title: Rodney Bewes

text: Bewes remained active as a stage performer in the 1990s and later with one-man versions of "Three Men in a Boat" and "Diary of a Nobody", both of which shows he toured extensively in the UK.


title: Rodney Bewes

text: Bewes final appearance on television was in 2009 when he played retired bank manager Edward Walton in the "Heartbeat" episode "Ties That Bind."


title: Rodney Bewes

text: In July 2013, he was The Marshal (Philippe Pétain) in the Southwark Playhouse production of Peter Ustinov's "The Moment of Truth". He was back in Edinburgh again in 2015 for an autobiographical show, "An Audience with Rodney Bewes... Who?"


title: Rodney Bewes

text: Bewes' autobiography, "A Likely Story", was published in September 2005. In the autobiography, and on Michael Parkinson's BBC Radio 2 show in 2005, he stated that his "Likely Lads" co-star James Bolam had not spoken to him for the past 30 years. It had been assumed for years that Bolam and Bewes were friends off-screen as well as on; a pretence they kept up because their public expected it. However, they had comprehensively fallen out when Bewes indiscreetly related a personal anecdote about Bolam in a 1976 press interview, and they had not spoken since. He blamed Bolam's fear of having his privacy invaded, and of being eternally typecast, leading to his refusing to allow repeats of "The Likely Lads". The final breach, said Bewes, occurred when, having told an anecdote about the birth of his own triplets, he followed on with a story of how Bolam's wife, Sue, had told him she was pregnant while he was driving, and he almost crashed the car. Bewes repeated this story, thinking it was already public knowledge; but then, on realising he might have crossed a line, phoned Bolam to forewarn him of the article, and got a frosty reaction. "There was this dreadful silence. He put the phone down. I called him back, he didn't answer. He hasn't spoken to me since."


title: Rodney Bewes

text: In 2010, Bewes also complained about his former co-star's refusal to allow "The Likely Lads" to be repeated on network television (both had to give approval), preventing him from earning anything from the repeats; "He must be very wealthy; me, I've just got an overdraft and a mortgage". Shortly before he died, in an interview with the "Daily Mirror", Bewes once more lamented the loss of his friendship with Bolam. Bolam, however, denied such a rift ever existed, stating after Bewes' death that they "didn't talk for 40 years because of their busy schedules rather than resentment", and he had "nothing but fond memories" of Bewes. Bolam denied he had the ability to block repeats of the TV series.


title: Rodney Bewes

text: Bewes died on 21 November 2017, six days before his 80th birthday, in his seaside home at Cadgwith in Cornwall. He is survived by a daughter and three sons.


title: Ghost in the Shell: Arise

text: Ghost in the Shell: Arise, also known in Japan as , is an original video animation and television series that serves as a re-imagining of Masamune Shirow's "Ghost in the Shell". The series features new character designs and is directed by Kazuchika Kise, screenplay by Tow Ubukata, and music by Cornelius.


title: Ghost in the Shell: Arise

text: "Ghost in the Shell: Arise – Alternative Architecture", a recompilation of the four original parts of the OVA in a television format, aired on nine stations from April 5 to June 14, 2015. The "AAA" broadcast included two original episodes (later released as the fifth OVA) that help tie "Ghost in the Shell: Arise" with its 2015 animated film sequel "".


title: Ghost in the Shell: Arise

text: The series takes place in the year 2027, where many people in developed countries have become cyborgs with prosthetic bodies. Primarily set in the fictional Japanese Newport City, the series follows a younger Motoko Kusanagi before the formation of Public Security Section 9. At the start of "Arise" she is a member of the federal 501 Organization, a group who employs advanced infiltration tactics and espionage to attack or neutralize enemy threats. The 501 Organization is also the legal owner of Kusanagi's prosthetic body, which is lent to her in exchange for her services to the group. This debt displeases her and causes a disparity between herself and her employer.


title: Ghost in the Shell: Arise

text: "Arise" features an original Japanese voice cast, with only one actor reprising their role from the Oshii film and "" anime television series. Maaya Sakamoto replaces Atsuko Tanaka as the voice of Major Motoko Kusanagi, Sakamoto having previously voiced the Major as a child in both the film, and "Stand Alone Complex" series. Other changes to the cast include Kenichirou Matsuda as Batou, Tarusuke Shingaki as Togusa, Ikyuu Jyuku as Chief Daisuke Aramaki, Tomoyuki Dan as Ishikawa, Takuro Nakakuni as Saito, Yōji Ueda as Paz, and Kazuya Nakai as Borma. Miyuki Sawashiro provides the voice of the series' think tanks now called the , short for . The Logicoma also feature in anime shorts included on the Blu-ray releases titled .


title: Ghost in the Shell: Arise

text: New characters in the first episode include , voiced by Mayumi Asano in Japanese and by Mary Elizabeth McGlynn (the previous voice of the Major) in English, the head of the , the firm who converted Motoko Kusanagi into a full cyborg and who Kusanagi would replace in the organization had she not joined Section 9; , voiced by Takanori Hoshino, a combat cyborg for the 501 Organization that uses electricity as weapons; , voiced by Yasuhiro Mamiya, a combat cyborg for the 501 Organization skilled in bōjutsu and armed with hidden machine guns; , voiced by Kenji Nojima, a tactical cyborg for the 501 Organization that has a set of twins' cyberbrains in its head who always talk to each other; and Lieutenant colonel , voiced by Atsushi Miyauchi, the leader of the 501 Organization who raised Kusanagi but has disappeared, having had something to do with arms dealing.


title: Ghost in the Shell: Arise

text: Each of the films are known as "borders" and have received national theatrical releases one month before the release of their Blu-ray and DVD versions. A recurring part of the films is the mysterious Fire Starter computer virus, as well as looking into the lives of Public Security Section 9's members before its formation.


title: Ghost in the Shell: Arise

text: The opening theme for the first four episodes is called "GHOST IN THE SHELL ARISE" and is performed by both Salyu and Cornelius, it is also used as an ending for the fifth episode, the opening of which is "Anata o tamotsu mono" by Maaya Sakamoto (who also plays the role of Major Kusanagi) and Cornelius; the ending themes are different for each episode.


title: Ghost in the Shell: Arise

text: A manga original story titled began serialization in Kodansha's "Monthly Young Magazine"s April 2013 issue, released March 13, 2013, and ended serialization on June 20, 2016. It was compiled into seven volumes. The manga follows the story of how Batou and Kusanagi met during the civil war.


title: Ghost in the Shell: Arise

text: "Ghost in the Shell: Arise – Alternative Architecture" (officially abbreviated as "Ghost in the Shell AAA") is a television broadcasting of the previously released film series alongside new content. It began airing in Japan on April 5, 2015, broadcasting from the Tokyo MX, KBS, Sun TV, TV Aichi, HTB, OX, SBS, TVQ and BS11 networks. Funimation's subtitled localization of the series began on April 8, 2015, with the digital "AAA" releases being released under the same "Ghost in the Shell: Arise" listing for the original tetralogy, but labelled as television episodes to differentiate the two.


title: Ghost in the Shell: Arise

text: The opening theme is "Anata o tamotsu mono" by Maaya Sakamoto (who also plays the role of Major Kusanagi) and Cornelius.


title: Ghost in the Shell: Arise

text: A stage production of "Ghost in the Shell Arise: GHOST is ALIVE" was staged between the November 5 to 15, 2015 at the Tokyo Playhouse (Ikebukuro). Directed by Shutaro Oku and starring Kaede Aono as Motoko Kusanagi, Ren Yagami as Batou, Kentarou Kanesaki as Togusa and Ikkyuu Juku (塾 一久) reprising his role from the anime as Daisuke Aramaki. The play was presented with 3-D glasses and featured 3-D projected backdrops as well as a dance number at the end.


title: Ghost in the Shell: Arise

text: On September 19, 2013, Pacific Racing and Production I.G. collaborated on an "Arise" themed Porsche 911 GT3R model race car labelled the "NAC Ghost in the Shell ARISE DR Porsche", which was used for the official Super GT auto race. It was discontinued in March 2014 and replaced with a "Love Live!" theme. From November 1 until December 31, 2013, a "Ghost in the Shell: Arise Airport AR Event" was held in many Japanese airports, with AR posters scattered around Haneda Airport, Ibaraki Airport and Fukuoka Airport for visitors to scan using an official app. A free admission special event titled "Ghost in the Shell LABO ~ Shinjuku Gitai" was held in Eastern Shinjuku on November 29 to 30, 2013, where attendees received special promotional material designed after the prosthetic wiring in the series created by renowned makeup artist JIRO.


title: Ghost in the Shell: Arise

text: On June 14, 2013, Funimation announced that it had acquired the rights for the series for a North American release. Funimation released parts 1 and 2 on Blu-ray and DVD to North America on October 28, 2014. On January 8, 2015, it was announced that "Arise" would be adapted into a "TV series" in the spring of 2015. This was later confirmed to be a recompilation of the first four films into a television format, with two original episodes, collectively titled "Ghost in the Shell: Arise – Alternative Architecture" ("Ghost in the Shell AAA").


title: Ghost in the Shell: Arise

text: An original episode titled "Pyrophoric Cult", was given a standalone home video release in Japan on August 26, 2015, with runtime of 50 minutes. This was reduced and split in two for the previous "AAA" broadcasting. The plot involves the "Fire Starter" virus explored in "Arise" previously and introduces the new character Pyromaniac. The episode ties into the film "". "Pyrophoric Cult" did not receive an English dub.


title: Ghost in the Shell: Arise

text: Overall reception of "Ghost in the Shell: Arise" has been largely positive. Initial reactions upon announcement of the series were mainly centered on the visual redesign of the cast, particularly Major Kusanagi. Upon release of the first episode, Richard Eisenbeis of Kotaku has called "Arise" "a worthy addition to "Ghost in the Shell"" and assured viewers that "the changes to the series are only skin-deep". However, he stated that the episode's themes are "things you have at least somewhat seen explored before in the other iterations of the franchise". Hugo Ozman of Twitch Film has stated similar opinions, calling "Ghost Pain" "interesting, but not spectacular".


title: Green Card (film)

text: Green Card is a 1990 American romantic comedy-drama film written, produced, and directed by Peter Weir and starring Gérard Depardieu and Andie MacDowell. The screenplay focuses on an American woman who enters into a marriage of convenience with a Frenchman so he can obtain a green card and remain in the United States. Depardieu won the Golden Globe Award for Best Actor. The film won the Golden Globe for Best Motion Picture – Musical or Comedy, and was nominated for an Oscar for Best Original Screenplay.


title: Green Card (film)

text: Brontë Parrish (Andie MacDowell), a horticulturalist and an environmentalist, enters into a Green Card marriage with Georges Fauré (Depardieu), an undocumented immigrant from France, so he may stay in the United States. In turn, Brontë uses her fake marriage credentials to rent the apartment of her dreams. After moving in, and in order to explain her spouse's absence, she tells the doorman and neighbors he is conducting musical research in Africa.


title: Green Card (film)

text: Contacted by the Immigration and Naturalization Service for an interview to determine if her marriage is legitimate, Brontë tracks down Georges, who is working as a waiter. Although the two have little time to get their facts straight, the agents who question them appear to be satisfied with their answers. But when one of the agents asks to use the bathroom and Georges directs him to a closet, their suspicions are aroused, and they schedule a full, formal interview to be conducted two days later at their office.


title: Green Card (film)

text: Advised by her attorney (Robert Prosky) that she could face criminal charges if their deception is uncovered, Brontë reluctantly invites Georges to move in with her. They try to learn about each other's past and their quirks and habits but quickly find they can barely tolerate each other. Georges is a fiery-tempered selfish slob and smoker who prefers red meat to vegetarian food, while Brontë is shown as uptight and cold, obsessed with her plants and wrapped up in environmental issues.


title: Green Card (film)

text: Meanwhile, the parents of Lauren Adler (Bebe Neuwirth), Brontë's best friend, plan to leave New York City and consider donating their trees and plants to the Green Guerrillas, a group overseeing the development of inner-city gardens. Brontë is invited to a dinner party to discuss the issue and discovers Georges is there, having been asked by Lauren. He so impresses the Adlers with an impressionistic piano piece, set to a poem about children and trees, that they agree to donate their plants to the Green Guerrillas. When Brontë's parents later arrive at the apartment for an unannounced visit, Georges pretends to be the handyman.


title: Green Card (film)

text: When Brontë's boyfriend Phil (Gregg Edelman) returns from a trip, Georges reveals that he is married to her. Brontë angrily kicks Georges out, but the pair nonetheless appear at the immigration interview the next day. The two are questioned separately, and when Georges is caught out by the interviewer (Ethan Phillips), he confesses the marriage is a sham. He agrees to deportation but insists Brontë not be charged for her role in the charade. He lets Brontë believe the interview was a success and the two go their separate ways.


title: Green Card (film)

text: A few days later, Georges invites Brontë to join him at the cafe where they first met. When she notices one of the immigration agents is waiting outside, she realizes Georges is being deported and tries to stop him from being sent away as they've both realized they are in love with each other. Georges promises to write every day asking the same question "When are you coming, "chérie"?", a line he had also used when describing their fabricated courtship to the INS. Just before he leaves with the immigration agent, Brontë asks if he still has their wedding rings; he pulls them out of his pocket and they quickly exchange rings again, laughing and kissing. Then Georges departs with the agent as Brontë watches from the sidewalk.


title: Green Card (film)

text: Peter Weir wrote the script, an original, specifically as a vehicle for Gérard Depardieu to introduce him to a wide English-speaking audience. The film had a similar theme and plot to "The Paper Wedding" (French: "Les noces de papier"), a 1989 made for television Canadian film directed by Michel Brault, which was subsequently entered into the 40th Berlin International Film Festival.


title: Green Card (film)

text: Partial funding for the film was provided by the Film Finance Corporation Australia and Union Générale Cinématographique. Although the film was set in America and did not feature Australian actors, the fact it was written, directed, filmed, designed and edited by an Australian enabled it to receive funding from the Australian government. This was $3.8 million from the FFC.


title: Green Card (film)

text: "Green Card: Original Motion Picture Soundtrack" was released on 22 January 1991 on Varèse Sarabande.


title: Green Card (film)

text: Some of the music like "River", "Watermark", and "Storms in Africa" by Enya, "Holdin' On" by Soul II Soul, "Oyin Momo Ado" by Babatunde Olatunji and "Surfin' Safari" by The Beach Boys are heard in the movie, but not included in the soundtrack.


title: Green Card (film)

text: On Rotten Tomatoes the film holds a 61% approval rating based on 31 reviews, with an average rating of 5.5/10. On Metacritic, the film has a weighted average score of 58 out of 100, based on 17 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.


title: Green Card (film)

text: Janet Maslin of "The New York Times" called it "as breezily escapist as a film this facile can be" and added, "Ms. MacDowell ... has a lovely, demure ease that makes George's appreciative gaze quite understandable. Mr. Depardieu, in the role that gets him into a New York Yankees cap, proves that he is nothing if not a sport ... He comes to life most fully when he lapses into French or is otherwise momentarily freed from the story's constraints." Roger Ebert of the "Chicago Sun-Times" observed the film "is not blindingly brilliant, and is not an example of the very best work of the director who made "The Year of Living Dangerously" or the actor who starred in "Cyrano de Bergerac". But it is a sound, entertaining work of craftsmanship, a love story between two people whose meet is not as cute as it might have been."


title: Green Card (film)

text: Peter Travers of "Rolling Stone" called the film a "captivating romantic bonbon" and added, "Don't look for the originality and grit that distinguished Weir's Australian films "Picnic at Hanging Rock" and "Gallipoli", "Green Card" has all the heft of a potato chip. But Depardieu's charm recognizes no language barriers, and MacDowell, the revelation of "Sex, Lies, and Videotape", proves a fine, sexy foil." Rita Kempley of "The Washington Post" said, "Like "Ghost" and "Pretty Woman", this romance is blissfully dependent on our staying good and starry-eyed, seduced by the charisma of the leads. And we do, despite its lackadaisical pace and disappointing ending."


title: Green Card (film)

text: "Variety" said, "Although a thin premise endangers its credibility at times, "Green Card" is a genial, nicely played romance." "Time Out London" stated "Weir's first romantic comedy boasts a central relationship which is tentative and hopeful, a mood beautifully realised by Depardieu (venturing into new territory with a major English-speaking role). Complemented by the refined MacDowell, his gracious, generous performance is never dominating, and their exchanges offer unexpected pleasures. In terms of the genre's conventions, Weir likens this film to 'a light meal.' It's one to savour." Channel 4 said, "Weir's film has its fair share of cute moments as the opposites slowly begin to attract, but this is largely over rated stuff, which proved curiously popular with critics on its release. Depardieu does his obnoxious-yet-strangely-lovable act with ease; however, the romantic comedy fixture MacDowell is less convincing."


title: Green Card (film)

text: "Green Card" grossed $29.9 million in the United States and Canada. In Australia, it was the highest-grossing local film with a gross of A$10,585,060 (US$8 million).


title: Green Card (film)

text: Touchstone released the film on VHS around 1991 and Touchstone Home Entertainment released the film on Region 1 DVD on 4 March 2003. It is in anamorphic widescreen format with audio tracks in English and French.


title: Green Card (film)

text: "Green Card" was released on DVD by Umbrella Entertainment in February 2004. The DVD is compatible with all region codes and includes special features such as the original theatrical trailer, Umbrella Entertainment trailers, and interviews with Peter Weir, Gérard Depardieu and Andie MacDowell.


title: Raise the Roof (album)

text: Raise the Roof is the second collaborative studio album by British singer-songwriter Robert Plant and American bluegrass-country singer Alison Krauss. The album was released on November 19, 2021, by Rounder Records and Concord Records in the United States and Warner Music for the rest of the world. The album has been nominated for three Grammy Awards at the 65th Annual Grammy Awards, including Best Americana Album, Best American Roots Song for "High and Lonesome," and Best Country Duo/Group Performance for "Going Where the Lonely Go".


title: Raise the Roof (album)

text: "Raise the Roof" received generally positive reviews from critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from critics, the album received an average score of 83, which indicates "universal acclaim", based on 14 reviews.


title: Squeeze theorem

text: In calculus, the squeeze theorem (also known as the sandwich theorem, among other names) is a theorem regarding the limit of a function that is trapped between two other functions.


title: Squeeze theorem

text: The squeeze theorem is used in calculus and mathematical analysis, typically to confirm the limit of a function via comparison with two other functions whose limits are known. It was first used geometrically by the mathematicians Archimedes and Eudoxus in an effort to compute , and was formulated in modern terms by Carl Friedrich Gauss.


title: Squeeze theorem

text: In many languages (e.g. French, German, Italian, Hungarian and Russian), the squeeze theorem is also known as the two officers (and a drunk) theorem, or some variation thereof. The story is that if two police officers are escorting a drunk prisoner between them, and both officers go to a cell, then (regardless of the path taken, and the fact that the prisoner may be wobbling about between the officers) the prisoner must also end up in the cell.


title: Squeeze theorem

text: This theorem is also valid for sequences. Let formula_10 be two sequences converging to formula_11, and formula_12 a sequence. If formula_13 we have formula_14, then formula_12 also converges to formula_11.


title: Squeeze theorem

text: A direct proof, using the formula_18-definition of limit, would be to prove that for all real formula_19 there exists a real formula_20 such that for all formula_21 with formula_22, we have formula_23. Symbolically,


title: Squeeze theorem

text: for "x" close enough to 0. The correctness of which for positive x can be seen by simple geometric reasoning (see drawing) that can be extended to negative x as well. The second limit follows from the squeeze theorem and the fact that


title: Squeeze theorem

text: for "x" close enough to 0. This can be derived by replacing formula_44 in the earlier fact by formula_45 and squaring the resulting inequality.


title: Squeeze theorem

text: These two limits are used in proofs of the fact that the derivative of the sine function is the cosine function. That fact is relied on in other proofs of derivatives of trigonometric functions.


title: Squeeze theorem

text: since the radius is sec "θ" and the arc on the unit circle has length Δ"θ". Similarly, the area of the larger of the two shaded sectors is


title: Squeeze theorem

text: What is squeezed between them is the triangle whose base is the vertical segment whose endpoints are the two dots. The length of the base of the triangle is tan("θ" + Δ"θ") − tan("θ"), and the height is 1. The area of the triangle is therefore


title: Squeeze theorem

text: provided Δ"θ" > 0, and the inequalities are reversed if Δ"θ" < 0. Since the first and third expressions approach sec"θ" as Δ"θ" → 0, and the middle expression approaches  tan "θ", the desired result follows.


title: Squeeze theorem

text: The squeeze theorem can still be used in multivariable calculus but the lower (and upper functions) must be below (and above) the target function not just along a path but around the entire neighborhood of the point of interest and it only works if the function really does have a limit there. It can, therefore, be used to prove that a function has a limit at a point, but it can never be used to prove that a function does not have a limit at a point.


title: Jolene Purdy

text: Jolene Purdy is an American actress. Purdy starred as Cherita Chen in the 2001 film "Donnie Darko". Among her television credits is the Fox sitcom "Do Not Disturb," which debuted in 2008, as well as the ABC Family comedy series "10 Things I Hate About You", playing Mandella in eight episodes. Purdy has also guest starred on "Judging Amy" and "Boston Public". Purdy is also known for her role as Piper Katins on the TeenNick drama series "Gigantic". She had a recurring role in the Netflix drama series "Orange Is The New Black" as well as Marvel's "WandaVision".


title: Jolene Purdy

text: Her mother is Japanese and her father is Jewish. She is Yonsei, a great-grandchild of Japanese immigrants. She has sisters. She and her husband, Chuck, have a daughter.


title: Popping

text: Popping is a street dance adapted out of the earlier Boogaloo (funk dance) cultural movement in Oakland, California. As Boogaloo spread, it would be referred to as Robottin in Richmond, California, Strutting movements in San Francisco and San Jose, and the Strikin dances of the Oak Park community of Sacramento which were popular through the mid-1960s to the 1970s. Popping would be eventually adapted from earlier Boogaloo (freestyle dance) movements in Fresno, California, in the late 1970s by way of California high-school gatherings of track & meet events - the West Coast Relays. The dance is rooted through the rhythms of live funk music, and is based on the technique of Boogaloo's posing approach, quickly contracting and relaxing muscles to cause a jerk or can be a sudden stop in the dancer's body, referred to as a "pose", "pop" or a "hit". This is done continuously to the rhythm of a song in combination with various movements and poses. It was popularized by a Fresno & Long Beach-based dance group called the Electric Boogaloos that mixed popping techniques to boogaloo. Closely related illusory dance styles and techniques are often integrated into popping to create a more varied performance. These dance styles include the robot, waving and tutting. However, popping is distinct from breaking and locking, with which it is often confused. A popping dancer is commonly referred to as a "popper".


title: Popping

text: Because of popping's cultural Boogaloo roots, popping developed before Hiphop's cultural movement and helped influence the tradition of styles of hip hop dancing. It is often performed in battles, where participants try to outperform each other in front of a crowd, giving room for improvisation and freestyle moves that are seldom seen in shows and performances, such as interaction with other dancers and spectators. Popping and related styles such as waving and tutting have also been incorporated into the electronica dance scene to some extent, influencing new styles such as liquid and digits and turfing.


title: Popping

text: As stated earlier, "popping" has become the latest umbrella term for a group of closely related styles and techniques rooted in the Boogaloo tradition that have often been combined, evolved or danced together with popping, some of which are seldom seen outside of popping contexts.


title: Popping

text: Popping is centered around the technique of "popping", which means to quickly contract and relax muscles to create a jerking effect (a "pop" or "hit") in the body. It is also known as Posing Hard from the Boogaloo tradition, this technique was innovated by the Boogaloo group, the Black Messengers from Oakland. Popping can be concentrated to specific body parts, creating variants such as arm pops, leg pops, chest pops and neck pops.


title: Popping

text: Having its roots in the late 1970s funk era, popping is commonly danced to funk and disco music. Popular artists include Zapp, Dayton, Dazz Band and Cameo. During the 1980s, many poppers also utilized electro music, with artists such as Kraftwerk, Yellow Magic Orchestra, Egyptian Lover and World Class Wrecking Crew. More mainstream hip hop music was also employed by poppers during the 1980s, including Afrika Bambaataa, Kurtis Blow, Whodini and Run DMC. Today, it is common to see popping danced to more current music genres such as modern hip hop (often abstract/instrumental hip hop) and various forms of electronic dance music such as dubstep.


title: Popping

text: Songs that are generally favored have a straight and steady beat at around 90-120 beats per minute, a 4/4 time signature and a strong emphasis on the back beat, normally by a snare drum or a drum machine. The pops performed by the popper normally occur on every beat or on the distinct back beats. The popper can also choose to follow the music more freely such as by timing the pops to the rhythm of a melody or other rhythmic elements. Although it is important to remember the popping should be done consistently to the kick and snare of the music almost consistently as to not stray to far away from the element of its origins.


title: Cybersex trafficking

text: Cybersex trafficking, live streaming sexual abuse, webcam sex tourism/abuse or ICTs (Information and Communication Technologies)-facilitated sexual exploitation is a cybercrime involving sex trafficking and the live streaming of coerced sexual acts and/or rape on webcam.


title: Cybersex trafficking

text: Cybersex trafficking is distinct from other sex crimes. Victims are transported by traffickers to 'cybersex dens', which are locations with webcams and internet-connected devices with live streaming software. There, victims are forced to perform sexual acts on themselves or other people in sexual slavery or raped by the traffickers or assisting assaulters in live videos. Victims are frequently ordered to watch the paying live distant consumers or purchasers on shared screens and follow their commands. It is often a commercialized, cyber form of forced prostitution. Women, children, and people in poverty are particularly vulnerable to coerced internet sex. The computer-mediated communication images produced during the crime are a type of rape pornography or child pornography that is filmed and broadcast in real time and can be recorded.


title: Cybersex trafficking

text: There is no data about the magnitude of cybersex trafficking in the world. The technology to detect all incidents of the live streaming crime has not been developed yet. Millions of reports of cybersex trafficking are sent to authorities annually. It is a billion-dollar, illicit industry that was brought on with the Digital Age and is connected to globalization. It has surged from the world-wide expansion of telecommunications and global proliferation of the internet and smartphones, particularly in developing countries. It has also been facilitated by the use of software, encrypted communication systems, and network technologies that are constantly evolving, as well as the growth of international online payment systems with wire transfer services and cryptocurrencies that hide the transactor's identities.


title: Cybersex trafficking

text: The transnational nature and global scale of cybersex trafficking necessitate a united response by the nations, corporations, and organizations of the world to reduce incidents of the crime; protect, rescue, and rehabilitate victims; and arrest and prosecute the perpetrators. Some governments have initiated advocacy and media campaigns that focus on awareness of the crime. They have also implemented training seminars held to teach law enforcement, prosecutors, and other authorities, as well as NGO workers, to combat the crime and provide trauma-informed aftercare service. New legislation combating cybersex trafficking is needed in the twenty-first century.


title: Cybersex trafficking

text: Cyber-, as a combining form, is defined as 'connected with electronic communication networks, especially the internet.' Sex trafficking is human trafficking for the purpose of sexual exploitation, including sexual slavery. Victims of cybersex trafficking are trafficked or transported to 'cybersex dens,' which are rooms or locations with a webcam. The cybercrime also involves the transporting or streaming of images of the victims' bodies and sexual assaults in real time through a computer with a webcam to other computers connected to the internet. It thus occurs partly in the physical or real world, as the sexual assault is real, and partly in cyberspace.


title: Cybersex trafficking

text: Victims, predominantly women and children, are abducted, threatened, or deceived. Others are drugged. They are held captive and locked up in rooms with covered or no windows and a webcam. They experience physical and psychological trauma. Gang rape has occurred on webcam. Some are coerced into incest. Victims have been denied food, deprived of sleep, and been forced to perform when sick. They have contracted diseases, including tuberculosis, while in captivity. A number are assaulted or tortured.


title: Cybersex trafficking

text: Victims can be exploited in any location where the cybersex traffickers have a computer, tablet, or phone with internet connection. These locations, commonly referred to as ‘cybersex dens,’ can be in homes, hotels, offices, internet cafes, and other businesses, making them extremely difficult or impossible for law enforcement to identify. The number of cybersex trafficking victims is unknown. Some victims are simultaneously forced into prostitution in a brothel or other location.


title: Cybersex trafficking

text: Rescues involving live streaming commercial sexual exploitation of children by parents often require a separation of the minors from the families and new lives for them in a shelter.


title: Cybersex trafficking

text: Some victims are not physically transported and held captive, but rather victims of online sextortion. They are threatened, webcam blackmailed, or bullied to film themselves committing online sexual acts. Victims have been coerced to self-penetrate, in what has been called 'rape at a distance.' Others are deceived, including by phony romantic partners who are really rape or child pornography distributors, to film themselves masturbating. The videos are live streamed to purchasers or recorded for later sale.


title: Cybersex trafficking

text: Those who are of a lower class, discriminate race, minority, or other social disadvantages are at an increased risk of being victimized. The cybersex trafficking and or non-consensual dissemination of sexual content involving women and girls, often involving threats, have been referred to as "digital gender violence" or 'online gender-based violence.'


title: Cybersex trafficking

text: Traffickers transport victims to locations with webcams and live streaming software. They or assisting assaulters then commit and film sex crimes to produce real time rape pornography or child pornography materials that may or may not be recorded. The online audience or consumers, who are often from another country, may issue commands to the victims or rapers and pay for the services. Male and female perpetrators, operating behind a virtual barrier and often with anonymity, come from countries throughout the world and from every social and economic class. Some traffickers and assaulters have been the victim's family members, friends, and acquaintances. Traffickers can be part of or aided by international criminal organizations, local gangs, or small crime rings or just be one person. They operate clandestinely and sometimes lack coordinated structures that can be eradicated by authorities. The majority of purchasers or consumers are men. The encrypted nature of modern technology makes it difficult to track perpetrators. Some are motivated by sexual gratification. Traffickers advertise children on the internet to obtain purchasers. Funds acquired by cybersex traffickers can be laundered.


title: Cybersex trafficking

text: Overseas predators seek out and pay for live streaming or made-to-order services that sexually exploit children. They engage in threat to gain the trust of local traffickers, often the victims' parents or neighbors, before the abuse takes place.


title: Cybersex trafficking

text: Cybersex trafficking is partly an internet-based crime. Perpetrators use social media networks, videoconferences, dating pages, online chat rooms, mobile apps, dark web sites, and other pages and domains. They also use Telegram and other cloud-based instant messaging and voice over IP services, as well as peer-to-peer (P2P) platforms, virtual private networks (VPN), and Tor protocols and software, among other applications, to carry out activities anonymously.


title: Cybersex trafficking

text: Consumers have made payments to traffickers, who are sometimes the victim's family members, using Western Union, PayPal, and other electronic payment systems.


title: Cybersex trafficking

text: Cybersex trafficking occurs commonly on some dark websites, where users are provided sophisticated technical cover against identification.


title: Cybersex trafficking

text: They use fake job listings in order to lure in victims. They do this by creating fake job agencies to get victims to meet with the perpetrator. These fake job listing can be things such as modeling gigs. Social media makes it easier for perpetrators to groom multiple people at once. They continuously send friend request to increase their chances of getting a victim. Social media gives perpetrators the platform to hide their identity. On social media you can portray to be who ever you want. Therefore, perpetrators use fake accounts to get victims attention. Most perpetrators pose as an attractive person who is living a lavish life. This is used to attract vulnerable users who desire those luxuries. People who desperately desire a luxury living are the easiest targets. They fall for the manipulation that they too can live a life like those fake accounts. Furthermore, younger people are more likely to be victims to cybersex on social media. They are less aware and still learning how to use social media. In addition, adolescents are the more vulnerable on social media because they are exploring. Adolescents can use social media to explore their sexuality. This makes them more accessible to perpetrators. Without guidance adolescents are at risk of falling for the tricks used to lure them into cybersex. In addition, they are less likely to detect when their security is at risk. Perpetrators fake a romantic relationship with the victims on social media to exploit them. Perpetrators will convince victims to perform the sexual acts. They can perform these sexual acts through tools such as webcams. More common on social media is to send pictures or videos. Victims send explicit pictures or videos because they trust the "friend" they have on social media. The victims will do it out of "love" or naiveness. Others do the performances out of fear. They can be threatened with information they previously shared with the perpetrator when they befriended them. However, it becomes an endless cycle when they perform the sexual acts once. After victims do these sexual acts, perpetrators use it as leverage. Perpetrators threaten them to do more sexual acts or they have will be share to their family and friends the one that they have of them.


title: Cybersex trafficking

text: Cybersex trafficking occurs on Skype and other videoconferencing applications. Pedophiles direct child sex abuse using its live streaming services.


title: Cybersex trafficking

text: The Australian Federal Police (AFP) investigates cybersex trafficking crimes domestically and in the Asia-Pacific region.


title: Cybersex trafficking

text: In 2016, Queensland Police Service officers from Task Force Argos In 2016, Queensland Police Service officers from Task Force Argos executed a federal search warrant at a 58-year-old Australian man's residence. The Australian man pleaded guilty to numerous charges, including soliciting a child for sex and having sex with a child under 16 years of age outside of Australia. Using Skype, the man conducted "live remote" sexual abuse, exploiting two young children in the Philippines while making payments to their mother. The exploitation began when the children were only 2 and 7 years old, and the abuse continued for nearly five years. In May 2019, according to the Australian Federal Police (AFP), numerous cases were also uncovered related to Australians allegedly paying for and manipulating child sexual abuse. In November 2019, Australia was alerted by Child Sexual Abuse live streaming when AUSTRAC filed legal action against Westpac Bank in relation to over 23 million suspected violations of the "Anti-Money Laundering and Counter-Terrorism Financing Act 2006" (Cth).


title: Cybersex trafficking

text: Since 2017, IJM (International Justice Mission) Australia has been working on legal reforms to strengthen Australia's response to OSEC, commonly known as online sex trafficking of children. On June 16, 2020, both houses of the Parliament of Australia enacted the Crimes Legislation Amendment (Sexual Crimes Against Children and Community Protection Measures) Bill 2019, which received royal assent on June 22, 2020. Jacob Sarkodee, CEO of IJM Australia, noted that this new legislation recognizes the contribution of Australians to the growing demand for online sex trafficking of children. According to 2020 Global OSEC report, Australians are the third largest purchasers of cybersex trafficking of children in Philippines. Under the proposal made by the IJM, the new legislation specifies that those who watch live streaming of child cybersex trafficking will receive the same penalties as those who manipulate and direct the sexual abuse of children themselves.


title: Cybersex trafficking

text: Cybersex trafficking occurred in the 2018–2020 Nth room case in South Korea. In March 2020, South Korean news agencies reported some details about Nth room case: in crypto-messaging apps such as Telegram and Discord, "at least 74 women and 16 minors performed "sex shows" online for global audience of thousands who paid for cryptocurrency". The victims were manipulated and tortured by viewers and were referred to as slaves. This case is related to the widespread availability and expansion of spy cameras (often referred to as "Molka") in South Korea.


title: Cybersex trafficking

text: North Korean women and girls have been subjected to penetrative vaginal and anal rape, groping, and forced masturbation in 'online rape dens' in China.


title: Cybersex trafficking

text: In the trade for female North Koreans, cybersex trafficking is the small but rapidly growing element. Girls as young as 9 years old were abused and exploited in "sex shows" that are broadcast live online to a paying audience, many of them are believed to be Korean men.


title: Cybersex trafficking

text: According to Korea Future Initiative 2019, an estimated 60 percent of North Korean female refugees in China are trafficked into the sex trade, of these, about 15 percent is sold into cybersex dens for exploitation by a global online audiences. China's crackdown on undocumented North Koreans in July 2017 and a developing cybersex industry have fueled the rapid expansion of cybersex dens.


title: Cybersex trafficking

text: Cybersex trafficking is thought to be extremely lucrative. According to primary research, helpers experiences, and survivors testimonies, live streamed videos of cybersex featuring North Korean girls ages 9–14 can cost $60-$110, while videos featuring North Korean girls and women ages 17–24 can cost up to $90. Offenders are believed to manipulate victims by the means of drugs and violence (physical and sexual). In investigation conducted from February to September 2018, South Korean websites have been discovered to promote North Korean cybersex and pornography, even in the form of "pop-up" advertisements. The high demand of North Korean cybersex victims is largely driven by South Korean man high involvement in searching Korean-language pornography. In South Korea, compared to the penalties made for production and distribution of child sexual abuse imagery, the penalties for those who possess images of child porn are far below international standards.


title: Cybersex trafficking

text: The European Union Agency for Law Enforcement Cooperation (Europol) investigates and spreads awareness about live streaming sexual abuse. Europol's European Cybercrime Centre (EC3) is especially equipped to combat the cybercrime.


title: Cybersex trafficking

text: The United Kingdom's National Crime Agency (NCA) investigates cybersex trafficking crimes domestically and abroad.


title: Cybersex trafficking

text: Europe was the second largest source of "online enticement" CyberTipline reports. According to Global Threat Assessment 2018, many customers of Online Sexual Exploitation of Children (OSEC) are centered in Europe, along with those who are traffickers and victims of OSEC.


title: Cybersex trafficking

text: In 2019, Europe accounted for 14% of all sexual exploitation worldwide. Minors are usually trafficked for the purpose of sexual exploitation to EU, and most of them are foreign female children from Nigeria. In Europe, women and children exploited in the sex trade are increasingly being advertised online, with children are found being promoted as adults.


title: Cybersex trafficking

text: The great Internet freedom and low web hosting costs make the Netherlands one of the countries with a major market for online sexual exploitation. In the 2018 annual report,Internet Watch Foundation (IWF) has said that about 79 percent (82803 out of 105047) of the URLs for materials of child sexual abuse are in Europe, with the vast majority of them are Netherlands-based. The material is produced from different countries in the globe, but they are all hosted on computer servers in the Netherlands. IWF has reported that over 105,047 URLs were linked to illegal images of child sexual abuse, with the Netherlands hosting 47 percent of the content.


title: Cybersex trafficking

text: The Federal Bureau of Investigation (FBI) and Homeland Security Investigations (HSI), the investigative arm of the United States Department of Homeland Security, carry out anti-cybersex trafficking operations. The United States Department of State Office to Monitor and Combat Trafficking in Persons (J/TIP) partners with agencies and organization overseas to rescue cybersex trafficked victims.


title: Cybersex trafficking

text: The United Nations Children's Fund (UNICEF) identified the Philippines as the global center of cybersex trafficking. The Office of Cybercrime within the Philippines Department of Justice receives hundreds of thousands of tips of videos and images of sexually exploited Filipino children on the internet. The Philippine National Police, along with its Women and Children Protection Center (WCPC), Philippine Internet Crimes Against Child Center (PICACC), Philippine InterAgency Council Against Trafficking (IACAT, Department of Justice (Philippines), and Department of Social Welfare and Development fight cybersex trafficking in the country. Rancho ni Cristo in Cebu is a shelter devoted exclusively to rehabilitating children of live streaming sexual abuse. Children in the shelter are provided food, medical care, counseling, mentoring and life skills training.


title: Cybersex trafficking

text: The Royal Thai Police's Internet Crimes Against Children (TICAC) task force combats cybersex trafficking in the nation.


title: Cybersex trafficking

text: Authorities, skilled in online forensics, cryptography, and other areas, use data analysis and information sharing to fight cybersex trafficking. Deep learning, algorithms, and facial recognition are also hoped to combat the cybercrime. Flagging or panic buttons on certain videoconferencing software enable users to report suspicious people or acts of live streaming sexual abuse. Investigations are sometimes hindered by privacy laws that make it difficult to monitor and arrest perpetrators.


title: Cybersex trafficking

text: The International Criminal Police Organization (ICPO-INTERPOL) collects evidence of live streaming sexual abuse and other sex crimes. The Virtual Global Taskforce (VGT) comprises law enforcement agencies across the world who combat the cybercrime. The United Nations Children's Fund (UNICEF) funds training for police to identify and address the cybercrime.


title: Cybersex trafficking

text: Multinational technology companies, such as Google, Microsoft, and Facebook, collaborate, develop digital tools, and assist law enforcement in combating it.


title: Cybersex trafficking

text: Led by Thorn, an organization that uses technology to combat child sexual exploration globally, a coalition of Big Tech companies including Facebook, Microsoft, Google, and Twitter have been developing ever more sophisticated tools to put in the hands of law enforcement worldwide to combat this issue at every level.


title: Cybersex trafficking

text: The Ministry of Education Malaysia introduced cybersex trafficking awareness in secondary school syllabuses.


title: Cybersex trafficking

text: Research shows that predators under 18 years old use coercion and threats to conceal abuse, but adult predators use psychological abuse. Adult predators use psychological abuse to trick the child into thinking that they actually consented to having sex with them or that the child is responsible for what happened to them.


title: Cybersex trafficking

text: Teaching the risks of online chatting to children is important to reduce the risk of being a victim of cybersex. With online chatting, a predator might gain knowledge on what a child's hobbies and favorite items are by stalking their page or waiting to see what a child posts. After a predator gains this personal knowledge, he goes on to speak to this child, pretending to also be a child with the same interests to lure them in after gaining their trust. This plays a risk because the child may never really know who’s on the other side of the screen and potentially become a victim of a predator.


title: Cybersex trafficking

text: Cybersex trafficking shares similar characteristics or overlaps with other sex crimes. That said, according to attorney Joshua T. Carback, it is "a unique development in the history of sexual violence" and "distinct in several respects from traditional conceptions of online child pornography and human trafficking". The main particularization is that involves victims being trafficked or transported and then raped or abused in live webcam sex shows. The United Nations Office on Drugs and Crime identified the cybercrime involving trafficked victims on webcam sex shows as an emerging problem. The illegal live streaming shows occur in 'cybersex dens,' which are rooms equipped with webcams. The cybercrime has sometimes been informally called 'webcam rape'.


title: Cybersex trafficking

text: The International Justice Mission is one of the world's leading nonprofit organizations that carries out anti-cybersex trafficking initiatives. End Child Prostitution, Child Pornography and Trafficking of Children for Sexual Purposes (ECPAT) and the Peace and Integrity of Creation-Integrated Development Center Inc., a non-profit organization in the Philippine, support law enforcement operations against cybersex trafficking.


title: Cybersex trafficking

text: The National Center for Missing & Exploited Children in the United States assists authorities in cybersex trafficking cases. It provides CyberTipline reports to law enforcement agencies.


title: Cybersex trafficking

text: Terre des hommes is an international non-profit that combats the live streaming sexual abuse of children.


title: Cybersex trafficking

text: The Korea Future Initiative is a London-based organization that obtains evidence and publicizes violations of human rights, including the cybersex trafficking of North Korean women and girls in China.


title: Chris Coy

text: Christopher James Coy (born May 1, 1986) is an American actor. He is known for portraying Calvin Bunker on Cinemax’s "Banshee", L.P. Everett on HBO's "Treme", Martin on AMC's "The Walking Dead", and Paul Hendrickson on HBO's "The Deuce".


title: Chris Coy

text: He is perhaps best known for playing L.P. Everett on the HBO series "Treme". and Barry on the HBO series "True Blood". He also had recurring roles as a cannibal named Martin in season five of "The Walking Dead" and Calvin Bunker in "Banshee". He has also appeared in "", "Sx Tape", "Deliver Us from Evil", and "The Barber". He appeared in the Amazon Prime Video series "The Peripheral".


title: The Real World: New York

text: The Real World (retrospectively referred to as The Real World: New York, to distinguish it from subsequent installments of the series) is the first season of MTV's reality television series "The Real World", which focuses on a group of diverse strangers living together for several months as cameras follow their lives and interpersonal relationships. It was created by producers Mary-Ellis Bunim and Jonathan Murray.


title: The Real World: New York

text: The cast consisted of seven people, ranging in age from 19 to 26, most of whom were already living in New York City when the series taped. The cast was filmed living in a SoHo loft from February 16 to May 18, 1992, and the series premiered May 21 that year. This is the first of three seasons to be filmed in New York City. In 2001, the show returned to the city in its , and again in 2008 for its , set in the borough of Brooklyn. In 2021, the original cast reunited for "".


title: The Real World: New York

text: As the first season of one of the first series in what is now considered the reality television genre, "The Real World: New York" is sometimes credited with pioneering some of the conventions of the genre, including bringing together a group of participants who had not previously met, and the use of "confessional" interviews with participants to double as the show's narration (though in the first season, the confessional interviews were sparse and were not taped in a separate, private room, as would become common later). Some, however, have credited an earlier series, the 1991 Dutch TV show "Nummer 28", for these innovations.


title: The Real World: New York

text: "The Real World" was originally inspired by the popularity of youth-oriented shows of the 1990s like "Beverly Hills 90210". Bunim and Murray initially considered developing a scripted series in a similar vein, but quickly decided that the cost of paying writers, actors, costume designers, and make-up artists was too high. Bunim and Murray decided against this idea, and at the last minute, pulled the concept (and the cast) before it became the first season of the show. Tracy Grandstaff, one of the original seven picked for what has come to be known as "Season 0", went on to minor fame as the voice of the animated "Beavis and Butt-head" character Daria Morgendorffer, who eventually got her own spinoff, "Daria". Dutch TV producer Erik Latour claims that the ideas for "The Real World" were directly derived from his television show "Nummer 28", which aired in 1991 on Dutch television. Bunim/Murray decided upon the cheaper idea of casting a bunch of "regular people" to live in an apartment and taping their day-to-day lives, believing seven diverse people would have enough of a basis upon which to interact without scripts. The production cast seven cast members from 500 applicants, paying them $2,600 for their time on the show.


title: The Real World: New York

text: The production discovered a nine-story, ten-unit residential co-op building at 565 Broadway, at the corner of Prince Street, in Manhattan's SoHo district, after much searching, and converted the massive, 4000-square-foot duplex to be the residence and filming location. Walls separating two adjacent apartments on the second and third floors were removed in order to form a single , four bedroom residence, and were renovated for the filming of the series. Production personnel, which included up to 13 people at one time, utilized a work space with a separate entrance. The cast lived in the loft from February 16 to May 18, 1992. The series premiered three days later, on May 21, 1992.


title: The Real World: New York

text: At the time of its initial airing, reviews of the show were mostly negative. Matt Roush, writing in "USA Today", characterized the show as "painfully bogus", and a cynical and exploitative new low in television, commenting, "Watching The Real World, which fails as documentary (too phony) and as entertainment (too dull), it's hard to tell who's using who more." "The Washington Post"'s Tom Shales commented, "Ah to be young, cute, and stupid, and to have too much free time...Such is the lot facing the wayward wastrels of The Real World, something new in excruciating torture from the busy minds at MTV." Shales also remarked upon the cast members’ creative career choices, saying, "You might want to think about getting a real job."


title: The Real World: New York

text: Nonetheless, the series was a hit with viewers, and the initial seasons have come to be reassessed. Writing in 2011, Meredith Blake of "The A.V. Club" found the cast to be "ambitious, articulate, and thoughtful". Though she conceded that nearly all of the cast were pursuing careers as performers, and thus had ulterior motives for appearing on the show, she found their motivations "relatively noble" compared to that of later participants in reality TV shows, many of whom wanted simply to become famous by appearing on TV. She wrote that later seasons of "The Real World" had become "too much to bear" after "cast members figured out that the best way to get screen time was to act out - not to sit around having freshman dorm-room-style conversations about race relations." She wrote that, by contrast to more recent examples of reality TV, ""The Real World: New York" now seems incredibly, achingly earnest, bracingly raw, and sweetly idealistic."


title: The Real World: New York

text: Isiah Thomas, Dennis Rodman and Bill Laimbeer make cameo appearances in Episode 5, when castmates Eric Nies and Kevin Powell attend a New York Knicks game at Madison Square Garden. Larry Johnson appears in Episode 7 to meet castmates Heather Gardner and Julie Gentry, who attend a Hornets game at the Brendan Byrne Arena. Matt Pinfield, a radio host for 106.3 FM, has a cameo in Episode 8 when cast member Andre Comeau's band, Reigndance, appears for an interview with that station. In Episode 9, cast members attend a rally for 1992 U.S. Presidential candidate Jerry Brown, at which both Brown and Michael Moore are shown speaking.


title: The Real World: New York

text: After filming the season, the cast reunited for the second-season premiere, and provided their predictions, advice and other thoughts regarding the cast. Heather Gardner predicted that someone would leave that cast. (David Edwards eventually did so.)


title: The Real World: New York

text: Warner/Chappell Music signed Rebecca Blasband to a publishing contract and financed a "surprisingly solid" extended-play CD called "The Rebecca Blasband". She moved to Denver, Colorado in March 1995, and has opened for Edwyn Collins and Squeeze.


title: The Real World: New York

text: Andre Comeau eventually left Reigndance and joined another band, River Rouge. In 2011 they released their third album, "Not All There Anymore".


title: The Real World: New York

text: In 2002, Norman Korpi and Clint Owen wrote, produced and directed "The Wedding Video", a spoof of "The Real World" that starred ten alumni of various seasons of "The Real World" that took the form of the video for Korpi's Beverly Hills wedding. Starring in the video along with himself were Julie Gentry and Heather Gardner, whose single "One Life", is featured in the film.


title: The Real World: New York

text: Heather Gardner released her first album, "Takin' Mine", in 1996. As of 2002 she was living in Jersey City, and had just released her album "Eternal Affairs" through SAI Records.


title: The Real World: New York

text: Julie Gentry returned to Birmingham. As of 2002, she had been married for four years, had recently become a mother, and was attending school and teaching dance class.


title: The Real World: New York

text: Eric Nies went on to host the MTV dance series "The Grind", and also hosted and participated in a number of "Real World/Road Rules Challenges". He also appeared in two episodes of "Days of Our Lives", as well as bit parts in the films "Above the Rim" and "The Brady Bunch Movie". He returned to reality television as a cast member in the 2009 VH1 series in "Confessions of a Teen Idol".


title: The Real World: New York

text: Kevin Powell became a writer for "Vibe" magazine, an author, activist and a politician. His books include "Who's Gonna Take the Weight?" and "Keepin' It Real", a collection of post-MTV reflections. Powell also lectures around the country about pop culture, politics, and social justice, and has unsuccessfully run for Congress three times in New York. In 2017, he married Jinah Parker.


title: The Real World: New York

text: At the 2008 "The Real World Awards Bash", Eric Nies was nominated for the "Hottest Male" award, while Julie and Kevin were in the running for "Best Fight".


title: The Real World: New York

text: In 2021, the original cast reunited for "" in which the roommates moved back into the same loft in which they lived in 1992, with the exception of Nies, who participated virtually after testing positive for COVID-19. The cast members reflected on their time filming the first season, and discussed ways in which their experiences affected their lives, and those of their families. The cast also discussed ways in which the culture had changed their views on things such as race relations from their time filming the inaugural season in 1992, and how society was reflected in the modern state of reality television, of which they expressed critical views.


title: 2005 FIFA Confederations Cup

text: The 2005 FIFA Confederations Cup football tournament was the seventh FIFA Confederations Cup. It was held in Germany between 15 June and 29 June 2005, as a prelude to the 2006 FIFA World Cup. The tournament was won by 2002 FIFA World Cup winners Brazil, who defeated Argentina 4–1 in the final at the Waldstadion in Frankfurt. The final was a rematch of the Copa América final also won by Brazil. It was Brazil's second win at the Confederations Cup.


title: 2005 FIFA Confederations Cup

text: Originally, Kaiserslautern's Fritz-Walter-Stadion was also intended as a venue. However, on 27 May 2004, city authorities withdrew from the bidding process, citing added costs to complete the stadium on time as the reason for the withdrawal.


title: 2005 FIFA Confederations Cup

text: Adriano received the Golden Shoe award for scoring five goals. In total, 56 goals were scored by 29 players, with none credited as own goals.


title: Johnny Rockets

text: The Johnny Rockets Group Inc. is an American restaurant franchise whose themed decor is based upon 1950s diner-style restaurants. Décor includes Coca-Cola advertising, featuring nearly life-size cardboard illustrations of women in World War II armed services uniforms (see WASP- Women Airforce Service Pilots), individual jukebox stations, chrome accents and red vinyl seats.


title: Johnny Rockets

text: The menu, presentation, counter seating and grilling area are based on an original restaurant from 1947 (still operating today), The Apple Pan in West Los Angeles. Hamburgers are grilled-to-order in full view of the customers and are served wrapped in paper in metal baskets. One location in Hawaii is called "Rock 'n Fun" and also has an arcade.


title: Johnny Rockets

text: Johnny Rockets was founded on June 6, 1986, by Ronn Teitelbaum of Los Angeles, California, and "crafted as a 'nongimmicky' recreation of the 1940s-vintage malt shops of his childhood". The first restaurant was established as a 20-stool counter operation on Melrose Avenue in Los Angeles. This location permanently closed on October 26, 2015. Ronn Teitelbaum died on September 11, 2000, at age 61.


title: Johnny Rockets

text: In February 2007, it was announced that RedZone Capital, the private equity firm of Daniel Snyder, was set to acquire the chain. Snyder announced plans to expand the chain both within the United States and worldwide, including the launch of smaller outlets known as Johnny Rockets Express. Snyder recruited industry veteran Lee Sanders from Buffalo Wild Wings, formerly with Dunkin Brands, General Mills, and Pepsico, to serve as president and CEO, and board member. Sanders ran the business for almost 4 years.


title: Johnny Rockets

text: A sit-down restaurant owned by Six Flags Over Texas (Red Zone was the largest shareholder at the time), Trappers Adirondack Grill, was converted to a Johnny Rockets in June 2008. A few years later Six Flags New England would also get a Johnny Rocket's near the Superman: Ride Of Steel.


title: Johnny Rockets

text: In April 2009, the new Yankee Stadium opened with Johnny Rockets stands throughout the site. These stands serve traditional Johnny Rockets hamburgers, french fries, shakes, and malts, among other menu items. FedExField, home of the Washington Commanders (the stadium and team are both owned by Snyder, whose company owned Johnny Rockets at the time), features Johnny Rockets concession areas.


title: Johnny Rockets

text: The world's largest Johnny Rockets franchise opened on June 6, 2012, at the corner of Abraham Lincoln Avenue and Bolivar Avenue in Santo Domingo, the capital city of the Dominican Republic. The restaurant has more than and seating for more than 200 guests.


title: Johnny Rockets

text: On August 13, 2020, Johnny Rockets was acquired by FAT Brands (parent company of Fatburger) for $25 million.


title: Johnny Rockets

text: Johnny Rockets operates restaurants in Australia, Bahrain, Bolivia, Brazil, Canada, Chile, Costa Rica, Ecuador, Honduras, India, Indonesia, Italy, Kuwait, Mexico, Nigeria, Northern Cyprus, Norway, Oman, Pakistan, Panama, Paraguay, Peru, Philippines, Poland, Qatar, Saudi Arabia, South Korea, Spain, Tunisia, United Arab Emirates and Uruguay.


title: Johnny Rockets

text: The first Johnny Rockets restaurant in Pakistan was opened in 2013 in Karachi. and later in Lahore and Islamabad in 2014. Johnny Rockets opened their first outlet in Bangladesh at Uttara of Dhaka in November 2016, but later left the country in 2020. Johnny Rockets opened its first branch in Paraguay on December 16, 2016, in Shopping Mariscal, Asuncion. In 2016, they also opened branches in Peru and Bolivia.


title: Johnny Rockets

text: The first European Johnny Rockets restaurant was opened in Italy, precisely in Brescia, on September 22, 2016, in Elnos Shopping Center.


title: Johnny Rockets

text: Johnny Rockets Canada had five Canadian locations, two Located in Victoria, British Columbia, two located in Vancouver, British Columbia, and one in Windsor, Ontario., but closed them down in 2022


title: Johnny Rockets

text: Several Royal Caribbean International cruise ships have Johnny Rockets restaurants operating on board.


title: Johnny Rockets

text: It was mentioned in the song "Westside Story" by 90s pop boyband LFO by member the late Rich Cronin's rap verse off their


title: Johnny Rockets

text: In 2009, the company and CEO John Fuller was featured in the hit TV show "Undercover Boss" on CBS in the US and on Channel 4 in the United Kingdom.


title: Johnny Rockets

text: The sixth episode of the anime series "Blood Blockade Battlefront" features a parody of the restaurant called "Jack & Rockets" which the characters Leonardo Watch and Nej order from a lot.


title: Johnny Rockets

text: The action/comedy series "Wrestlicious" featured comedy sketches with "50s Girl Shauna Na" which were filmed at Johnny Rockets in downtown Tampa Florida.


title: Johnny Rockets

text: An American black comedy crime drama thriller series "Barry" alluded to Johnny Rockets in LA during episode 3 of season 3.


title: Bury Tomorrow

text: Bury Tomorrow are a British metalcore band formed in 2006 in Southampton, Hampshire, England. The band is composed of six members; lead vocalist Daniel Winter-Bates, bassist Davyd Winter-Bates, drummer Adam Jackson, lead guitarist Kristan Dawson, who replaced founding guitarist Mehdi Vismara in 2013, rhythm guitarist Ed Hartwell, and keyboardist and vocalist Tom Prendergast, who both replaced Jason Cameron in 2021. Bury Tomorrow have released six studio albums, their most recent being "Cannibal", released on 3 July 2020.


title: Bury Tomorrow

text: The band was formed in 2006 in Hampshire, England, with their initial line-up consisting of rhythm guitarist and singer Jason Cameron, drummer Adam Jackson, lead vocalist Daniel Winter-Bates, bassist Davyd Winter-Bates (his brother) and lead guitarist Mehdi Vismara. The band, despite reading in press that "metalcore" had become a dirty word of such, was adamant to prove that metalcore was still relevant. Davyd Winter-Bates has said comment on their interest to the style by saying "since day one we have been really proud and vocal about calling ourselves metalcore". In 2007, they self-released their debut EP "The Sleep of the Innocents".


title: Bury Tomorrow

text: Their debut album "Portraits" was released through Basick Records in Britain in October 2009. Two music videos were shot to support the release of the album but only one, "You & I", was broadcast on music channels. The music video for "You & I" was recorded at Southampton Solent University and featured Bury Tomorrow performing to 200 fans, the video was shot over the course of two days, with the second day focusing on the band performing. "You & I" was broadcast on MTV2 in the United States, Scuzz in the United Kingdom and on Much Music in Canada. "Portraits" was then released through Artery Recordings in March 2010 in Japan and the United States. Bury Tomorrow toured continuously over the course of 2010, touring across the United States, Europe and Japan. In their tours in 2010, the band supported Asking Alexandria, Of Mice & Men, Sleeping with Sirens, and Pierce the Veil.


title: Bury Tomorrow

text: In 2011, the band felt a large amount of pressure from their American record label, Artery Recordings. Initially trying to convince the band to move and base themselves in the United States, Bury Tomorrow's band members felt the label was trying to manipulate them and change them into something they were not by suggesting they should incorporate more electronic elements into their style. While they rejected moving as they had little experience in the country; communication broke down between them and Artery Recordings and through a series of emails the band lost their North American and Japanese record label as well as their American agency. The only person that remained in their team was their British agent, and she was quoted as saying: "Nobody wants to touch you. No bands even want to take us on tour." The band was so low on money that they could not even afford to go to the studio to record the album they had written in 2011. Their agent managed to get them performances at Slam Dunk Festival and Ghostfest in Leeds. At this point Bury Tomorrow's members had such a lack of confidence in the band's future that they believed these would be their final shows.


title: Bury Tomorrow

text: Their performances at these festivals were met with a positive response from fans, which restored a lot of their lost confidence. At Ghostfest, Bury Tomorrow met their future band manager who suggested that they shelf the album they had been writing. Instead, they wrote and recorded "Lionheart", the first single for what would later become their second album, released on 8 September 2011 and accompanied by a music video released on 13 September. Bury Tomorrow supported British metalcore band While She Sleeps in October, with a follow up UK headline tour in December. On 6 December, two days before the band started the headline tour, a video was released for their single "Royal Blood", directed by Thomas Welsh. "Royal Blood" was later broadcast on Radio 1 on Christmas Eve during its daytime programme.


title: Bury Tomorrow

text: Bury Tomorrow spent the first few months of 2012 recording their second album, with only a few tour dates in the first half of 2012 to support the album's release. Starting on 18 March by headlining Southampton's Takedown Festival, they went on to support Of Mice & Men and appear at Hit The Deck Festival in April before appearing at Greenfield Festival on 17 June and at Ghostfest in Leeds on 30 June. In April 2012, Bury Tomorrow announced that they had signed to Nuclear Blast and confirmed the album art, track listing and release date of their second album, "The Union of Crowns". The band said that signing to the new record label allowed them to record it the way they wanted to, which they would not be able to do with their old label, Artery Recordings. The album was recorded in Ridgeway Sound Studio in Wantage and was released on 13 July in Europe, 16 July in the United Kingdom and 17 July in the United States.


title: Bury Tomorrow

text: Two singles were released in 2012 to promote "The Union of Crowns": "An Honourable Reign", which was premiered on BBC Radio 1 and "Knight Life". In the United Kingdom, the album debuted at number 6 on the Rock & Metal Chart, and in the United States, it peaked at number 25 on the Top Heatseekers chart and sold 1,062 copies in its first week. Bury Tomorrow played a single date on 10 July at the Camden Underworld supporting I Killed the Prom Queen on their European tour, before appearing at Hevy Music Festival in early August.<ref name="BTN-BT/IKTPQ"></ref> They also toured Britain with Architects in November alongside Deez Nuts and The Acacia Strain. This tour was wrapped around both Bury Tomorrow's and Architects' appearance at UK Warped Tour, including at Alexandra Palace in London on 10 November 2012.


title: Bury Tomorrow

text: In late January 2013, the band announced that lead guitarist Mehdi Vismara had left Bury Tomorrow and that Kristan Dawson would assume his position. They described Dawson as a much more technical and riff-heavy guitarist, saying that this complements the band's stylistic ideas for their third album. In February, the band supported The Ghost Inside on the ""Rock Sound" Impericon Exposure Tour" across the UK. Vocalist Dani Winter-Bates made a guest appearance on the song "Broken Lights" from Heart in Hand's album "Almost There", which was released on 11 February.


title: Bury Tomorrow

text: Bury Tomorrow ended the promotion of "The Union of Crowns" in 2013 after appearing at several festivals, including Slam Dunk, Download, Greenfield, Reading and Leeds Festivals, Summerjam, Schools Out, Pell Mell and SummerBlast, as well as touring both in the UK in September and outside of the UK. "Rock Sound" praised their performance at Leeds Festival, writing: "They came as underdogs, but given the reception they're afforded this afternoon, it's safe to say that Bury Tomorrow will be leaving with more than a few new friends." Bury Tomorrow then went to the United States in October to write and record their third album.


title: Bury Tomorrow

text: On 6 January 2014, Bury Tomorrow announced the release of a third studio album, titled "Runes", on 26 May through Nuclear Blast, as well as the release of an exclusive track from the album, titled "Watcher", which premiered on the "Radio 1 Rock Show" at midnight on 6 January. They also announced a headline European tour with Chunk! No, Captain Chunk!, Demoraliser and Napoleon, taking place in May. The music video for the first single from "Runes" titled "Man on Fire" was released on 25 February, followed on 13 May by "Of Glory". The album itself was made available for exclusive streaming by "Rock Sound" on 21 May 2014 a few days before its release on 26 May.


title: Bury Tomorrow

text: By 1 June 2014, it had reached number 1 on the official UK Rock chart and number 34 in the official UK Album chart. Later in June, the band announced another European headline tour, set for October, with support from Hands Like Houses, In Hearts Wake and Slaves. In February 2015, they toured the UK with Don Broco, We Are the in Crowd and Beartooth as part of that year's Kerrang! Tour.


title: Bury Tomorrow

text: While performing at Slam Dunk North 2015, Bury Tomorrow announced that they had just finished working on their fourth full-length album, but did not reveal when it will be released. At Reading and Leeds Festival 2015, they debuted the first song from the album. On 1 November, they officially released the song, titled "Earthbound" and accompanied by a music video. At the same time, the band announced that their fourth album, also titled "Earthbound", is set for release worldwide on 29 January 2016 through Nuclear Blast.


title: Bury Tomorrow

text: On 9 January 2016, three weeks before the album release, the band released the second single of the album "Last Light" and its corresponding music video. On 15 February, Bury Tomorrow signed to UPRAWR Music Publishing. On 25 November, nine months after the album release, the band released a music video for the song "Cemetery" and made it as the third and last single of the album.


title: Bury Tomorrow

text: In an interview with "Dead Press!" on 15 April 2017, frontman Dani confirmed that the band had written some of the follow-up to "Earthbound" and that they plan on recording at some point later in the year. In the same interview, he also disclosed that the band intend to celebrate the tenth anniversary of "Portraits" in some way once it comes about in 2019.


title: Bury Tomorrow

text: On 27 October 2017, the band left Nuclear Blast and confirmed their signing with Sony Music and Music For Nations. During the months of October and November, the band headlined their "Stage Invasion" tour with metalcore band Loathe as their support act.


title: Bury Tomorrow

text: On 13 April 2018, the band released the lead single and title track "Black Flame" along with an accompanying music video. That same day, the band revealed the tracklist, album's official artwork and announced that their fifth studio album, the first distributed by the new labels, "Black Flame" is set for release on 13 July 2018. On 1 June, the band released the second single "Knife of Gold" and its corresponding music video. On 29 June, two weeks before the album release a music video for the song "The Age" and made it as the third and last single of the album.


title: Bury Tomorrow

text: On 14 June 2019, the band announced the deluxe edition of "Black Flame" which contains the bonus track "Glasswalk" and live versions of three songs from the original album while also released the bonus track "Glasswalk" as a new single of the album.


title: Bury Tomorrow

text: In an Instagram Q&A with their fans, guitarist/vocalist Jason Cameron confirmed that a new album will be released in 2020. On 29 November 2019, the band released the lead single of their upcoming album titled "The Grey (VIXI)" and its corresponding music video. On 10 January 2020, the band released the second single and title track "Cannibal" along with an accompanying music video. That same day, the band revealed the tracklist, album's official artwork and announced that their new upcoming sixth studio album "Cannibal" is set for release on 3 April 2020.


title: Bury Tomorrow

text: On 13 February, the band released the third single of the album titled "Choke". On 20 March, presumably due to the ongoing COVID-19 pandemic concerns, the band announced that they delayed the release of the album to 3 July in a bid to help them properly promote it. On 2 April, the band released the fourth single "Better Below" along with an accompanying music video. On 26 June, a week before the album release, the band released their fifth single "Gods & Machines". On 13 July 2021, the band announced that founding rhythm guitarist and clean vocalist Jason Cameron departed from the band on good terms.


title: Bury Tomorrow

text: Following the departure of Cameron, Bury Tomorrow performed at Slam Dunk Festival 2021 with two new members. The new members are Ed Hartwell (rhythm guitar) and Tom Prendergast (clean vocals and keyboards). On 24 March 2022, the band released a brand new single "Death (Ever Colder)" along with a music video. On 1 June, the band unveiled another single "Life (Paradise Denied)" and its corresponding music video.


title: Bury Tomorrow

text: On 6 October, the band published the lead single "Abandon Us" and an accompanying music video. At the same time, they officially announced that their upcoming seventh studio album, "The Seventh Sun", is set for release on 31 March 2023, whilst also revealing the album cover and the track list. On 28 November, the band released the second single "Boltcutter" along with a music video.


title: Bury Tomorrow

text: Bury Tomorrow have been described as metalcore, melodic metalcore, and post-hardcore. AllMusic writer Gregory Heaney wrote: "Offsetting layers of pleasant, atmospheric melody with sudden bursts of chugging heaviness, the band uses its breakdowns to create a brooding, moody effect, as if the songs are lurching into a fit when provoked from their somber ruminations." Vocalist Daniel Winter-Bates has stated that he likes the ability of his band to go "heavier" and "lighter" with ease. This is reinforced through vocal styles, in a manner typical of many metalcore bands; whereas Winter-Bates performs a harsh mix of screaming and growling, guitarist Jason Cameron contrasts this with melodic singing, usually in the chorus of a song.


title: Bury Tomorrow

text: The band has referred to older metalcore bands as their primary source of influence, with "Metal Hammer" journalist Merlin Alderslade commenting on their style by saying "the quintet's blend of fierce, melodic death metal-inspired and gloriously anthematic choruses was seen as of the crowning achievements of a new generation of metal bands that had been weaned on a diet of "The End of Heartache", "Waking the Fallen" and "Reroute to Remain"." Prior to the release of their third album, "Runes", Bury Tomorrow have said that it is going to be more technical, "old school" and in line with artists like As I Lay Dying and Killswitch Engage than their previous releases.


title: Bury Tomorrow

text: On 7 May 2014, it was announced that Bury Tomorrow had been nominated for the 'Best British Newcomer' award at the 2014 Kerrang! Awards.


title: Jean Ross

text: Jean Iris Ross Cockburn ( ; 7 May 1911 – 27 April 1973) was a British writer, political activist, and film critic. During the Spanish Civil War (1936–39), she was a war correspondent for the "Daily Express" and is thought to have been a press agent for the Comintern. A skilled writer, Ross worked as a film critic for the "Daily Worker" and her criticisms of early Soviet cinema were later described as ingenious works of "dialectical sophistry". Throughout her life, she wrote political criticism, anti-fascist polemics, and manifestos for a number of disparate organisations such as the British Workers' Film and Photo League. She was a devout Stalinist and a lifelong member of the Communist Party of Great Britain.


title: Jean Ross

text: During her itinerant youth in the Weimar Republic, Ross was a cabaret singer in Berlin. Her Berlin escapades inspired the heroine in Christopher Isherwood's 1937 novella "Sally Bowles" which was later collected in "Goodbye to Berlin", a work cited by literary critics as deftly capturing the hedonistic nihilism of the Weimar era and later adapted into the stage musical "Cabaret". For the remainder of her life, Ross believed the public association of herself with the naïve and apolitical character of Bowles occluded her lifelong work as a professional writer and political activist. Her daughter Sarah Caudwell, who shared this belief, later wrote a newspaper article in an attempt to correct the historical record and to dispel misconceptions about Ross. According to Caudwell, "in the transformations of the novel for stage and cinema the characterisation of Sally has become progressively cruder and less subtle and the stories about 'the original' correspondingly more high-coloured".


title: Jean Ross

text: In addition to inspiring the character Sally Bowles, Ross is credited by the "Oxford Dictionary of National Biography" and other sources as the muse for lyricist Eric Maschwitz's jazz standard "These Foolish Things (Remind Me of You)", one of the 20th century's most enduring love songs. Although Maschwitz's estranged wife Hermione Gingold later claimed the song was written for herself or actor Anna May Wong, Maschwitz contradicted these claims. Instead, Maschwitz cited memories of a "young love", and most scholars posit Maschwitz's youthful affair with Ross inspired the song.


title: Jean Ross

text: Jean Ross was raised in luxury at Maison Ballassiano in the British protectorate of Alexandria, Egypt, She was the eldest daughter of Charles Ross (1880–1938), a Scottish cotton classifier for the Bank of Egypt and brought up with her four siblings in a staunchly liberal, anti-Tory household.


title: Jean Ross

text: Ross was educated in England at Leatherhead Court, Surrey. As an unusually intelligent pupil who had completed the sixth form curricula by the age of 16, she was profoundly bored and loathed school. She became openly rebellious when informed she must remain at school for another year to repeat her already completed coursework. To gain her freedom, she feigned a teenage pregnancy and was summoned to appear before the school's stern headmistress:


title: Jean Ross

text: She falsely insisted to the headmistress that she was pregnant and the Leatherhead Court schoolmasters sequestered the teenager in a nearby insane asylum until a relative arrived and retrieved her. When they discovered the pregnancy was feigned, Ross was formally expelled. Exasperated by her defiant behaviour, her parents sent her abroad to Pensionnat Mistral, an elite Swiss finishing school in Neuchâtel. Ross, however, was either expelled or fled the school.


title: Jean Ross

text: Using a trust stipend provided by her grandfather Charles Caudwell, who was an affluent industrialist and landowner, the teenage Ross returned to England and enrolled in the Royal Academy of Dramatic Art (RADA), London. After diligently applying herself in her first year, she won a coveted acting prize that gave her the opportunity to play the lead role in any production of her choice. When she selected the difficult role of Phaedra, she was informed her youth precluded such a tragic role because she lacked the requisite life experience. Hurt by this refusal, Ross left the academy after one year to pursue a film career.


title: Jean Ross

text: In 1930, at nineteen years of age, Ross and fellow Egyptian-born Hungarian actor Marika Rökk obtained cinematic roles portraying a harem "houri" in director Monty Banks' "Why Sailors Leave Home", an early sound comedy that was filmed in London. Ross's dark complexion and partial fluency in Arabic were deemed suitable for the role. Disappointed with their small roles, she and Rökk heard rumours about ample job opportunities for aspiring actors in the Weimar Republic of Germany and set off with great expectations for Central Europe.


title: Jean Ross

text: Ross's excursion to Central Europe proved less successful than she had hoped. Unable to find acting work, she worked as a nightclub singer in Weimar Germany, ostensibly in lesbian bars and second-rate cabarets. When not singing or modelling, she often visited the offices of the UFA GmbH, a German motion picture production company, in the hopes of gaining small film roles. By late 1931, she obtained a job as a dancer in theatre director Max Reinhardt's production of Offenbach's "" "Tales of Hoffmann", and played Anitra in Reinhardt's production of "Peer Gynt".


title: Jean Ross

text: Reinhardt's much-anticipated production of "Tales of Hoffmann" premiered on 28 November 1931. The production was reputedly one of the last great triumphs of the Berlin theatre scene prior to the Nazi Party's gradual ascent. Ross and a male dancer appeared together as an amorous couple in the stage background, and were visible only in silhouette during the Venetian palace sequence of the second act. Later, Ross said she and the male performer had capitalised on this opportunity for sexual intimacy in full view of the unsuspecting audience.


title: Jean Ross

text: By late 1931, Ross had moved to Schöneberg, Berlin, where she shared modest lodgings in Fräulein Meta Thurau's flat at Nollendorfstraße 17 with English writer Christopher Isherwood, whom she had met in October 1930 or early 1931. Isherwood, who was an apprentice novelist, was politically ambivalent about the rise of fascism and had moved to Berlin in order to avail himself of male prostitutes and to enjoy the city's orgiastic Jazz Age cabarets. At their first meeting, Ross monopolised the conversation and recounted her latest sexual conquests. At one point, she reached into her handbag and produced a diaphragm, which she waved in the face of a startled Isherwood. The two soon became intimate friends.


title: Jean Ross

text: Although Ross' relations with Isherwood were not always amicable, she soon joined Isherwood's social circle alongside more politically-aware poets W.H. Auden and Stephen Spender. Subsequently, Ross was the only woman in this circle of gay male writers, who mythologised her in their respective memoirs. Among Isherwood's acquaintances, Ross was regarded as a sexual libertine who was devoid of inhibitions and had no qualms about entertaining visitors to their flat while nude or about discussing her sexual relations. A contemporary portrait of the 19-year-old Ross appears in Isherwood's "Goodbye to Berlin" when the narrator first encounters the "divinely decadent" Sally Bowles:


title: Jean Ross

text: Isherwood further described the youthful Ross as having a physical resemblance to Merle Oberon but said her face naturally had a sardonic humour akin to that of comedian Beatrice Lillie. Their ramshackle flat at Nollendorfstraße 17 was in a working-class district near the centre of Weimar Berlin's radical enclaves, subversive activity, and gay nightlife. By day, Ross was a fashion model for popular magazines, and by night, she was a bohemian chanteuse singing in the nearby cabarets located along the Kurfürstendamm avenue, an entertainment-vice district that was selected for future destruction by Joseph Goebbels in his 1928 journal. These cabarets would be closed by the Brownshirts when the Nazi Party seized power in early 1933. Isherwood visited these nightclubs to hear Ross sing; he later described her voice as poor but nonetheless effective:


title: Jean Ross

text: Due to her acquaintance with Isherwood, Ross would later become immortalised as "a bittersweet English " named Sally Bowles in Isherwood's 1937 eponymous novella and his 1939 book "Goodbye to Berlin". While in Isherwood's company, Ross was introduced to the visiting Paul Bowles, a gay American writer who would later gain acclaim for his post-colonial novel "The Sheltering Sky". This meeting between Ross and Paul Bowles made an impression upon Isherwood, who later used Bowles' surname for the character Sally Bowles, whom he based upon Ross. Isherwood said Ross was "more essentially British than Sally; she grumbled like a true Englishwoman, with her 'grin-and-bear-it' grin. And she was tougher".


title: Jean Ross

text: Although Isherwood sometimes had sex with women, Ross—unlike the fictional character Sally—never tried to seduce Isherwood, although they were forced to share a bed whenever their flat became overcrowded with visiting revelers. Instead, Isherwood settled into a same-sex relationship with a young, working-class, German man named Heinz Neddermeyer, while Ross entered into a variety of heterosexual liaisons, including one with the tall, blond, musician Götz von Eick, who later became an actor under the stage name Peter van Eyck and future star of Henri-Georges Clouzot's "The Wages of Fear". Although some biographers identified van Eyck as Jewish, others posit van Eyck was the wealthy scion of Prussian landowners in Pomerania. As a Pomeranian aristocrat, he was expected by his family to embark upon a military career but he became interested in jazz as a young man and pursued musical studies in Berlin.


title: Jean Ross

text: When the 19-year-old van Eyck met Ross, he often moonlighted as a jazz pianist in Berlin cabarets. Either during their brief relationship or soon after their separation, Ross realised she was pregnant. As a personal favour to Ross, Isherwood pretended to be her heterosexual impregnator to facilitate an abortion procedure. Ross nearly died as a result of the abortion procedure due to the carelessness of the doctor. Following the procedure, Isherwood visited an ailing Ross in a Berlin hospital. Wrongly assuming the shy gay author to be her heterosexual partner, the hospital staff despised him for callously forcing Ross to undergo a near-fatal abortion. These tragicomic events later inspired Isherwood to write his 1937 novella "Sally Bowles" and serves as its narrative climax.


title: Jean Ross

text: While Ross recovered from the botched abortion procedure, the political situation rapidly deteriorated in Weimar Germany as the incipient Nazi Party continued to grow stronger day by day. By 1932, Weimar Germany was in the trough of an economic depression, with millions of persons unemployed. Nearly every German they encountered "was poor, living from hand to mouth on little money". Berlin residents experienced "poverty, unemployment, political demonstrations and street fighting between the forces of the extreme left and the extreme right".


title: Jean Ross

text: As the political climate deteriorated, Ross, Isherwood, Spender, and others realised they must leave Germany. "There was a sensation of doom to be felt in the Berlin streets", Spender recalled. In the July 1932 elections, the Nazis achieved a plurality in the Reichstag and, by August that year, Ross departed Germany and returned to southern England. Despite Ross leaving Germany, Isherwood chose to remain due to his close attachment to Heinz Neddermeyer. However, after Adolf Hitler's ascension as Chancellor of Germany on 30 January 1933, Isherwood realised that staying any longer in Germany would be perilous. He commented to a friend: "Adolf, with his rectangular black moustache, has come to stay and brought all his friends... Nazis are to be enrolled as 'auxiliary police,' which means that one must now not only be murdered but that it is illegal to offer any resistance." Two weeks after Hitler passed the Enabling Act which cemented his power, Isherwood fled Germany and returned to England on 5 April 1933.


title: Jean Ross

text: Ultimately, the increasing prevalence of xenophobic Nazism in the country would preclude Ross and Isherwood from returning to their beloved Berlin. Many of the Berlin cabaret denizens whom Ross and Isherwood befriended would later flee abroad or die in labour camps.


title: Jean Ross

text: After her return to southern England, Ross resided at Cheyne Walk in Chelsea, London, and continued to fraternise with Isherwood and his circle of friends. She also began to associate with left-wing political activists "who were humorous but dedicated, sexually permissive but politically dogmatic". During this period, she met Claud Cockburn, an Anglo-Scots journalist and the second cousin, once removed, of novelists Alec Waugh and Evelyn Waugh.


title: Jean Ross

text: They met at the Café Royal. Purportedly, one evening, Cockburn handed Ross a cheque but perhaps having second thoughts, he telephoned the next morning to warn her the cheque would bounce. Despite this "portent of unreliability" and "the fact that Cockburn had already been married to an American woman whom he left when she became pregnant", Ross began an affair with Cockburn. On a subsequent evening, Cockburn expounded Marxist economic theory to Ross all night until the early morning hours. Cockburn later said he persuaded Ross to become a left-wing journalist and secured her employment at the "Daily Worker".


title: Jean Ross

text: Due to Cockburn's influence, Ross joined the Communist Party of Great Britain (CPGB) during the tenure of General Secretary Harry Pollitt. She became an active and devoted Party member for the remainder of her life. Meanwhile, she continued her career as an aspiring thespian, appearing in theatrical productions at the Gate Theatre Studio that were directed by Peter Godfrey and, in need of money, she modelled the latest Paris fashions by French designer Jean Patou in "Tatler" magazine. It is possible, although unlikely, she obtained a bit role as a chorus girl in Paramount Studios' musical drama film "Rumba".


title: Jean Ross

text: While in England, Ross' connections to the British film industry proved crucial to Isherwood's future career. Ross had spent only around eighteen months in Berlin between 1932 and 1933 but became fluent enough in German to allow her to obtain work as a bilingual scenarist with Austro-German directors who had fled the Nazi regime. One of these Austrian directors was Berthold Viertel, who became Ross' friend.


title: Jean Ross

text: At the time, translators were sorely needed in the film industry to facilitate productions headed by Austro-German directors who were now working in the United Kingdom. Ross, who was aware Isherwood was living in poverty, persuaded Viertel to hire him as a translator. As repayment for this favour, Ross asked Isherwood to promise to give half of his first week's salary from the job to her. After obtaining the job, Isherwood either reneged upon or forgot this agreement with Ross, and this incident may have contributed to the souring of their friendship. Viertel and Isherwood soon collaborated upon a film that would become "Little Friend" (1934); this collaboration launched Isherwood's long career as a screenwriter in Hollywood.


title: Jean Ross

text: During 1933, Isherwood composed the nucleus of a story about Ross' abortion in Berlin that would later become his 1937 novella "Sally Bowles". Dissatisfied with its structure and quality, Isherwood rewrote the manuscript during subsequent years, and he eventually sent the manuscript to editor John Lehmann to be published in "New Writing", a new literary periodical. When Isherwood informed Lehmann his story was based on factual events, the editor became worried about the story's climax because it draws upon Ross' abortion. Lehmann feared Ross would file a libel suit against Isherwood and himself if the story was published.