title: Salt poisoning

text: In medicine, the circumstance of salt poisoning is most frequently encountered in children or infants who may be made to consume excessive amounts of table salt. At least one instance of murder of a hospitalized child by salt poisoning has been reported.


title: Salt poisoning

text: Too much salt intake in adults can also occur from the drinking of seawater or the drinking of soy sauce. Salt poisoning has also been seen in a number of adults with mental health problems.


title: Salt poisoning

text: Salt poisoning can affect most species of animals, although it is more common in swine, cattle, and poultry.


title: Salt poisoning

text: Salt poisoning typically results in a feeling of confusion and jitteriness; more severe degrees of intoxication can cause seizures and coma. Death can result if medical intervention is not forthcoming. These symptoms are generally a consequence of hypernatremia – an abnormally high sodium level in the blood. (There are myriad causes of hypernatremia, which is frequently encountered in medical practice; salt poisoning is not a common cause).


title: Salt poisoning

text: Early on, the intoxicant will cause a strong feeling of thirst, followed by weakness, nausea, and loss of appetite. More severe symptoms ensue, including confusion, muscle twitching, and bleeding in or around the brain. Death results by the swelling of the brain against the skull. (Normal serum sodium levels are 135–145 mEq/liter (135–145 mmol/L). Severe symptoms typically only occur when levels are above 160 mEq/L.) The human renal system actively regulates sodium chloride in the blood within a very narrow range around 9 g/L (0.9% by weight).


title: Salt poisoning

text: Accidentally consuming small quantities of clean seawater is not harmful, especially if the seawater is taken along with a larger quantity of fresh water. However, drinking seawater to maintain hydration is counterproductive; more water must be excreted to eliminate the salt (via urine) than the amount of water obtained from the seawater itself.


title: Salt poisoning

text: In most open waters concentrations vary somewhat around typical values of about 3.5%; drinking seawater temporarily increases blood's NaCl concentration, which signals the kidney to excrete sodium. However, seawater's sodium concentration is above the kidney's maximum concentrating ability. Eventually the blood's sodium concentration rises to toxic levels, removing water from cells and interfering with nerve conduction, ultimately producing a fatal seizure and cardiac arrhythmia.


title: Salt poisoning

text: Survival manuals consistently advise against drinking seawater. A summary of 163 life raft voyages estimated the risk of death at 39% for those who drank seawater, compared to 3% for those who did not. The effect of seawater intake on rats confirmed the negative effects of drinking seawater when dehydrated. (In contrast to humans, pelagic birds and other sea animals can – and must – drink sea water without ill effects, having evolved for life at sea over the course of aeons.)


title: Salt poisoning

text: Some historians have suggested that the mysterious sicknesses afflicting the early English colonists at Jamestown, Virginia (1607–1610) – which nearly extinguished the settlement – reflect sea water poisoning. The settlers arrived in the spring, when the James River water was relatively fresh, but by summer a drought of historical magnitude had rendered it much more brackish. The historical geographer Carville Earle, among others, holds to this view.


title: Salt poisoning

text: The temptation to drink seawater was greatest for sailors who had expended their supply of fresh water, and were unable to capture enough rainwater for drinking. This frustration was described famously by a line from Samuel Taylor Coleridge's epic poem "The Rime of the Ancient Mariner" (1798):


title: Salt poisoning

text: "Water, water, everywhere,And all the boards did shrink; Water, water, everywhere,Nor any drop to drink."


title: David Bowie filmography

text: David Bowie (1947–2016) held leading roles in several feature films, including "The Man Who Fell to Earth" (1976) (for which he won a Saturn Award for Best Actor), "Just a Gigolo" (1978), "Merry Christmas, Mr. Lawrence" (1983), "The Hunger" (1983), "Labyrinth" (1986), and "The Linguini Incident" (1991).


title: David Bowie filmography

text: Films in which he appeared in a supporting role or cameo include "The Last Temptation of Christ" (1988) and "Zoolander" (2001).


title: David Bowie filmography

text: Bowie also appeared on several television series including "Extras", "Dream On", and the horror anthology series "The Hunger". He won a Daytime Emmy Award in the category of Outstanding Special Class Special in 2003 for "Hollywood Rocks the Movies: The 1970s with David Bowie" (AMC).


title: David Bowie filmography

text: Bowie was featured in a number of documentaries, films, and videos focusing on his career. He also appeared frequently in documentaries about other musicians.


title: David Bowie filmography

text: This list contains documentaries and videos that have been officially released as films, television broadcasts and/or home video, ordered by date filmed. Bootlegs and privately distributed videos are not included. The list is selective, particularly with respect to television performances and interviews. A more complete list can be found in Nicholas Pegg's "The Complete David Bowie" (Titan, 2004, revised and updated 2011).


title: Americanah

text: Americanah is a 2013 novel by the Nigerian author Chimamanda Ngozi Adichie, for which Adichie won the 2013 U.S. National Book Critics Circle Award for fiction. "Americanah" tells the story of a young Nigerian woman, Ifemelu, who immigrates to the United States to attend university. The novel traces Ifemelu's life in both countries, threaded by her love story with high school classmate Obinze. It was Adichie's third novel, published on May 14, 2013 by Alfred A. Knopf. A television miniseries, starring and produced by Lupita Nyong'o, was in development for HBO Max, but then was later dropped.


title: Americanah

text: Americanah is about Ifemelu and Obinze who, as teenagers in a Lagos secondary school, fall in love. Nigeria at the time is under military dictatorship, and people are seeking to leave the country. Ifemelu moves to the United States to study, where she struggles for the first time with racism and the many varieties of racial distinctions: for the first time, Ifemelu discovers what it means to be a "Black Person". Obinze had hoped to join her in the U.S. but he is denied a visa after 9/11. He goes to London, eventually becoming an undocumented immigrant after his visa expires.


title: Americanah

text: Years later, Obinze returns to Nigeria and becomes a wealthy man as a property developer in the newly democratic country. Ifemelu gains success in the United States, where she becomes known for her blog about race in America, entitled "Raceteenth or Various Observations About American Blacks (Those Formerly Known as Negroes) by a Non-American Black". When Ifemelu returns to Nigeria, the two consider reviving a relationship in light of their diverging experiences and identities during their many years apart.


title: Americanah

text: Americanization is one of the biggest themes in "Americanah". In the context of the novel, America itself is a symbol of hope, wealth, social and economic mobility, and, ultimately, disappointment, as Ifemelu learns that the American Dream is a lie and that the advantages she enjoys there often come at a great price. Her Americanization is slow but distinct, and she gradually picks up the slang, adapts to her surroundings (for better or worse), and adopts American politics. Her views on gender and race change because of this, and her blog is devoted to exploring the issue of race as a non-American black in America. She's called "Americanah" when she returns to Nigeria, having picked up a blunt, American way of speaking and of addressing problems. She resists this label, but it's obvious to the reader that Ifemelu's years in America have changed her.


title: Americanah

text: According to Idowu Faith, “no valid statement can be made on "Americanah" without deconstructing the term “Americanah” which, more or less, reveals the thesis of the narrative as well as the preoccupation of Adichie in the text.” In Nigerian parlance, the term “Americanah” is an identity term that is premised on a person’s previous experience of living in America. In an interview, Adichie defines Americanah as describing those who have been to the US and return with American affectations, pretend not to understand their mother tongues any longer, and refuse to eat Nigerian food, making constant reference to their life in America.


title: Americanah

text: From this understanding, it is clear that Ifemelu’s decision to return home without worrying about being identified as an “Americanah”, establishes the fact that Adichie is proposing and charting a path for a new kind of migration story whose quintessence is return migration.


title: Americanah

text: Adichie's explorations of sexual education and the perception of sex among youngsters in Nigeria plays a fundamental role in the journey of Ifemelu exploring her sexuality as an adolescent in a puritan post-colonial society.


title: Americanah

text: While many of the migratory experiences in the novel work within migration theory, Adichie simultaneously transcends the borders of international migration theories by introducing a new factor that both influences migration and projects a new perspective on return migration. According to Dustmann and Weiss (2007:237), lack of economic opportunity and escape from natural disaster/persecution are two main reasons individuals migrate throughout history. While identifying the need to flee “choicelessness” as the main reason for much of the migration in the twenty-first century Nigerian setting of the novel, Adichie uses literary dimensions to shake up the foundations of theory. Consequently, the direction of this type of migration, how it affects the bonds of love, how it changes personalities and cultural views, and how it reinterprets identity become the novelist’s major theoretical engagements. In addition, Adichie is concerned with how migration debases and elevates, how it barters and fulfills and, most significantly, how it reinvents.


title: Americanah

text: Critics praised the novel, especially noting its range across different societies and reflection of global tensions. Writing for "The New York Times", Mike Peed said, "'Americanah' examines blackness in America, Nigeria and Britain, but it's also a steady-handed dissection of the universal human experience—a platitude made fresh by the accuracy of Adichie's observations." Peed concluded, "'Americanah' is witheringly trenchant and hugely empathetic, both worldly and geographically precise, a novel that holds the discomfiting realities of our times fearlessly before us. It never feels false." Reviewing the novel for "The Washington Post", Emily Raboteau called Adichie "a hawkeyed observer of manners and distinctions in class," and said Adichie brings a "ruthless honesty about the ugly and beautiful sides of both" the United States and Nigeria. In the "Chicago Tribune", Laura Pearson wrote, "Sprawling, ambitious and gorgeously written, 'Americanah' covers race, identity, relationships, community, politics, privilege, language, hair, ethnocentrism, migration, intimacy, estrangement, blogging, books and Barack Obama. It covers three continents, spans decades, leaps gracefully, from chapter to chapter, to different cities and other lives...[Adichie] weaves them assuredly into a thoughtfully structured epic. The result is a timeless love story steeped in our times." Tshilidzi Marwala links the Americanah to the rise of nationalism. In this regard, he thinks the story of Americanah evokes the image that the 21st century will be defined by the dialectical tension between the globalization, which is brought by technology, and the "othering" which is brought by the alienating characteristic of globalization. Accordingly, Marwala on reviewing Americanah states that "it seems that in the 21st century, the strangeness of othering, of enhancing difference rather than embracing our commonalities and the wedging of deep fissures in society continues unabated."


title: Americanah

text: The book was selected as one of the 10 Best Books of 2013 by the editors of the "New York Times Book Review". It won the 2013 National Book Critics Circle Award (Fiction), and was shortlisted for the 2014 Baileys Women's Prize for Fiction of the United Kingdom. The "Chicago Tribune" awarded Adichie its 2013 Heartland Award for Fiction, "recogniz[ing "Americanah" as] a novel that engages with important ideas about race, and does so with style, wit and insight."


title: Americanah

text: In March 2017, "Americanah" was picked as the winner for the "One Book, One New York" program, part of a community reading initiative encouraging all city residents to read the same book.


title: Americanah

text: "Americanah" spent 78 weeks on NPR's Paperback Best-Seller list. Days after "The New York Times" named "Americanah" to its best books of 2013 list, Beyoncé also signaled her admiration of Adichie, sampling Adichie's TED Talk "We should all be feminists" on the song "***Flawless"; sales of "Americanah" soared and as of December 23, 2013, the book climbed to the number 179 spot on Amazon.com's list of its 10,000 best-selling books.


title: Americanah

text: In 2014, it was announced that David Oyelowo and Lupita Nyong'o would star in a film adaptation of the novel, to be produced by Brad Pitt and his production company Plan B. In 2018, Nyong'o told "The Hollywood Reporter" that she was developing a television miniseries based on the book, which she would produce and star in. It was announced on September 13, 2019, that HBO Max would air the miniseries in ten episodes, with actor and playwright Danai Gurira as writer and showrunner. On October 15, 2020, it was reported that the miniseries would not move forward due to scheduling conflicts.


Cirque du Freak: The Vampire's Assistant is a 2009 American fantasy film loosely based on the "Vampire Blood" trilogy of the book series "The Saga of Darren Shan" by author Darren Shan. The first three books in the 12-part series — "Cirque du Freak", "The Vampire’s Assistant", and "Tunnels of Blood" — inspired the film. The film received mixed reviews and was a commercial failure.


title: Cirque du Freak: The Vampire's Assistant

text: In an unnamed American town, teenagers Darren Shan and Steve Leonard, Darren's more rebellious best friend and classmate, sneak out at night to attend the Cirque du Freak freak show at a local theater. During the performance, Steve recognizes one of the troupe's members, Larten Crepsley, as a vampire who is over a hundred years old, prompting him to try to find Crepsley after the show. Meanwhile, Darren, fascinated by Crepsley's spider, Madam Octa, goes backstage, and impulsively steals her, but is forced to hide when Crepsley returns to his green room. Steve arrives, begging to be made into a vampire, but Crepsley refuses after tasting Steve's blood, which he says "tastes of evil." When Crepsley realizes that Madam Octa was stolen, Darren flees from the theater with Crepsley in pursuit. He escapes when the mysterious Mr. Tiny arrives in his limousine, accompanied by Murlough. The latter is unimpressed with Darren, dismissing him as a "bag of blood", but Tiny promises to stay in touch after dropping Darren off at his home.


text: The following day, Darren secretly brings Madam Octa to school, where she escapes. After a struggle in a crowded hallway, Madam Octa bites Steve on the cheek, leaving him to succumb to her deadly venom in the hospital. Darren returns to the theater and begs Crepsley for help. Initially annoyed and contemptuous, Crepsley agrees on the condition that Darren becomes a half-vampire—and Crepsley's personal assistant. Darren agrees, only to flee while Crepsley administers the antidote to Steve. However, after nearly attacking his own sister out of vampiric bloodlust, Darren decides to leave with Crepsley, who uses magic to stage Darren's death of a fall from a roof.


text: After being buried in a cemetery, Crepsley digs up the grave to free Darren, but Murlough ambushes them. Crepsley fights him off and the two go to the Cirque du Freak campgrounds, where Darren meets Evra Von, the snake boy, and Rebecca, the monkey girl. Meanwhile, Steve, contemplating suicide after losing his best friend, is stopped by Tiny, who offers him a chance to become a Vampaneze, a race of vampires who—unlike Crepsley and others—murder their victims to feed on their blood. Steve agrees, proceeding to kill high school history teacher Mr. Kersey with Murlough's help. Trying to instigate a confrontation between Steve and Darren, Tiny kidnaps Rebecca and Darren's family, leaving a flyer for the Cirque du Freak at Darren's former home.


text: At the theater, Crepsley and Murlough fight while Darren fights with Steve but Darren's refusal to feed weakens him. Rebecca frees herself using her monkey tail and offers Darren a taste of her blood. After some hesitation, he accepts. Crepsley stabs Murlough, and with his dying words, Murlough declares that the truce between the two vampire clans has been broken. Tiny (who had been watching from the balcony via opera glasses) eventually separates Steve and Darren. Darren asks Steve to stay with him, but Steve refuses, saying, "I have my destiny and you have yours." Steve then leaves with Tiny, who plans to groom him as a Vampaneze leader.


text: Crepsley returns Darren's family to their home, hypnotizing them so they'll forget what they've been through. Rebecca and Darren share a heartfelt kiss before returning to the campgrounds, where Crepsley gives Darren a coffin to sleep in, and Darren accepts his new life as a member of the Cirque du Freak.


text: "Cirque du Freak: The Vampire's Assistant" was fimed between February 19-June 1, 2008 in New Orleans, Folsom, and Baton Rouge, Louisiana. Some of the characters required extensive prosthetics and makeup, which was led by Steve Koch, Brian Sipe, and Mark Garbarino. Prosthetics did not quite add the height needed on certain shots for the character of Mr. Tall, played by Academy Award-nominated Ken Watanabe. Although Watanabe is six feet tall, a body double was cast for some scenes to accentuate the abnormal height of the character Mr. Tall. Trevon Flores, a local basketball player who stands 6'10" tall and weighs 210 pounds, was used cast as the body double. Watanabe also utilized dialogue coaches Kathleen S. Dunn and Francie Brown in pre-production and production to further enhance his performance as the circus barker. Computer-generated imagery was also used to portray other fantasy elements.


text: John Marshall High School in Los Angeles was used to film some parts of the movie. Sophie B. Wright Charter School in New Orleans was also used to shoot scenes from the film. A portion was filmed on a set constructed within New Orleans City Park, approximately 1,000 feet off the side of the road, along Harrison Avenue.


text: Principal photography began on February 8, 2008 in New Orleans and concluded on June 3, 2008. The film was distributed by Universal Studios. In one of the manga additions of the saga, the director says that the character of Gavner Purl was a hint of the sequel he wanted to make.


text: The score to "The Vampire's Assistant" was composed by Stephen Trask, marking his third feature-film with director Paul Weitz. The score was recorded with an 86-piece ensemble of the Hollywood Studio Symphony at the Newman Scoring Stage at 20th Century Fox. The movie also features the songs "Something Is Not Right with Me" by Cold War Kids, "Chelsea Dagger" by The Fratellis, and "Red Right Hand" by Nick Cave. The trailer features the songs "Asleep From Day" by The Chemical Brothers, "Bliss" by Syntax, and "Superhero" by Immediate Music.


text: The film was originally set for release on January 15, 2010, but was moved to an earlier release date of October 23, 2009.


text: Review aggregation website Rotten Tomatoes assigns the film a rating of 38% based on 139 critics with an average rating of 4.87/10. The site's critical consensus reads "This overstuffed, scattershot vampire flick suffers from poor characterization and an unwieldy mix of scares and chuckles." On Metacritic, the film has a score of 43 out of 100, based on 25 reviews, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.


text: The film opened in 2,754 theaters in the United States and made over $14 million, reaching #7 in the charts. In other countries, it made more than $25 million, giving it a worldwide box office total of more than $39 million. On DVD, sales in the United States made more than $5.5 million. The film's chart placings worldwide include reaching #1 in Ukraine, #2 in Hungary, #2 in Russia, #2 in the United Arab Emirates, #3 in Mexico, #3 in Portugal, #4 in Egypt, #4 in Venezuela, #5 in Belgium, #5 in Peru, #5 in Singapore, #5 in the United Kingdom, #6 in Lebanon, #6 in the Philippines, #7 in Bulgaria, #7 in Japan, #8 in Chile, #8 in Colombia, #8 in the Netherlands, #9 in Austria, #9 in Romania, #11 in Germany, #11 in Malaysia, #11 in New Zealand.


text: The film debuted on DVD and Blu-ray Disc in Canada, the United Kingdom and United States at the end of February 2010. In Canada, by the end of its first week on sale and available to rent, it was #1 on the Rogers DVD bestselling chart, #2 on the Blockbuster Canada bestselling chart, and #6 on the rental charts of both. In the United States it was #2 on the Rentrak bestseller chart, and #6 on the Blockbuster, Home Media and IMDb rental charts. In the United Kingdom it reached #5 on the MyMovies bestsellers chart, and #6 on the Yahoo chart.


text: In a Reddit AMA in March 2015, Darren Shan stated that three sequels to "Cirque du Freak: The Vampire's Assistant" had been abandoned by Universal prior to the film's failure, as well as expressing interest in a potential future reboot of the series.


title: Silk Spectre

text: Silk Spectre is the name of two fictional superheroines in the graphic novel limited series "Watchmen", published by DC Comics. Created by Alan Moore and Dave Gibbons, the original Silk Spectre, Sally "Jupiter" Juspeczyk, was a member of the crimefighting team the Minutemen, while the second, Sally's daughter Laurel "Laurie" Jane Juspeczyk, became a member of the vigilante team Crimebusters, also known as the titular Watchmen.


title: Silk Spectre

text: In the early stages of the series' development, the characters were Charlton Comics superheroes and the female superhero was supposed to be Nightshade. However, Moore did not find Nightshade particularly interesting and was not even very familiar with the character. After the idea of using Charlton characters was abandoned, he decided to model Silk Spectre on superheroines like Phantom Lady and Black Canary (also an alias shared by mother and daughter).


title: Silk Spectre

text: The Sally and Laurie Juspeczyk versions of Silk Spectre made their live-action debuts in the 2009 film "Watchmen", in which they were played by Carla Gugino and Malin Åkerman, respectively. An older version of Laurie Juspeczyk, now known as Laurie Blake, appeared in the 2019 limited television "Watchmen", played by Jean Smart.


title: Silk Spectre

text: The first Silk Spectre was a frizzy-haired, redheaded former waitress and burlesque dancer Sally Jupiter (her real last name was "Juspeczyk", which she changed to hide her Polish ancestry). She assumed the identity of Silk Spectre sometime around 1938 at age 18, in order to advance her modeling career. She became a sex symbol by whom criminals didn't mind being caught (or so went her press). She was an action heroine version of a pin-up girl and, even in her old age, she was proud of her sex symbol status, apparently enjoying male attention, as indicated by her reaction to lurid fan letters and her enjoyment of a Tijuana bible based on her (much to her daughter's disapproval).


title: Silk Spectre

text: She was soon invited by Captain Metropolis to join The Minutemen, a group of costumed heroes. On October 2, 1940, after a meeting of the Minutemen, Edward Blake, alias The Comedian tried to rape her. He was thwarted in his attempt by fellow Minuteman Hooded Justice, who gave him a vicious beating. The event would have a profound impact on Sally's life. Her agent, Laurence Schexnayder, persuaded her not to press charges against the Comedian for fear of damaging the group's image. More celebrity than vigilante, Silk Spectre provided a cover for Hooded Justice's homosexuality by being his glamorous girlfriend. In an interview, she admitted that she didn't really like The Silhouette, a.k.a. Ursula Zandt, who had often pestered her about her Polish heritage, but later expressed regret that she was expelled from the group simply because she was a lesbian, especially since there were men on the team who were gay (though she did not identify them). In 1947, Sally retired from crime-fighting and married her agent, Laurence Schexnayder, while keeping in touch with Hollis Mason (The Nite Owl) and Nelson Gardner (Captain Metropolis). In 1949, she gave birth to daughter Lauriel Jane Juspeczyk, commonly known as Laurie. It was known to both parents that Laurie was not Laurence's child, but The Comedian's, from a sexual encounter years after the assault, and this caused conflict in the family, leading the couple to divorce in 1956. While not explicitly stated, it is implied that Sally's second sexual encounter with The Comedian was consensual, and that, despite his earlier attack on her, she did have feelings for him.


title: Silk Spectre

text: In the pages of "Doomsday Clock", it was revealed that Ozymandias spoke at her funeral. While in an asylum, Reggie Long was taught some of Sally's moves by fellow inmate Mothman where they both heard of her death.


title: Silk Spectre

text: Sally pushed her daughter into the "family business of crimefighting." Laurel Jane "Laurie" Juspeczyk never held much interest in becoming her mother's successor, but went along with Sally's wishes anyway. Growing up, the brunette Laurie knew Laurence Schexnayder was not her real father, and she always believed, incorrectly, that her real father was Hooded Justice. Laurie Juspeczyk is a liberal-thinking, modern woman. She is vocal in her feminist and humanitarian concerns, and is quite a conditioned fighter. At the start of the story she is shown to have a strained relationship with her mother. Driven by the memories of her own experience, Sally tries to keep Laurie from knowing some of the harsher realities of the crime fighting life. For example, she did not allow her to read the Hollis Mason (Nite-Owl I) autobiography "Under the Hood" (which included mention of The Comedian's sexual assault on Sally, something Laurie knew nothing of). Sally acted like an agent for her daughter, picking out her costume, and chauffeuring her to "Crimebusters" meetings. After the first of these meetings, Laurie met The Comedian outside, who complimented her for being the spitting image of her mother, but their conversation was broken off quickly by an angry Sally Jupiter. Laurie noted that the Comedian looked sad as he watched them drive away, and felt sorry for him. When Laurie later learned of the sexual assault, she hated The Comedian, though it seems that as time passed, and in a complicated way, Sally was able to come to terms with it, even to the point that she was willing to defend The Comedian from Laurie's derogatory remarks after he was murdered. At the same Crimebuster's meeting, Laurie met Doctor Manhattan, and the two quickly became attracted to one another, to his long-time girlfriend Janey Slater's anger. Shortly afterwards, 16-year-old Laurie became involved with thirty-something Doctor Manhattan, something her mother did not approve of, likening Laurie's relationship with Manhattan to being the equivalent of sleeping with an H-bomb. Drawn to him from the moment she first saw him, Laurie worked with Doctor Manhattan in some of his various domestic assignments, including the suppression of riots during the police strike of 1977. Never exactly happy being a vigilante and not happy with the government taking advantage with her relationship with the superhuman Manhattan, Laurie was more than pleased to quit being a superhero when the Keene Act of 1977 forced all but government-sponsored superheroes to retire.


title: Silk Spectre

text: After retiring, Laurie lived with Manhattan for almost 20 years. However, their relationship became strained, owing to Manhattan's growing disconnection with humanity. Laurie eventually left him and moved in with Dan Dreiberg, a.k.a. the second Nite Owl, and the two soon became romantically involved. Dreiberg and Laurie decided to don their old costumes and take Dreiberg's airship Archie out. During their flight, they found a building on fire and rescued the inhabitants. Soon after, Laurie was brought to Mars by Dr. Manhattan, where she attempted to convince him to save humanity from impending nuclear war. During their conversation, Laurie finally came to the realization that her real father was The Comedian. Moved by the sheer unlikelihood of two people as different as Sally Jupiter and the Comedian producing a child, and the child being Laurie, Dr. Manhattan realized the miracle and value of human life and agreed to save the planet. The pair returned to earth, only to find half of New York City destroyed by Ozymandias' creature. They then teleport to Ozymandias' lair in Antarctica, where Laurie attempts to shoot Ozymandias, only to be thwarted by Ozymandias' untried ability to catch bullets. After realizing that Ozymandias' plan had worked, and that, despite the loss of several million lives, nuclear war had been averted while also uniting the nations of the world, the heroes (with the exception of Rorschach) decide that Ozymandias' plan should be kept secret to serve the greater good.


title: Silk Spectre

text: Shortly after these events, Laurie and Dan Drieberg adopt new appearances and identities, now calling themselves Sam and Sandra Hollis, and sporting blond hair. They visit Sally Jupiter—now living in a retirement home—and Laurie tells her mother that she has realized the truth about her father. The issue is put to rest for Laurie, who accepts that the situation between her mother and the Comedian is too complicated, and she forgives her. "Sam and Sandra" leave soon afterward, indicating that they will continue to adventure, although Laurie expresses the wish for a better superhero identity: leather for better protection, a mask to hide her identity, and a firearm to better fight. This parallels her father's, the Comedian, change from a gaudy yellow clown suit to light leather armor with a mask to cover his scar and a variety of guns. After watching them leave, Sally picks up an old photograph of the Minutemen, which includes the Comedian, and kisses his half of the picture as tears roll down her face.


title: Silk Spectre

text: The 2012 miniseries "Before Watchmen: Silk Spectre" revealed that Laurie got her start as a super-hero being trained by her mother to continue the family legacy, before running away from home at the age of 16 and relocating to San Francisco with her boyfriend.


title: Silk Spectre

text: In the 2018 miniseries "Doomsday Clock", it is revealed that seven years after the events of "Watchmen", "Sam and Sandra Hollis" have a daughter together. They also adopt Clark, the son of two costumed villains, Mime and Marionette. After jailing the pair following an aborted bank robbery, Dr. Manhattan noted that Marionette was pregnant. He sensed that the child had a bright future ahead of him. In order to preserve that future, he took the boy as an infant following his birth in a prison hospital. Dr. Manhattan named him Clark (after Superman), raised him nearly to his teen years, and after bequeathing Clark his powers and infusing his life force into the planet, brought Clark to the Hollises to raise.


title: Silk Spectre

text: Both Silk Spectre incarnations appear in "Watchmen". Malin Åkerman portrays the second Silk Spectre, Laurie Juspeczyk, and Carla Gugino portrays the original Silk Spectre, Sally Jupiter. Haley Guiel portrays a young Laurie Jupiter in flashbacks.


title: Wallace Chung

text: Wallace Chung Hon-leung (; born 30 November 1974) is a Hong Kong actor and singer, best known for his work on several Chinese television dramas.


title: Wallace Chung

text: Chung ranked 68th on "Forbes" China Celebrity 100 list in 2013, 94th in 2014, 45th in 2015, 31st in 2017.


title: Wallace Chung

text: His debut was in the 1993 Hong Kong TVB biographical television drama "The Chord to Victory", portraying Kenny Bee, a member of The Wynners, after joining the network as a dancer. He rejected the offer to sign a 5-year contract due to the length of the contract and eventually left. In 1995, Chung moved to Taiwan to pursue a singing career under the guidance of record producer Samuel Tai, subsequently signing a contract with Music Impact.


title: Wallace Chung

text: Chung's successful debut with his 1995 dance album "OREA" dubbed him as Taiwan's "Little Sun." The eponymous title song quickly raced to No. 1, topping the charts for many weeks. In December 1995, Chung released his second album, "By Your Side", which earned him a title as Taiwan's Best Idol for two years in the row. Chung achieved further fame in mainland China through the television series "Imminent Crisis", making him the only actor from Hong Kong to be nominated at the China TV Golden Eagle Award. He gained mainstream popularity in 2015 with the hit romance drama "My Sunshine", and won the Asia Grand Star Award at the Seoul International Drama Awards.


title: Wallace Chung

text: In 1995, Chung was recommended by Taiwanese music producers, and signed on with the record company Music Impact. That July, he debuted as a singer with his first solo album, "OREA". The eponymous title song quickly raced to No. 1, topping the charts for many weeks. In December, he released his second album, "By Your Side". With his successful debut and entry into the entertainment industry, the Taiwanese media dubbed him as Taiwan's "Little Sun".


title: Wallace Chung

text: In July 1996, he made his film debut in "Hi Sir". Chung also contributed to the soundtrack of the film, singing the theme song "Ai Bu Shi Shou". "Hi Sir" topped box office charts and became the biggest summer hit of 1996. In October, he released his first Cantonese album titled "Present", officially embarking onto the Hong Kong music industry.


title: Wallace Chung

text: In October 1998, Chung released his sixth album, "Hello, How Are You". The title song "Subway" was nominated at the Golden Melody Awards for Best Composition. Chung also received praise for penning the lyrics to most of his songs, including "Really Like Me", "Us" and "I Really Want to Know".


title: Wallace Chung

text: From 1999 onwards, Chung moved to the Mainland to focus on his acting career. The same year, he played his first television leading role in wuxia drama "Windstorm".


title: Wallace Chung

text: Chung resumed his singing career in 2004. He published his seventh Mandarin-language album, "Soul Man". The album received positive reviews from music critics.


title: Wallace Chung

text: Chung first gained recognition for his portrayal of two Qing-dynasty figures. In 2006, Chung starred in "Secret History of Kangxi", portraying a famous Chinese poet Nalan Xingde. In 2008, Chung starred in "Royal Tramp", portraying Kangxi Emperor.


title: Wallace Chung

text: In 2009, Chung starred in "King of Shanghai". He was nominated for the Most Popular Actor award at the Shanghai Television Festival.


title: Wallace Chung

text: In 2010, Chung starred in the romance melodrama "Too Late to Say Loving You", portraying Mu Rongfeng. The drama earned a cult following among Mainland audiences, and Chung gained popularity in the Chinese mainland, especially among female audiences.


title: Wallace Chung

text: In January 2010, Chung released his eleventh Mandarin album, "All Eyes On Me". Upon its release in mainland China in October, the album topped the charts and Chung won the Best Male Stage Performance at the Beijing Pop Music Awards. Chung once again won the award in 2011, with his single "One Day We Will Grow Old". The song was also named as one of the Top 10 songs of the year. In October 2011, he held his first solo concert titled "Wallace S-Party Concert" at Shanghai's Luwan Gymnasium.


title: Wallace Chung

text: In 2012, he starred in the spy drama "Imminent Crisis". Chung's performance earned him acclaim, and he was nominated the Audience's Favorite TV Drama Actor in the Hong Kong and Taiwan region at the 26th China TV Golden Eagle Award and the Most Popular Actor at the 9th China Golden Eagle TV Art Festival. He won the Audience's Favorite TV Drama Actor in the Hong Kong and Taiwan region, becoming the first actor from Hong Kong and Taiwan region to win such a national TV award.


title: Wallace Chung

text: Chung was once again nominated for the award the subsequent year with his performance in the wuxia drama "The Magic Blade" (2012), adapted from Gu Long's novel of the same title. Chung was also awarded the Best Actor award at the 3rd LeTV awards for his performance.


title: Wallace Chung

text: In 2013, Chung starred in the romance drama "Best Time", based on Tong Hua's novel "The Most Beautiful Time". The series was a ratings hit, leading to increased popularity for Chung. Chung was awarded the Best Actor award for the Hong Kong and Taiwan region at the 4th LeTV awards. The same year, he starred in the wuxia drama "The Demi-Gods and Semi-Devils", adapted from Louis Cha's novel "Demi-Gods and Semi-Devils". He then starred in crime thriller film "Drug War", directed by Johnnie To.


title: Wallace Chung

text: In 2014, Chung played dual roles in the drama "The Stand-In", adapted from the film "Bodyguards and Assassins". The series was nominated for the Outstanding Television Series award at the Flying Apsaras Awards. He also starred alongside Feng Shaofeng and Chen Bolin in the road trip comedy film "The Continent", directed by Han Han.


title: Wallace Chung

text: In 2015, Chung starred in the romance melodrama in "My Sunshine", based on the novel "Silent Separation" written by Gu Man. The series was a major hit, and propelled Chung to mainstream popularity in China. Chung received the Asia Star Grand Award at the 2015 Seoul International Drama Awards. The same year, he announced his directorial debut, "Sandglass", a youth movie adapted from best-selling author Rao Xueman's book by the same name.


title: Wallace Chung

text: In December 2015, Chung released a new album titled "Sing For Life", and announced his "Sing For Life" World Tour. The tour began in Shanghai on 20 February 2016, and subsequently traveled to Guangzhou, Shenzhen and Beijing.


title: Wallace Chung

text: In 2016, Chung starred in the action comedy film "Bounty Hunters", directed by Shin Terra, alongside Tiffany Tang and Korean actor Lee Min-ho. The same year, he starred in the crime thriller "Tik Tok".


title: Wallace Chung

text: Chung then played the antagonist in crime drama film "Three", which also stars Zhao Wei and Louis Koo. He won the Most Anticipated Actor award at the 19th China Movie Channel Media Award.


title: Wallace Chung

text: In 2017, Chung starred in the historical romance drama "General and I", adapted from the novel "A Lonesome Fragrance Waiting to be Appreciated", alongside Angelababy.


title: Wallace Chung

text: In 2018, Chung starred in the modern romance drama "Memories of Love" alongside Jiang Shuying, and romance melodrama "All Out of Love" with Sun Yi and Ma Tianyu.


title: Wallace Chung

text: In 2019, Chung was cast in the war film "Liberation" directed by Li Shaohong， and romance film "Adoring".


title: Wallace Chung

text: In 2020, Chung starred in historical romance drama "The Sword and the Brocade" alongside actress Tan Songyun.


title: The Mighty Boosh (TV series)

text: The Mighty Boosh is a British comedy television show created by Julian Barratt, Noel Fielding and others (collectively known as The Mighty Boosh). A surreal comic fantasy, it often featured elaborate musical numbers in different genres, such as electro, heavy metal, funk, and rap. The show is known for popularising a style called "crimping"; short "a cappella" songs which are present throughout all three series. Julian Barratt wrote the music within the show, and performed it with Noel Fielding. Fielding also designed many of the show's graphics and artwork.


title: The Mighty Boosh (TV series)

text: The show takes place in a surreal universe following Howard Moon (Barratt) and Vince Noir (Fielding), two eccentric, failing musicians, as well as Naboo, a mystic alien shaman, and Bollo, a gorilla and Naboo's familiar. They frequently have adventures while they pursue fame.


title: The Mighty Boosh (TV series)

text: The series has many animated sequences, puppets and special effects. Barratt has said that he approached Fielding with the idea of doing a show like "The Goodies", as if it were a complete "world" rather than simply a sketch show. Barratt and Fielding play many of the recurring and one-off characters themselves, with other characters being played by other Boosh members Rich Fulcher, Dave Brown, and Michael Fielding.


title: The Mighty Boosh (TV series)

text: In 2019, "The Mighty Boosh" was ranked 98th on "The Guardian"s list of the 100 best TV shows of the 21st century.


title: The Mighty Boosh (TV series)

text: "The Mighty Boosh" centres on the adventures of Howard Moon (Barratt) and Vince Noir (Fielding). Series 1 opens and often closes with Howard and Vince addressing the audience in front of a theatre curtain, introducing the show and offering some final reflections. Series 2 leaves this format, instead starting in the characters' flat, with no direct address to the audience. Unlike the radio series, which is played as though real, the characters on the TV series all seem aware that they are in a TV show, and Vince especially will often break the fourth wall to address the audience and to comment on the situation. Little attention is paid to continuity; for instance, in the second series the shaman Saboo is shown being killed by the demon Nanatoo, but in series 3 he is alive and well. In the first series episode, 'Bollo', Bollo the gorilla dies at the end of the episode, before the credits. However, in subsequent episodes, Bollo is also seen alive and well.


title: The Mighty Boosh (TV series)

text: Each series of the show featured Howard and Vince and the various recurring characters in a different context; in series 1 Howard and Vince are zookeepers in the "Zooniverse", Naboo is a fellow employee of the zoo and Bollo is one of the animals that live there. In series 2, Howard, Vince, Naboo and Bollo are flatmates in a district of London. In series 3, Howard and Vince work in Naboo's magical shop, the Nabootique, and plots often revolve around them getting in trouble whilst Naboo and Bollo are away from the shop.


title: The Mighty Boosh (TV series)

text: Several episodes featured a "crimp"; a humorous "a cappella" nonsense song sung by Fielding and Barratt. The crimps were sung in a scat style and were lyrically characterized by non-sequiturs that were rhythmically similar to beatboxing, often accompanied by a small performance of hand gestures and pantomimes. The term was first coined in "The Power of the Crimp", episode 3 of the third season. Controversy arose in March 2008 when a new advertisement campaign for the cereal Sugar Puffs was shown to have imitated the particular style of crimping.


title: The Mighty Boosh (TV series)

text: The Mighty Boosh made the transition from radio to television in 2004, when an eight-part television series - called "The Mighty Boosh" - was commissioned by the BBC. It was directed by Paul King and produced by Baby Cow Productions. The pilot episode was directed by Steve Bendelack, and a large portion of the pilot episode was used in the actual series, in the episode "Tundra". The pilot was shot with a live audience because there had been doubts as to whether the successful stage show could translate to the screen, but the actual series had no live audience.


title: The Mighty Boosh (TV series)

text: Series 1 of the television version of "The Mighty Boosh" expanded on the radio series. It was first broadcast on BBC Three on 18 May 2004 and, from 9 November, also on BBC Two, although in a different order and with the mild swearing censored or edited out.


title: The Mighty Boosh (TV series)

text: The second series began showing on BBC Three on 26 July 2005, though with a smaller budget. A full-length preview of the following week's episode was available online at the BBC's Boosh webpage. Series 3 started airing on BBC Three from 15 November 2007.


title: The Mighty Boosh (TV series)

text: Series 3 began airing on America's Adult Swim on 29 March 2009. Series 1 aired on Adult Swim on 10 May 2009 with Series 2 airing on 5 July 2009.


title: The Mighty Boosh (TV series)

text: The first series was shot on standard definition tape and digitally altered with the film look process. Both subsequent series were shot on digital at 25 frames per second.


title: The Mighty Boosh (TV series)

text: In 2020, Netflix removed "The Mighty Boosh" from its catalogue, citing the use of blackface in skits such as "The Spirit of Jazz" (where Fielding portrays the ghost of "Howlin' Jimmy Jefferson"), as well as the fifth episode of the first season, "Jungle." Comedian Jack Carroll tweeted that the removal was "an arbitrary gesture that means [Netflix] don't have to put any real work into combatting actual instances of racial discrimination."


title: The Mighty Boosh (TV series)

text: In the UK the Mighty Boosh has released Series 1-3 individually and in a few boxsets. Series 1 was released on DVD (Region 2) on 29 August 2005, Series 2 on 13 February 2006 and Series 3 was released on 11 February 2008.


title: The Mighty Boosh (TV series)

text: As a result of a growing fan base in the U.S. the BBC released seasons 1-3 individually on North American NTSC-formatted DVDs on 21 July 2009. The North American series 1-3 boxset was released on 13 October 2009.


title: We Can't Dance

text: We Can't Dance is the fourteenth studio album by the English rock band Genesis, released on 11 November 1991 by Virgin Records in the UK and a day later by Atlantic Records in the US. It is their last studio album recorded with drummer and singer Phil Collins before his departure in 1996 to pursue solo projects full time. The album marked the return of band activity following an almost four-year hiatus after touring their previous album, "Invisible Touch" (1986).


title: We Can't Dance

text: "We Can't Dance" was a worldwide commercial success for the band. It became the band's fifth consecutive No. 1 album in the UK and reached No. 4 in the US, where it sold over 4 million copies. Between 1991 and 1993, six tracks from the album were released as singles, including "No Son of Mine" and "I Can't Dance". The latter received a Grammy Award nomination for Best Pop Performance by a Duo or Group With Vocals in 1993. Genesis toured in support of "We Can't Dance" in 1992, playing large stadiums and arenas across North America and Europe.


title: We Can't Dance

text: In July 1987, the Genesis line-up of drummer and singer Phil Collins, keyboardist Tony Banks, and bassist and guitarist Mike Rutherford wrapped their 1986–1987 world tour in support of their thirteenth studio album, "Invisible Touch" (1986). The 112-date tour, attended by an estimated 3.5 million people, was extremely taxing on the group, particularly for Rutherford following his father's death and almost losing his son Harry due to a difficult birth. The band then entered a three-and-a-half year period of inactivity, during which each member continued with his respective solo projects. Collins achieved further worldwide commercial success following the release of his solo album "...But Seriously" (1989), while Rutherford's band, Mike and the Mechanics, had also begun to have hits. Banks and Rutherford expected Collins to leave the band during this time, but he stayed on to record another Genesis studio album with them. The band had initially agreed to enter production in 1990, but it was pushed to 1991 because of Collins's lengthy solo tour. The album's title derived partly from the popularity of dance music and its presence in the charts at the time.


title: We Can't Dance

text: Genesis recorded "We Can't Dance" from March to September 1991 at their private recording studio named The Farm in Chiddingfold, Surrey. The trio were keen to work together after such an extensive break, and after two-and-a-half months of what Collins described as "chopping away, fine-tuning, and honing down all these ideas", they had completed some fifteen tracks. They originally considered releasing a double album, but realised most people would be listening to their work on CD which gave them the additional time they wanted to present more of their musical ideas. As with "Genesis" (1983) and "Invisible Touch", none of the material on "We Can't Dance" was conceived beforehand, and the band instead developed songs through lengthy improvisational jams in the studio. This was a deciding factor for Collins to remain in the band despite his solo success as he enjoyed the task of writing songs with his bandmates from nothing. A typical session would involve Banks and Rutherford playing chords on the keyboard or guitar, respectively, with Collins devising a drum pattern with a drum machine, which allows him to sing notes and dummy lyrics. The words he sang may then be used to form a lyric or help create atmosphere for the song.


title: We Can't Dance

text: Genesis authorised the filming of some recording sessions for the first time for their "No Admittance" documentary, which aired on national television. Banks later admitted that the band avoided "any creative work" with the film crew present because they found it difficult, adding: "As soon as they were there, we shut off". Collins supported his view and pointed out a change in the atmosphere of working when someone from the filming crew entered the room.


title: We Can't Dance

text: In a departure from their previous albums, Rutherford avoided playing a guitar synthesiser and only plays a Fender Stratocaster and two Steinbergers, one of them a GM series model that was new for the time, but on the song "Tell Me Why", he is playing a Rickenbacker 12-string electric guitar. He had asked the manufacturer to customise one with a larger body to suit his tall frame but they declined, leaving him to use a cardboard cutout of a body he wished for and sending it to luthier Roger Giffin to make it. He played all his guitar parts with a Groove Tubes amplifier that was suggested to him by his roadie and technician Geoff Banks.


title: We Can't Dance

text: For recording, they enlisted then 28-year-old Nick Davis as co-producer and engineer who had previously worked with Banks and Rutherford on their solo projects, with the band also handing production duties. This marked the end of their association with Hugh Padgham which had begun with "Abacab" (1981). Rutherford said the group decided to switch producers before work on the album had begun, and insisted they were pleased with Padgham's contributions, but felt it was the right time for a change after having done three albums with him (Padgham had also produced Collins's four solo albums throughout the 1980s). Davis was keen to feature Rutherford's guitar more prominently as an instrument than previous Genesis albums, and felt his approach was successful on some of the tracks on "We Can't Dance". Banks took a liking to some of Davis's strong opinions towards certain aspects of recording and instruments which presented him the challenge of finding other ways of recording.


title: We Can't Dance

text: Following a six-week break during the summer of 1991 the band reconvened and completed the mixing in late September, selecting a final 12-track running order that spanned 71 minutes. Banks said that compared to the more direct nature of "Invisible Touch", the style of "We Can't Dance" offered more of a sense of mystery with effort put into each track having its own "individual quality", yet have an atmosphere that runs through the entire album.


title: We Can't Dance

text: In a similar way to the writing of "Invisible Touch", the band initially allocated roughly one third of the album to each member, who was then responsible for the lyrics to their collection of songs. Banks said having one person work on a set of lyrics was a better way of carrying an idea through. In the end, "We Can't Dance" saw Collins contribute a greater amount of lyrics than before; his efforts praised by Rutherford who considered his words for its songs among his best in Genesis history. Collins went further and rated his lyrics on "We Can't Dance" as some of the best of his career and said, "Obviously, the music stimulated me". In a week during which Banks and Rutherford left the studio for promotional work, Collins started to write lyrical ideas; according to Rutherford "he just couldn't stop himself after that. He found he had dead time on his hands".


title: We Can't Dance

text: Several songs deal with serious matters and social issues. "No Son of Mine" tackles the subject of the domestic abuse of a 15-year-old boy, which originated with Collins repeating the phrase "no son of mine" as a dummy lyric during the writing sessions, rather than a song concerning social commentary. "Dreaming While You Sleep" concerns a hit-and-run driver and his guilt after failing to stop at the scene of the accident. The former contains a sample of a sound that Rutherford achieved as he was "messing about bending two notes" that Banks had recorded from a microphone on his E-mu Emulator which he then sampled and slowed down, creating a noise he compared to an elephant's trumpeting. The ten-minute "Driving The Last Spike" is about 19th-century Irish navvies who helped built the railways in the UK, and the poor and unsafe working conditions they had to endure. Collins wrote it after being given a book on the subject by a correspondent who sought to produce a television show about it. Banks used a Hammond organ patch on the track, which referenced his prominent use of the instrument early in Genesis' career. The other long track, "Fading Lights", came out of group improvisation. "Since I Lost You" was written by Collins for his friend Eric Clapton. On 20 March 1991, Clapton's four-year-old son Conor died after falling from the 53rd-story window of his mother's friend's New York City apartment, landing on the roof of an adjacent four-story building. Banks and Rutherford were the only members in the studio that day, and played what music they had written to Collins the following day. Collins said, "Straight away, I was singing the things you hear on the record", and wrote a set of lyrics based on the incident, not revealing what they were about to his bandmates until he had finished them. Some lines were from a real-life conversation Collins had with Clapton following the incident. "Tell Me Why" criticises the Gulf War and the plight of the Kurdish people in its aftermath. Collins got the idea from a television news report while he was having dinner with his wife and daughter. "So I just mixed my feelings with previous thoughts about Bangladesh and Ethiopia".


title: We Can't Dance

text: The serious material was balanced by shorter and lighter songs. "I Can't Dance" was a criticism of models who appeared in jeans adverts popular at the time, and built around a heavy Rutherford guitar riff. Banks noted his electric piano part was one of the most minimal riffs he has played on record and had thought of a style heard on the 1968 song "Feelin' Alright?" by Traffic. "Jesus He Knows Me" was a barbed parody of the televangelist movement in the US, which the band members had seen while touring the country. "Living Forever" deals with a cynical view of society's obsession with modern diets and lifestyles. Its original working title was "Hip-Hop Brushes" after Collins acquired new drum disks for his E-mu SP-1200 drum machine and devised a hip-hop oriented drum pattern using its brush sound, as he recalled, in around ten minutes which the group then played from and developed the song from it.


title: We Can't Dance

text: Two songs, "On the Shoreline" and "Hearts on Fire", were cut from the album due to time constraints; instead, both songs were released as B-sides for the singles "I Can't Dance" and "Jesus He Knows Me" respectively, as well as appearing in the "" and "Genesis 1983–1998" box sets.


title: We Can't Dance

text: Among the keyboards Banks plays on the album are the Korg 01/W Music Workstation, Korg Wavestation, Ensoniq VFX, Roland JD-800, Roland Rhodes VK-1000, and E-mu Emulator III; the latter enabled Banks to create samples in stereo.


title: We Can't Dance

text: "We Can't Dance" was released worldwide on 11 November 1991 on Virgin Records and on 12 November 1991 by Atlantic Records in the United States. The album was a success in the charts, going to number one on the UK Albums Chart for two non-consecutive weeks beginning 23 November 1991 and 22 August 1992. In the United States, it debuted the "Billboard" 200 chart at number four, the week of 30 November 1991. It stayed at its peak for one week during its 72-week stay on the chart. The album also spawned several hit singles, including "No Son of Mine", "Hold on My Heart", "I Can't Dance" and "Jesus He Knows Me", the latter two supported by humorous videos.


title: We Can't Dance

text: On 1 December 1991, the album was certified double Platinum by the British Phonographic Industry (BPI) for shipment of 600,000 copies. A year later, sales grew to reach quadruple platinum, signifying 1.2 million copies sold. The album reached quintuple platinum status in March 1997, for 1.5 million copies sold. In the United States, "We Can't Dance" shipped 1 million copies by 27 December 1991. Five years later, the album was certified quadruple platinum by the Recording Industry Association of America (RIAA) for four million copies sold.


title: We Can't Dance

text: "We Can't Dance" was re-released in 2007 as a SACD/DVD set with new stereo and 5.1 surround sound mixes by Davis. It was also included as part of the band's "Genesis 1983–1998" box set.


title: We Can't Dance

text: "Rolling Stone" chiefly commented on the album's lyrics. They criticised "Tell Me Why" and "Way of the World" for being soulless and impersonal social commentaries, but regarded most of the songs as outstanding, and summarised "Although "We Can't Dance" doesn't quite achieve the vulnerable grace of "Duke" or the exuberance of "Abacab", Genesis has nevertheless delivered an elegantly spare – and even adventurous – album." David Browne of "Entertainment Weekly" gave a lacklustre review, stating: "At a time when everything is uncertain ... you almost have to admire a record like "We Can't Dance". ... You know there will be a couple of fleeting moments when the band breaks out of its torpor – for instance, on the very polite primal stomp of 'I Can't Dance' – and that such moments will just as quickly be subsumed by the rest of the musical quicksand."


title: We Can't Dance

text: In a retrospective assessment, AllMusic also criticised the lyrics of "Tell Me Why" and "Way of the World", calling them "paeans for world understanding that sound miles away from any immediacy". However, they praised the album for returning to a less pop-oriented direction, and especially complimented the grittiness of "No Son of Mine", "Jesus He Knows Me", and "I Can't Dance". Ultimate Classic Rock ranked "We Can't Dance" as the 14th best album by Genesis, stating "Collins' final album with Genesis is full of obnoxious, overproduced pop pap; most of the tracks sound like castoffs from one of his solo albums. When the meager charms of a song like 'I Can't Dance' are a highlight, you’re in big trouble." Stevie Chick of "The Guardian" dismissed the album as "blandness" in a countdown of ten of the best Genesis songs.


title: We Can't Dance

text: The album garnered Genesis an American Music Award for Favorite Pop/Rock Band, Duo, or Group and two further nominations for Favorite Adult Contemporary Album and Favorite Adult Contemporary Artist. At the Brit Awards in 1993, the album was nominated for British Album while Phil Collins was nominated as British Male Artist for his contribution to the album.


title: We Can't Dance

text: Genesis supported the album with the 68-date We Can't Dance Tour across the United States and Europe from 8 May to 17 November 1992, with their longtime touring musicians Chester Thompson on drums and Daryl Stuermer on bass and lead guitars. It also marked the 25th anniversary of the band, and featured a 20-minute medley of their older material recorded in the 1970s. For the first time since 1978, the setlist did not include "In the Cage" from "The Lamb Lies Down on Broadway" (1974). Booking agent Mike Farrell said Genesis spent millions of their own earnings to put the tour together.


title: We Can't Dance

text: Designed specifically for stadiums, the set featured a 200 ft-long (60.9 m) stage designed by Marc Brickman and built to the band's specifications with 80 ft (24.3 m) sound towers and three 20 x 26 ft (6 x 7.9 m) moveable Sony Jumbotron screens that alone cost $5 million, all needing 42 lorries to transport. The advantages of these was that images from videos or artwork was projected on them to illustrate some songs, while live camera footage of the band gave everyone in the arena a front row view. Collins sang with an in-ear monitoring system which he credited to singing more in tune and more effortlessly than before as he felt he was always "fighting" with the band's sound. It also reduced his worry about the condition of his voice on tour. Collins would not tour with Genesis again until he returned in 2006 for their .


title: We Can't Dance

text: Recordings from several dates were released on the live albums "" (1992) and "" (1993). The dates at Earl's Court in London were filmed and released as "The Way We Walk - Live in Concert".


title: Feud

text: A feud , referred to in more extreme cases as a blood feud, vendetta, faida, clan war, gang war, or private war, is a long-running argument or fight, often between social groups of people, especially families or clans. Feuds begin because one party perceives itself to have been attacked, insulted, injured, or otherwise wronged by another. Intense feelings of resentment trigger an initial retribution, which causes the other party to feel greatly aggrieved and vengeful. The dispute is subsequently fuelled by a long-running cycle of retaliatory violence. This continual cycle of provocation and retaliation usually makes it extremely difficult to end the feud peacefully. Feuds can persist for generations and may result in extreme acts of violence. They can be interpreted as an extreme outgrowth of social relations based in family honor.


title: Feud

text: Until the early modern period, feuds were considered legitimate legal instruments and were regulated to some degree. For example, Montenegrin culture calls this "krvna osveta", meaning "blood revenge", which had unspoken but highly valued rules. In Albanian culture it is called "gjakmarrja", which usually lasts for generations. In tribal societies, the blood feud, coupled with the practice of blood wealth, functioned as an effective form of social control for limiting and ending conflicts between individuals and groups who are related by kinship, as described by anthropologist Max Gluckman in his article "The Peace in the Feud" in 1955.


title: Feud

text: A blood feud is a feud with a cycle of retaliatory violence, with the relatives or associates of someone who has been killed or otherwise wronged or dishonored seeking vengeance by killing or otherwise physically punishing the culprits or their relatives. In the English-speaking world, the Italian word vendetta is used to mean a blood feud; in Italian, however, it simply means (personal) "vengeance" or "revenge", originating from the Latin "vindicta" (vengeance), while the word "faida" would be more appropriate for a blood feud. In the English-speaking world, "vendetta" is sometimes extended to mean any other long-standing feud, not necessarily involving bloodshed. Sometimes it is not mutual, but rather refers to a prolonged series of hostile acts waged by one person against another without reciprocation.


title: Feud

text: Blood feuds were common in societies with a weak rule of law (or where the state did not consider itself responsible for mediating this kind of dispute), where family and kinship ties were the main source of authority. An entire family was considered responsible for the actions of any of its members. Sometimes two separate branches of the same family even came to blows, or worse, over some dispute.


title: Feud

text: The practice has mostly disappeared with more centralized societies where law enforcement and criminal law take responsibility for punishing lawbreakers.


title: Feud

text: In Homeric ancient Greece, the practice of personal vengeance against wrongdoers was considered natural and customary: "Embedded in the Greek morality of retaliation is the right of vengeance... Feud is a war, just as war is an indefinite series of revenges; and such acts of vengeance are sanctioned by the gods".


title: Feud

text: In the ancient Hebraic context, it was considered the duty of the individual and family to avenge unlawful bloodshed, on behalf of God and on behalf of the deceased. The executor of the law of blood-revenge who personally put the initial killer to death was given a special designation: "go'el haddam", the blood-avenger or blood-redeemer (Book of Numbers 35: 19, etc.). Six Cities of Refuge were established to provide protection and due process for any unintentional manslayers. The avenger was forbidden from harming an if the killer took refuge in one of these cities. As the "Oxford Companion to the Bible" states: "Since life was viewed as sacred (Genesis 9.6), no amount of blood money could be given as recompense for the loss of the life of an innocent person; it had to be "life for life" (Exodus 21.23; Deuteronomy 19.21)".


title: Feud

text: Rita of Cascia, a popular 15th-century Italian saint, was canonized by the Catholic Church due mainly to her great effort to end a feud in which her family was involved and which claimed the life of her husband.


title: Feud

text: The blood feud has certain similarities to the ritualized warfare found in many pre-industrial tribes. For instance, more than a third of Ya̧nomamö males, on average, died from warfare. The accounts of missionaries to the area have recounted constant infighting in the tribes for women or prestige, and evidence of continuous warfare for the enslavement of neighboring tribes, such as the Macu, before the arrival of European settlers and government.


title: Feud

text: In Japan's feudal past, the samurai class upheld the honor of their family, clan, and their lord by "katakiuchi" (), or revenge killings. These killings could also involve the relatives of an offender. While some vendettas were punished by the government, such as that of the Forty-seven Ronin, others were given official permission with specific targets.


title: Feud

text: At the Holy Roman Empire's "Reichstag" at Worms in 1495 AD, the right of waging feuds was abolished. The Imperial Reform proclaimed an "eternal public peace" ("Ewiger Landfriede") to put an end to the abounding feuds and the anarchy of the robber barons, and it defined a new standing imperial army to enforce that peace. However, it took a few more decades until the new regulation was universally accepted. In 1506, for example, knight Jan Kopidlansky killed a family rival in Prague, and the town councillors sentenced him to death and had him executed. His brother, Jiri Kopidlansky, declared a private war against the city of Prague. Another case was the Nuremberg-Schott feud, in which Maximilian was forced to step in to halt the damages done by robber knight Schott.


title: Feud

text: In Greece, the custom of blood feud is found in several parts of the country, for instance in Crete and Mani. Throughout history, the Maniots have been regarded by their neighbors and their enemies as fearless warriors who practice blood feuds, known in the Maniot dialect of Greek as "Γδικιωμός" (Gdikiomos). Many vendettas went on for months, some for years. The families involved would lock themselves in their towers and, when they got the chance, would murder members of the opposing family. The Maniot vendetta is considered the most vicious and ruthless; it has led to entire family lines being wiped out. The last vendetta on record required the Greek Army with artillery support to force it to a stop. Regardless of this, the Maniot Greeks still practice vendettas, even today. Maniots in America, Australia, Canada and Corsica still have on-going vendettas which have led to the creation of mafia families known as "Γδικιωμέοι" (Gdikiomeoi).


title: Feud

text: In Corsica, vendettas were a social code (mores) that required Corsicans to kill anyone who wronged the family honor. Between 1821 and 1852, no less than 4,300 murders were perpetrated in Corsica.


title: Feud

text: In the Spanish Late Middle Ages, the Vascongadas was ravaged by the War of the Bands, which were bitter partisan wars between local ruling families. In the region of Navarre, next to Vascongadas, these conflicts became polarised in a violent struggle between the Agramont and Beaumont parties. In Biscay, in Vascongadas, the two major warring factions were named Oinaz and Gamboa. ("Cf." the Guelphs and Ghibellines in Italy). High defensive structures ("towers") built by local noble families, few of which survive today, were frequently razed by fires, and sometimes by royal decree.


title: Feud

text: Leontiy Lyulye, an expert on conditions in the Caucasus, wrote in the mid-19th century: "Among the mountain people the blood feud is not an uncontrollable permanent feeling such as the vendetta is among the Corsicans. It is more like an obligation imposed by the public opinion." In the Dagestani "aul" of Kadar, one such blood feud between two antagonistic clans lasted for nearly 260 years, from the 17th century until the 1860s.


title: Feud

text: The Celtic phenomenon of the "blood feud" demanded "an eye for an eye," and usually descended into murder. Disagreements between clans might last for generations in Scotland and Ireland.


title: Feud

text: In Scandinavia in the Viking era, feuds were common, as the lack of a central government left dealing with disputes up to the individuals or families involved. Sometimes, these would descend into "blood revenges", and in some cases would devastate whole families. The ravages of the feuds as well as the dissolution of them is a central theme in several of the Icelandic sagas. An alternative to feud was "blood money" (or "weregild" in the Norse culture), which demanded a set value to be paid by those responsible for a wrongful permanent disfigurement or death, even if accidental. If these payments were not made, or were refused by the offended party, a blood feud could ensue.


title: Feud

text: Due to the Celtic heritage of many people living in Appalachia, a series of prolonged violent engagements in late nineteenth-century Kentucky and West Virginia were referred to commonly as feuds, a tendency that was partly due to the nineteenth-century popularity of William Shakespeare and Sir Walter Scott, both of whom had written semihistorical accounts of blood feuds. These incidents, the most famous of which was the Hatfield–McCoy feud, were regularly featured in the newspapers of the eastern U.S. between the Reconstruction Era and the early twentieth century, and are seen by some as linked to a Southern culture of honor with its roots in the Scots-Irish forebears of the residents of the area. Another prominent example was the Regulator–Moderator War, which took place between rival factions in the Republic of Texas. It is sometimes considered the largest blood feud in American history.


title: Feud

text: Blood feuds within Russian communities do exist (mostly related to criminal gangs), but are neither as common nor as pervasive as they are in the Caucasus. In the United States, gang warfare also often takes the form of blood feuds. African-American, Italian-American, Cambodian, Cuban Marielito, Dominican, Guatemalan, Haitian, Hmong, Sino-Vietnamese Hoa, Irish-American, Jamaican, Korean, Laotian, Puerto Rican, Salvadoran and Vietnamese gangs and organized crime conflicts very often have taken the form of blood feuds, in which a family member in the gang is killed and a relative takes revenge by killing the murderer as well as other members of the rival gang. This can also be observed in particular cases in conflicts among Colombian, Mexican, Brazilian, and other Latin American gangs, drug cartels, and paramilitary groups; in turf wars among Cape Coloured gangs in South Africa; in gang fights among Dutch Antillean, Surinamese and Moluccan gangs in the Netherlands; and in criminal feuds between Scottish, White British, Black and Mixed British gangs in the UK. This has resulted in gun violence and murders in cities like Chicago, Detroit, Los Angeles, Miami, Ciudad Juarez, Medellin, Rio de Janeiro, Cape Town, Amsterdam, London, Liverpool, and Glasgow, to name just a few.


title: Feud

text: Blood feuds also have a long history within the White Southerner population (and in particular among the "Scots-Irish" or Ulster Scots American population) of the Southern United States, where it is called the "culture of honor", and still exists to the present day.


title: Feud

text: In Albania, "gjakmarrja" (blood feuding) is a tradition. Blood feuds in Albania trace back to the Kanun, this custom is also practiced among the Albanians of Kosovo. It returned to rural areas after more than 40 years of being abolished by Albanian Communists led by Enver Hoxha.


title: Feud

text: In 1980, Albanian author Ismail Kadare published "Broken April", about the centuries-old tradition of hospitality, blood feuds, and revenge killing in the highlands of north Albania in the 1930s. "The New York Times", reviewing it, wrote: ""Broken April" is written with masterly simplicity in a bardic style, as if the author is saying: Sit quietly and let me recite a terrible story about a blood feud and the inevitability of death by gunfire in my country. You know it must happen because that is the way life is lived in these mountains. Insults must be avenged; family honor must be upheld..." The novel was made into a 2001 movie entitled "Behind the Sun" by filmmaker Walter Salles, set in 1910 Brazil and starring Rodrigo Santoro, which was nominated for a BAFTA Award for Best Film Not in the English Language and a Golden Globe Award for Best Foreign Language Film.


title: Feud

text: There are now more than 1,600 families who live under an ever-present death sentence because of feuds, and since 1992, at least 10,000 Albanians have been killed in them.


title: Feud

text: Blood feuds have also been part of a centuries-old tradition in Kosovo, tracing back to the Kanun, a 15th-century codification of Albanian customary rules. In the early 1990s, most cases of blood feuds were reconciled in the course of a large-scale reconciliation movement to end blood feuds led by Anton Çetta. The largest reconciliation gathering took place at Verrat e Llukës on 1 May 1990, which had between 100,000 and 500,000 participants. By 1992, the reconciliation campaign ended at least 1,200 deadly blood feuds, and in 1993, not a single homicide occurred in Kosovo.


title: Feud

text: Criminal gang feuds also exist in Dublin, Ireland and in the Republic's third-largest city, Limerick. Traveller feuds are also common in towns across the country. Feuds can be due to personal issues, money, or disrespect, and grudges can last generations. Since 2001, over 300 people have been killed in feuds between different drugs gangs, dissident republicans, and Traveller families.


title: Feud

text: Family and clan feuds, known locally as "rido", are characterized by sporadic outbursts of retaliatory violence between families and kinship groups, as well as between communities. It can occur in areas where the government or a central authority is weak, as well as in areas where there is a perceived lack of justice and security. "Rido" is a Maranao term commonly used in Mindanao to refer to clan feuds. It is considered one of the major problems in Mindanao because, apart from numerous casualties, "rido" has caused destruction of property, crippled local economies, and displaced families.


title: Feud

text: Located in the southern Philippines, Mindanao is home to a majority of the country’s Muslim community, and includes the Autonomous Region in Muslim Mindanao. Mindanao "is a region suffering from poor infrastructure, high poverty, and violence that has claimed the lives of more than 120,000 in the last three decades." There is a widely held stereotype that the violence is perpetrated by armed groups that resort to terrorism to further their political goals, but the actual situation is far more complex. While the Muslim-Christian conflict and the state-rebel conflicts dominate popular perceptions and media attention, a survey commissioned by The Asia Foundation in 2002—and further verified by a recent Social Weather Stations survey—revealed that citizens are more concerned about the prevalence of "rido" and its negative impact on their communities than the conflict between the state and rebel groups. The unfortunate interaction and subsequent confusion of "rido"-based violence with secessionism, communist insurgency, banditry, military involvement and other forms of armed violence shows that violence in Mindanao is more complicated than what is commonly believed.


title: Feud

text: "Rido" has wider implications for conflict in Mindanao, primarily because it tends to interact in unfortunate ways with separatist conflict and other forms of armed violence. Many armed confrontations in the past involving insurgent groups and the military were triggered by a local "rido". The studies cited above investigated the dynamics of "rido" with the intention of helping design strategic interventions to address such conflicts.


title: Feud

text: The causes of "rido" are varied and may be further complicated by a society's concept of honor and shame, an integral aspect of the social rules that determine accepted practices in the affected communities. The triggers for conflicts range from petty offenses, such as theft and jesting, to more serious crimes, like homicide. These are further aggravated by land disputes and political rivalries, the most common causes of "rido". Proliferation of firearms, lack of law enforcement and credible mediators in conflict-prone areas, and an inefficient justice system further contribute to instances of "rido".


title: Feud

text: Studies on "rido" have documented a total of 1,266 "rido" cases between the 1930s and 2005, which have killed over 5,500 people and displaced thousands. The four provinces with the highest numbers of "rido" incidences are: Lanao del Sur (377), Maguindanao (218), Lanao del Norte (164), and Sulu (145). Incidences in these four provinces account for 71% of the total documented cases. The findings also show a steady rise in "rido" conflicts in the eleven provinces surveyed from the 1980s to 2004. According to the studies, during 2002–2004, 50% (637 cases) of total "rido" incidences occurred, equaling about 127 new "rido" cases per year. Out of the total number of "rido" cases documented, 64% remain unresolved.


title: Feud

text: "Rido" conflicts are either resolved, unresolved, or reoccurring. Although the majority of these cases remain unresolved, there have been many resolutions through different conflict-resolving bodies and mechanisms. These cases can utilize the formal procedures of the Philippine government or the various indigenous systems. Formal methods may involve official courts, local government officials, police, and the military. Indigenous methods to resolve conflicts usually involve elder leaders who use local knowledge, beliefs, and practices, as well as their own personal influence, to help repair and restore damaged relationships. Some cases using this approach involve the payment of blood money to resolve the conflict. Hybrid mechanisms include the collaboration of government, religious, and traditional leaders in resolving conflicts through the formation of collaborative groups. Furthermore, the institutionalization of traditional conflict resolution processes into laws and ordinances has been successful with the hybrid method approach. Other conflict-resolution methods include the establishment of ceasefires and the intervention of youth organizations.


title: James H. Clark

text: James Henry Clark (born March 23, 1944) is an American entrepreneur and computer scientist. He founded several notable Silicon Valley technology companies, including Silicon Graphics, Netscape, myCFO, and Healtheon. His research work in computer graphics led to the development of systems for the fast rendering of three-dimensional computer images.


title: James H. Clark

text: In 1998, Clark was elected a member of the National Academy of Engineering for the development of computer graphics and for technical leadership in the computer industry.


title: James H. Clark

text: Clark was born in Plainview, Texas, on March 23, 1944. He dropped out of high school at 16 and spent four years in the Navy, where he was introduced to electronics. Clark began taking night courses at Tulane University's University College where, despite his lack of a high school diploma, he was able to earn enough credits to be admitted to the University of New Orleans. There, Clark earned his bachelor's and a master's degrees in physics, followed by a Ph.D. in computer science from the University of Utah in 1974.


title: James H. Clark

text: After completing his doctorate, Clark briefly worked at the New York Institute of Technology's Computer Graphics Lab. He served as an assistant professor at the University of California, Santa Cruz (1974-1978) before moving to Stanford University as an associate professor of electrical engineering (1979-1982). Clark's research work concerned geometry pipelines, specialized software or hardware that accelerates the display of three dimensional images. The peak of his group's advancements was the "Geometry Engine", an early hardware accelerator for rendering computer images based on geometric models which he developed in 1979 with his students at Stanford.


title: James H. Clark

text: In 1982, Clark along with several Stanford graduate students founded Silicon Graphics (SGI). The earliest Silicon Graphics graphical workstations were mainly terminals, but they were soon followed by stand-alone graphical Unix workstations with very fast graphics rendering hardware. In the mid-1980s, Silicon Graphics began to use the MIPS CPU as the foundation of their newest workstations, replacing the Motorola 68000.


title: James H. Clark

text: By 1991, Silicon Graphics had become the world leader in the production of Hollywood movie visual effects and 3-D imaging. Silicon Graphics focused on the high-end market where they could charge a premium for their special hardware and graphics software.


title: James H. Clark

text: Clark had differences of opinion with Silicon Graphics management regarding the future direction of the company, and departed in late January 1994.


title: James H. Clark

text: In February 1994, Clark sought out Marc Andreessen who had led the development of Mosaic, the first widely distributed and easy-to-use software for browsing the World Wide Web, while employed at the National Center for Supercomputing Applications (NCSA). Clark and Andreessen founded Netscape, and developed the Netscape Navigator web browser. The founding of Netscape and its IPO in August 1995 launched the Internet boom on Wall Street during the mid-to-late 1990s. Clark's initial investment in Netscape was $4 million in 1994; he exited with $1.2 billion when Netscape was acquired by AOL in 1999.


title: James H. Clark

text: In 1995, Clark became interested in streamlining the paperwork associated with the health-care industry. The resulting start-up, Healtheon, was founded in early 1996 with backing from Kleiner Perkins and New Enterprise Associates. Although Clark's original idea of eliminating the paperwork and bureaucracy associated with medical care was ambitious, it did lead to successes in administrative streamlining of medical records technology. However, an Atlanta, Georgia startup company, WebMD originally focused on medical content was also making similar in-roads. Knowing WebMD had financial backing from Microsoft, Clark decided to merge Healtheon with the original WebMD to form the WebMD Corporation (NASDAQ: WBMD). WebMD is a leader in health information on the Internet.


title: James H. Clark

text: In 1999, Clark launched myCFO, a company formed to help wealthy Silicon Valley individuals manage their fortunes. In late 2002, while Clark served on the board of directors, most of myCFO's operations were sold to Harris Bank and now operate as "Harris myCFO".


title: James H. Clark

text: Clark was chairman and financial backer of network-security startup Neoteris, founded in 2000, which was acquired by NetScreen in 2003 and subsequently by Juniper Networks.


title: James H. Clark

text: Clark was a founding director and investor in the biotechnology company DNA Sciences, founded in 1998 to unravel the genetics of common disease using volunteers recruited from the Internet launched August 1, 2000 (see The New York Times). In 2003, the company was acquired by Genaissance Pharmaceuticals Inc.


title: James H. Clark

text: Clark was the subject of the 1999 bestseller "The New New Thing: A Silicon Valley Story" by U.S. author Michael Lewis.


title: James H. Clark

text: Clark was a notable investor in Kibu.com, an Internet website for teens, which received approximately $22 million in funding. The website shut down in 2000, returning its remaining capital to investors.


title: James H. Clark

text: Clark coproduced the 2009 movie "The Cove". His funding made possible the purchase and covert installation of some high-tech camera and sound-recording equipment required to capture the film's climactic dolphin slaughter. The film addresses the problem of whale and dolphin killing in Taiji, Wakayama, Japan.


title: James H. Clark

text: Clark sits on the board and is one of the primary investors in the consumer facing mobile technology company Ibotta.


title: James H. Clark

text: In 2017, Clark announced the launch of CommandScape, a cyber secure building management and automation platform.


title: James H. Clark

text: Clark received the ACM SIGGRAPH Computer Graphics Achievement Award in 1984. In 1996, he received the Golden Plate Award of the American Academy of Achievement. He was a recipient of the 1997 Kilby International Awards, which honored him for his computer graphics vision and for enabling networked information exchange.


title: James H. Clark

text: In 1988, Clark was an Award Recipient of the EY Entrepreneur of the Year Award in the Northern California Region.


title: James H. Clark

text: Clark has been married four times and has four children. In 2000, his daughter Kathy married Chad Hurley, a co-founder of YouTube, they were divorced in 2014. The divorce from his third wife of 15 years, Nancy Rutter, a Forbes journalist, is reported to have cost him $125 million in cash and assets in the settlement. Soon afterwards he began dating Australian model Kristy Hinze, 36 years his junior. Hinze became his fourth wife when they married in the British Virgin Islands on March 22, 2009. She gave birth to a daughter, Dylan Vivienne in September 2011, and later, Harper Hazelle, in August 2013.


title: James H. Clark

text: In 2022 he made the largest residential real estate sale in Florida history, selling a 22-acre property in Manalapan, Florida to Larry Ellison for approximately $175 million. Clark had previously acquired the property from the Ziff publishing family for $94 million.


title: James H. Clark

text: Clark is an enthusiastic yachtsman but cannot sail in rough ocean races such as the Sydney-Hobart due to an arthritic condition in his ankles and prefers one-day regattas on the smoother waters of the Mediterranean, the Caribbean and off Newport, Rhode Island. In 2012, however, he commented that "after 28 years of owning boats, I'm over it."


title: James H. Clark

text: Clark is a passionate pilot who enjoys flying helicopters, gliders (built in Germany) and acrobatic aircraft (extra 300). His approach to learning to fly a helicopter was very much like trial and error as he explored how this aircraft works.


title: James H. Clark

text: Clark has contributed to Stanford University, where he was an associate electrical engineering professor. In 1999, he pledged $150 million toward construction of the James H. Clark Center for Biomedical Engineering and related programs for interdisciplinary biomedical research. At the time, it was the largest-ever contribution to Stanford, other than the university's founding grant. Construction started in 2001 and was completed in the summer of 2003, as part of Stanford's Bio-X program. In September 2001, Clark rescinded $60 million of his initial pledge, citing anger over President Bush's restrictions on stem cell research. In a "New York Times" opinion piece, Clark said federal funding is essential for research in the United States, and he was not interested in funding research that could be suppressed for political reasons. President Barack Obama lifted the restrictions in question in 2009. In 2013, Clark pledged an additional $60 million to Stanford for interdisciplinary research in the life sciences, technology, and engineering. His commitment was finally completely fulfilled in 2020. Clark has donated an additional $10 million to fund fellowships at the Stanford Institute for Theoretical Physics.


title: James H. Clark

text: In 2004, Clark and David Filo of Yahoo! each donated $30 million to Tulane University's School of Engineering for merit-based scholarships to provide education to deserving students regardless of financial situation in the discipline of engineering.


title: James H. Clark

text: Clark is a board member for the national council of the World Wide Fund for Nature (WWF) and contributes towards the organization. The Perlman Music Program has recognized Clark for his continued philanthropic efforts towards their organization and their endowment fund.


title: Jayne Torvill

text: Jayne Torvill, OBE (born 7 October 1957) is a British professional ice dancer and former competitor. With Christopher Dean, she won a gold medal at the 1984 Winter Olympics and a bronze medal at the 1994 Winter Olympics, becoming one of the oldest figure skating Olympic medalists.


title: Jayne Torvill

text: Torvill was born in Clifton, Nottingham, England, and grew up in Nottingham. She attended Clifton Hall Girls' Grammar School and worked in the city as an insurance clerk at Norwich Union.


title: Jayne Torvill

text: She became hooked on ice skating at the age of 8 following an after-school trip to the local ice rink. In 1971 at age 14 Torvill became the British National Pairs Champion with her then-partner Michael Hutchinson.


title: Jayne Torvill

text: After parting from Hutchinson, Torvill continued to skate on her own for a while before teaming up with Christopher Dean in 1975. On placing 5th in the 1980 Winter Olympics at Lake Placid, New York, Dean gave up his job as a policeman and Torvill gave up hers as an insurance clerk to skate together full-time.


title: Jayne Torvill

text: Torvill and Dean's free programme at the 1984 Sarajevo Winter Olympics, performed to the music of Maurice Ravel's "Boléro", became world-famous. They received twelve perfect 6.0 marks, one of five occasions they were awarded all perfect scores for artistic impression. It was one of the most popular achievements in the history of British sport, watched by a British television audience of 24 million people. Since the time limit was four minutes and ten seconds and their music was four minutes 28 seconds, they began on their knees and moved their bodies to the music for 18 seconds before starting to skate.


title: Jayne Torvill

text: Torvill and Dean turned professional after their 1984 Olympic win and under then existing Olympic Committee rules their professional status made them ineligible to compete in the Olympics again. However, in 1993 the International Skating Union relaxed the rules for professional skaters, allowing the pair to participate in the 1994 Winter Olympics in Lillehammer where they won a bronze medal.


title: Jayne Torvill

text: Torvill took a seven-year break from skating from 1998–2005. In January 2006, she and Dean began starring in the ITV show "Dancing on Ice". Each year, the show runs from January to March and then goes to arenas across the United Kingdom. In November 2011, Torvill said, "the standard each year has gotten higher and higher, which is exciting for us – to think what we can achieve with people who have never skated or are relatively unknown to skating."


title: Jayne Torvill

text: Torvill and Dean were ambassadors for the 2012 European Figure Skating Championships in Sheffield, England. In February 2014, Torvill and Dean visited Sarajevo for the 30th anniversary of the 1984 Olympics, and recreated their Bolero routine in the same arena where they won the gold.


title: Jayne Torvill

text: Torvill currently resides in Heathfield, East Sussex, England, with her husband Phil Christensen and their adopted children Kieran and Jessica.


title: Jayne Torvill

text: In 2021 Torvill took part in an episode of "DNA Journey" were she found out she was related to footballer Charlie Bicknell, a cousin on her mother's side.


title: Saraswatichandra (TV series)

text: Saraswatichandra is an Indian soap opera produced by Sanjay Leela Bhansali, written by Saba Mumtaz, Shruti Vaidys, Utkarsh Naithani, Ved Raj and Abhijit Sinha, and is based on Govardhanram Tripathi's 1887-1901 four volume novel of the same name. It aired on Star Plus from 25 February 2013 to 20 September 2014.


title: Saraswatichandra (TV series)

text: Due to issues arising from the original production company, in August 2013, "Saraswatichandra" switched its production house to Sphere Origins.


title: Saraswatichandra (TV series)

text: Young aristocrat Saraswatichandra Laxminandan Vyas, a.k.a. Saras, who lives in Dubai is introverted due to his mother's suicide and rejects an arranged marriage by his father with his friend Vidyachatur Desai's daughter Kumud, informing her by letter. She challenges him to inform her father and so Saras travels to her village named Ratnanagri in Ahmedabad district, Gujarat, India, gains familiarity with her family and gradually falls in love with her. On his return to Dubai, Saras finds a letter from his mother Saraswati, explaining that she committed suicide due to his father having an affair with Ghuman. That letter was written by his step mother Ghuman. Saras disowns his father and decides not to marry Kumud because he cannot support her without his family's wealth.


title: Saraswatichandra (TV series)

text: To save her family's reputation, Kumud rushes into a marriage with Pramad, the son of a politician. Saras realizes his mistake and tries to stop the wedding, but is beaten up by thugs. Kumud finds that her husband is an abusive alcoholic but resolves to change him. Pramad's sister Alak finds Saras and brings him to the family home to recover. Saras vows to change Pramad's ways. Pramad's father also wants Pramad to change, and hires Saras as his secretary which makes Pramad jealous.


title: Saraswatichandra (TV series)

text: Pramad pretends to be a changed man, but tries to kill Kumud with the help of maid Kalika. Saras rescues Kumud, who separates from Pramad and returns to her family home. However, Kalika enters the household by marrying Kumud's cousin Yash. Pramad attempts to abduct Kumud but his goons take her sister Kusum. Saras saves Kusum, who develops feelings for him but agrees to marry another. Pramad sends evidence of Kusum's kidnapping to the groom's family, who call off the wedding. To save the family's reputation, Kumud convinces her family to allow Saras to marry Kusum. Saras agrees, but plots to have Kusum married to his younger stepbrother Danny, who loves her. Kusum gradually recognizes Danny's love and returns his feelings. Pramad travels abroad for medical treatment, abandoning Kumud and facilitating her divorce. Kumud marries Saras, who reconciles with his father Laxminandan. Laxminandan meets with an accident with car of a man, Kabir.