive "Holy!" mantra, an ecstatic assertion that everything is holy. Ginsberg says, "I remembered the archetypal rhythm of Holy Holy Holy weeping in a bus on Kearny Street, and wrote most of it down in notebook there... I set it as 'Footnote to Howl' because it was an extra variation of the form of Part II."


title: Howl (poem)

text: Ginsberg's own commentary discusses the work as an experiment with the "long line". For example, Part I is structured as a single run-on sentence with a repetitive refrain dividing it up into breaths. Ginsberg said, "Ideally each line of 'Howl' is a single breath unit. My breath is long—that's the measure, one physical-mental inspiration of thought contained in the elastic of a breath."


title: Howl (poem)

text: On another occasion, he explained: "the line length ... you'll notice that they're all built on bop—you might think of them as a bop refrain—chorus after chorus after chorus—the ideal being, say, Lester Young in Kansas City in 1938, blowing 72 choruses of 'The Man I Love' until everyone in the hall was out of his head..."


title: Howl (poem)

text: "Howl" contains many references to illicit drugs and sexual practices, both heterosexual and homosexual. Claiming that the book was obscene, customs officials seized 520 copies of the poem that were being imported from


title: Howl (poem)

text: On June 3 Shig Murao, the bookstore manager, was arrested and jailed for selling "Howl and Other Poems" to an undercover San Francisco police officer. City Lights publisher Lawrence Ferlinghetti was subsequently arrested for publishing the book. At the obscenity trial, nine literary experts testified on the poem's behalf. Ferlinghetti, a published poet himself, is credited (by David Skover and Ronald K. L. Collins) with breathing "publishing life" into Ginsberg's poetic career. Supported by the American Civil Liberties Union, Ferlinghetti won the case when California State Superior Court Judge Clayton Horn decided that the poem was of "redeeming social importance".


title: Howl (poem)

text: The case was widely publicized. (Articles appeared in both "Time" and "Life" magazines.) An account of the trial was published by Ferlinghetti's lead defense attorney Jake Ehrlich in a book called "Howl of the Censor". The 2010 film "Howl" depicts the events of the trial. James Franco stars as the young Allen Ginsberg and Andrew Rogers portrays Ferlinghetti.


title: Howl (poem)

text: Part one of "Howl" was broadcast in Finland on September 30, 1969, on Yleisradio's (Finland's national public-broadcasting company) "parallel programme" at 10:30 p.m. The poem was read by three actors with jazz music specially composed for this radio broadcast by Henrik Otto Donner. The poem was preceded by an eight-minute introduction. The Finnish translation was made by Anselm Hollo. The translation was published already in 1961 in "Parnasso" literary magazine, and caused no turmoil then.


title: Howl (poem)

text: A Liberal People's Party member of the Finnish Parliament, Arne Berner, heard the broadcast, and started an interpellation, addressed to the Minister of Transport and Public Works. It was signed by him and 82 other members of the 200 members of parliament. It is unclear how many of the other signatories actually had heard the broadcast. The interpellation text only contained a short extract of six lines (considered to be offensive, and representative of the poem) of over seventy from the poem, and the debate was mainly based upon them.


title: Howl (poem)

text: Also, a report of an offence was filed to the criminal investigation department of Helsinki police district because the obscenity of the poem allegedly offended modesty and delicacy. The report was filed by Suomen kotien radio- ja televisioliitto (The radio and television association of Finnish homes), a Christian and patriotic organization, and it was only based on the six-line fragment. In connection with that, Yleisradio was accused of copyright violation. No charges followed.


title: Howl (poem)

text: Finally, the Ministry of Transport and Public Works considered in December 1969 that the broadcast of "Howl" contravened the licence of operation of Yleisradio: it was neither educational nor useful. Yleisradio received a reprimand, and was instructed to be more careful when monitoring that no more such programs should be broadcast.


title: Howl (poem)

text: "The New York Times" sent Richard Eberhart to San Francisco in 1956 to report on the poetry scene there. The result of Eberhart's visit was an article published in the September 2, 1956 "New York Times Book Review" titled "West Coast Rhythms". Eberhart's piece helped call national attention to "Howl" as "the most remarkable poem of the young group" of poets who were becoming known as the spokespersons of the Beat generation.


title: Howl (poem)

text: On October 7, 2005, celebrations marking the 50th anniversary of the first reading of the poem were staged in San Francisco, New York City, and in Leeds in the UK. The British event, Howl for Now, was accompanied by a book of essays of the same name, edited by Simon Warner and published by Route Publishing ("Howl for Now" ) reflecting on the piece's enduring influence.


title: Howl (poem)

text: Boston independent alternative rock radio station WFNX became the first commercial radio station to broadcast "Howl" on Friday, July 18, 1997, at 6:00 PM despite Federal Communications Commission (FCC) Safe Harbor laws which allow for mature content later at night.


title: Howl (poem)

text: In late August 2007, Ron Collins, Lawrence Ferlinghetti, Nancy Peters, Bill Morgan, Peter Hale, David Skover, Al Bendich (one of Ferlinghetti's lawyers in the 1957 obscenity trial), and Eliot Katz petitioned Pacifica Radio to air Ginsberg's "Howl" on October 3, 2007, to commemorate the 50th anniversary of the verdict declaring the poem to be protected under the First Amendment against charges of obscenity. Fearing fines from the FCC, Pacifica New York radio station WBAI opted not to broadcast the poem. The station chose instead to play the poem on a special webcast program, replete with commentary (by Bob Holman, Regina Weinreich and Ron Collins, narrated by Janet Coleman), on October 3, 2007.


title: Howl (poem)

text: Part II of the poem was used as libretto for Song #7 in "Hydrogen Jukebox", a 1990 chamber opera using a selection of Ginsberg's poems set to music by Philip Glass.


title: Howl (poem)

text: An excerpt from the poem was used in "Mad Generation Loss", a sound recording exploring generation loss, partly inspired by Alvin Lucier's 1969 "I Am Sitting in a Room".


title: Howl (poem)

text: The 2010 film "Howl" explored Ginsberg's life and works. Constructed in a nonlinear fashion, the film juxtaposes historical events with a variety of cinematic techniques. It reconstructs the early life of Ginsberg during the 1940s and 1950s. It also re-enacts Ginsberg's debut performance of "Howl" at the Six Gallery Reading on October 7, 1955, in black-and-white., though the readings by the other four Six Gallery poets are not recreated in the film. In addition, parts of the poem are interpreted through animated sequences. Finally, these events are juxtaposed with color images of Ferlinghetti's 1957 obscenity trial.


Dancing with the Devil... the Art of Starting Over is the seventh studio album by American singer Demi Lovato. It was released on April 2, 2021, by Island Records, and was recorded alongside a docu-series by YouTube Originals, titled "", which documents her recovery and self-discovery. Produced by a variety of collaborators, such as Mitch Allan, Lauren Aquilina, Tommy Brown, Oak Felder, Jussifer, Matthew Koma and Pop & Oak, the album is a pop record with lyrics on Lovato's journey through her hurdles and self-empowerment. It follows a reformative period in the singer's life and career, after being hospitalized for a drug overdose in 2018. The album was nominated for a GLAAD Media Award in the Outstanding Music Artist category.


Multiple versions of the album were made available to pre-order, including alternate artworks, bundles and a Target-exclusive edition with bonus tracks. Lovato released 2 additional versions of the album, with a deluxe version of the album and an expanded edition of the album that was released digitally including three previously released bonus tracks. "Dancing with the Devil... the Art of Starting Over" was also delayed in part due to the COVID-19 pandemic. It features four singles: "Anyone", "What Other People Say", "Dancing with the Devil" and "Met Him Last Night". Noah Cyrus, Ariana Grande, Sam Fischer and Saweetie are featured on the standard version of the album, while Sam Smith and Marshmello are featured on the digital expanded edition of the album. "Dancing with the Devil ... the Art of Starting Over" has charted within the top 10 in Australia, Austria, Belgium, Canada, Ireland, the Netherlands, Norway, Portugal, Scotland, Spain, Switzerland, the United Kingdom, and the United States.


title: Dancing with the Devil... the Art of Starting Over

text: Following the release of Lovato's previous studio album "Tell Me You Love Me" (2017), she took a hiatus from her career following her 2018 hospitalization and subsequent treatment for a drug overdose. In May 2019, Lovato revealed she had signed with a new manager, Scooter Braun, and confirmed to "Teen Vogue" the following November that new music was coming, stating "I didn't say when — now I'm just teasing you. It's important to remember that I am so cautious this time around of jumping back into things. I've really decided to take my time with things. When the time is right, I will put it out there. I am dying to release new music ... but everything in due time." Lovato made her first musical appearance since her hiatus with a performance of single "Anyone" at the 62nd Annual Grammy Awards in January 2020. Throughout 2020, Lovato released further stand-alone solo singles "I Love Me" and "Still Have Me" and collaborations "I'm Ready" with Sam Smith and "OK Not to Be OK" with Marshmello. Lovato also released "Commander in Chief" as a political ballad ahead of the 2020 presidential election. Planned for release in 2020, Lovato's seventh studio album was postponed due to the COVID-19 pandemic.


text: Lovato's first music release of 2021 was the single "What Other People Say" in collaboration with Australian singer Sam Fischer. The release and title of "Dancing with the Devil... the Art of Starting Over" was subsequently announced on March 16, 2021. Lovato explained that the original title was just "The Art of Starting Over", but she then decided to give it a double title to reflect the importance of "the darker opening songs" on the album. During a livestream on the audio-chat app Clubhouse, Lovato explained about the album, "If you listen to it track by track, if you follow the track listing, it's kind of actually like the non-official soundtrack to the documentary. Because it really does follow my life over the past couple of years. When we went through the track listing and kind of mapped out how it kind of coincided with my life's story, it made sense to add the more emotional stuff in the beginning and then transition into 'The Art of Starting Over'". Lovato also revealed three collaborations with female artists on the album: Noah Cyrus, Ariana Grande and Saweetie.


text: A promotional website was launched for the album, where its artwork and pre-save link was released on March 16, 2021. The album serves as a companion piece to "," a YouTube Originals docu series, which began release on March 23, 2021. Both projects focus on Lovato's near fatal 2018 overdose for the first time, while also exploring her life and path to healing in the time since.


text: Multiple versions of the album were issued with different album covers including three variations for DTC versions of the album via Lovato's website, as well as a UK exclusive cover and another version for Target in the United States. The UK versions all feature an additional bonus track, while the Target version adds two bonus tracks in addition to the different album cover. "Dancing with the Devil... the Art of Starting Over" was also made available in a bundle featuring the three exclusive album covers along with either the UK-specific cover or the general standard edition cover. Multiple DTC cassette variations were made available for preorder via Lovato's website. All three alternate covers have their own cassette variations exclusive to the UK, while the American cassette release uses the standard edition cover art. The album artwork was shot by American photographer Dana Trippe.


text: Primarily a pop record, "Dancing with the Devil... the Art of Starting Over" also includes pop rock, country pop, folk-pop and R&B elements. At the premiere event for the documentary, Lovato described the album as her "most cohesive project" ever made. Lovato described the songs as a mashup of genres, including R&B, country, and pop. "Vulture" references rock songs on the album, describing "Lonely People" and "Melon Cake" as "anthemic '80s pop-rock", while "The Art of Starting Over" and "The Kind of Lover I Am" are described as "yacht rock". "My Girlfriends Are My Boyfriend" and "Met Him Last Night" are described as having a contemporary R&B flair. Lastly, some songs on the album, such as "15 Minutes", "The Way You Don't Look At Me", and "What Other People Say" are described as "pop-country" and "folk-pop" with guitar-driven instrumentals and earnest oversharing. The first three tracks of "Dancing with the Devil... the Art of Starting Over" are listed as "Prelude", and consist of "power ballads chronicling Lovato's darkest days" before moving into her recovery.


text: The opening track and lead single "Anyone" was compared by Olivia Truffaut-Wong of "Bustle" with Lovato's 2011 single "Skyscraper", which was also deemed as her musical comeback following her stint at a treatment center in 2010 for issues with bulimia and self-harm. Bryan Rolli of "Forbes" opined the lyrics talk about the singer's "feelings of isolation and anguish", as exemplified in the chorus, "Anyone, please send me anyone / Lord, is there anyone? / I need someone". The second track and third single "Dancing with the Devil" was described by "Billboard" as "powerful" and "confessional". "Entertainment Weekly" opined that it "evokes Adele's "Skyfall" theme. The third track, "I.C.U." (Madison's Lullabye), is a "stark piano ballad" which "echoes a key scene in her documentary in which Lovato wakes up post-overdose, temporarily blind, and can't recognize her sister sitting at her bedside". Playing the song privately for her younger sister was "a really emotional and personal experience" for Lovato.


text: Following the spoken-word interlude "Intro", the fifth track "The Art of Starting Over" was compared by "Entertainment Weekly" to "early Stevie Nicks", with Lovato describing it as "the perfect driving song", while adding, "There's been so many times in my life where I've had to start over once again, whether I felt like I've hit rock bottom, or after a breakup. We can pull ourselves back up and keep fighting the good fight." The "guitar driven" Oak Felder-produced sixth track "Lonely People" was inspired by "a text from [Lovato] about how even if [she was] happier single, it could still be lonely", while the seventh track "The Way You Don't Look at Me" was described by "Entertainment Weekly" as a "standout track with a swirling, melodic hook" with Lovato singing, "I've lost 10 pounds in two weeks, 'cause I told me I shouldn't eat" and "I'm so scared if I undress that you won't love me after". Co-writer Justin Tranter stated that "it's this very intimate, raw, heartbreaking song, but there's this beauty to it, because of how it sounds and it feels, and Demi's vocal performance on that really destroys me". The eighth track "Melon Cake" contains lyrics referring to Lovato's struggles with eating disorders; described as "punchy" and a "plinky-plunky bop about the bad old days when Lovato struggled with pressure 'to make me Barbie-sized'". The Ariana Grande collaboration "Met Him Last Night" was referred to by "NME" as a "dark and atmospheric electro bop".


text: The tenth track and second single "What Other People Say" is a collaboration with Australian singer-songwriter Sam Fischer, and is about the "feeling of being alone and not wanting to let people down". Lovato said, "This song is a reflection on what it's like to lose who you truly are in an effort to please other people and society. It's why I wanted to make this song with Sam – ultimately it's about two humans coming together to connect and find solutions to their problems". Fischer described that the song as "about the pressures of society and how getting caught up with the wrong things can change you". Eleventh track "Carefully" "combines acoustic guitar and a Nineties electro-pulse" with the lyrics "approach with caution/ I can get overwhelming... Cause I'm strong in a way that I'm able to show my fragile". The twelfth track "The Kind of Lover I Am", a "lightly funky number", was compared with Harry Styles' 2019 single "Watermelon Sugar" and features the lyrics "Doesn't matter if you're a woman or a man, that's the kind of lover I am", with Lovato elaborating that "I'm a very fluid person when it comes to sexuality, so I wanted to write a song about that. That's something that I hadn't written about since 'Cool for the Summer'. But this isn't about bi-curiosity anymore. It's a part of who I am and I feel very secure in that". The "savagely upbeat" track "15 Minutes", features Lovato "neatly turn[ing] claims from her ex-fiancé that [she was] trading on her breakup for clout right back around" with the lyric "Good riddance — you got your 15 minutes".


text: "My Girlfriends Are My Boyfriend", featuring Saweetie, includes "Billie Eilish-esque close-mic'd vocals and staccato electronics". "California Sober" is a "strummy mid-tempo" which "explains where Lovato is at with her recovery today". "Butterfly" discusses "the complicated relationship" she had with her biological father, who died in 2013. "Good Place", the last track of the standard edition of the album, "makes further use of acoustic guitar balladry to celebrate her recovery".


text: "Dancing with the Devil... the Art of Starting Over" received generally positive reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from publications, the album received a weighted average score of 73, based on 13 reviews, indicating "generally favorable reviews".


text: In positive reviews, Robin Murray of "Clash" hailed "Dancing with the Devil... the Art of Starting Over" "an ambitious and hugely revealing journey into pop redemption", and praised the combination of darkness with lightness. He noted that the album, after the first three tracks, progresses into a more uplifting direction. Jeffrey Davies of "PopMatters" described the album as "Demi Lovato like we have never heard before". He added that the singer is "sassy and carefree" yet "serious about her identity and personhood" and praised the creative freedom on display. Awarding the album a perfect score, Neil McCormick of "The Daily Telegraph" lauded "Dancing with the Devil... The Art of Starting Over", calling it "the perfect contemporary pop artefact" that mixes intimate ballads with upbeat club tracks, and admired the progression of its tracks. Nick Levine of "NME" wrote that the album is Lovato's "definitive artistic statement to date", further describing the record as "musically varied and lyrically unvarnished: an album of 'take me as I am' jams that to an extent", recalling Pink's 2001 album "Missundaztood."


text: Dubbing it an album about "death that is full of life", Kate Solomon from "I" declared that Lovato had achieved a cohesiveness to the album not present on previous efforts, "by echoing the peaks and troughs of recovery, the moments of pure relief and joy at being alive elevating even the minor swings and misses". Helen Brown, writing for "The Independent", stated that Lovato "embraces independence" on the album, through confessional themes, emotional authenticity and powerful delivery. Mark Richardson of "The Wall Street Journal" wrote that, while Lovato's previous album "Tell Me You Love Me" (2017) "found her embracing R&B and club-ready electronic pop", "Dancing with the Devil... the Art of Starting Over" "is much more subdued" and that it is "certainly a recovery narrative, but the details of her story, many of which make it into these songs, are almost unbearably harrowing." Reviewing for "The Line of Best Fit", Rachel Saywitz remarked that there are more "gems than duds" on the album, in which Lovato experimented more than her previous releases, both musically and vocally.


text: A few reviews expressed mixed feelings. Alexis Petridis of "The Guardian" commented that the album is "simultaneously shocking, laudable" but thought it was "a little underwhelming". "Evening Standard" David Smyth felt that Lovato "reaches too easily for cliches" in the album, as the "polished pop inhibits her power". "Consequence of Sound" critic Mary Siroky appreciated Lovato's vocals, but found the latter half of the record "forgettable". Questioning whether the album "is a work of art, an exhale, and a reclamation, rather than an opportunity to profit", Siroky asserted that it is powerful to see Lovato continue making music inspired by her bravery, however, "it would be nice to see a day when [she doesn't] have to be so brave anymore and can instead create joyfully and freely". "Rolling Stone" Keith Harris concluded that "Dancing with the Devil… The Art of Starting Over" "delivers" what it suggests in the first half of its title, while skimping on the second half. He explained that Lovato's hurdles are efficiently portrayed in the album, but is unclear "how [she wants] to begin again." Chris Willman of "Variety" complimented Lovato's vocals, though was concerned over the "overtly autobiographical" numbers, some of which are "pretty good" while few others are "not-so-hot", resulting in an "unevenness". He picked "The Way You Don't Look at Me", "Melon Cake" and "California Sober" as the highlights and dismissed the Ariana Grande and Saweetie collaborations as letdowns.


text: In June 2021, during Pride Month, "Billboard" included the album among the 15 best albums by LGBTQ artists of 2021 so far, remarking that Lovato "finds [hers] again in the album that showcases [her] most confessional songwriting to date".


text: In the United States, "Dancing with the Devil... the Art of Starting Over" opened at number two on the "Billboard" 200 with 74,000 album-equivalent units, of which 38,000 were pure album sales making it the highest-selling album of that week and her seventh in a row to reach the country's top five. The album also debuted at number two on the UK Albums Chart with sales of 20,183 album-equivalent units (of which 2,849 were streaming sales), becoming Lovato's highest-charting album in the country. In Australia, it entered at number 8 on the ARIA Albums Chart and is her third album to reach the nation's top 10 after "Confident" and "Tell Me You Love Me". Overall the album was peaked at top 10 in 13 countries.


text: The album was preceded by three singles: "Anyone", "What Other People Say" (with Fischer), and "Dancing with the Devil". "Met Him Last Night" featuring Grande was serviced to US contemporary hit radio in the United States on April 13, 2021, as the album’s fourth single.


text: Credits adapted from the liner notes of the alternate cover and UK release edition of "Dancing with the Devil... the Art of Starting Over".


The Philippines women's national football team represents the Philippines in international women's football. It is managed by the Philippine Football Federation (PFF), the governing body of football in the country.