title: Her Majesty's Theatre

text: From the early 1830s until the late 1840s Her Majesty's Theatre played host to the heyday of the era of the romantic ballet, and the theatre's resident ballet company was considered the most renowned in Europe, aside from the Ballet du Théâtre de l'Académie Royale de Musique in Paris. The celebrated ballet master Jules Perrot began staging ballet at Her Majesty's in 1830. Lumley appointed him "Premier Maître de Ballet" (chief choreographer) to the theatre in 1842. Among the works of ballet that he staged were "Ondine, ou La Naïade" (1843), "La Esmeralda" (1844), and "Catarina, ou La Fille du Bandit" (1846), as well as the celebrated divertissement "Pas de Quatre" (1845). Other ballet masters created works for the ballet of Her Majesty's Theatre throughout the period of the romantic ballet, most notably Paul Taglioni (son of Filippo Taglioni), who staged ballets including "Coralia, ou Le Chevalier inconstant" (1847) and "Electra" (1849, the first production of a ballet to make use of electric lighting). Arthur Saint-Léon staged such works as "La Vivandière" (1844), "Le Violin du Diable" (1849), and "Le Jugement de Pâris" (1850), which was considered a sequel of sorts to "Pas de Quatre".


title: Her Majesty's Theatre

text: The Italian composer Cesare Pugni was appointed "Composer of the Ballet Music" to the theatre in 1843, a position created for him by Lumley. From 1843 until 1850, he composed nearly every new ballet presented at the theatre. Pugni remains the most prolific composer of the genre, having composed more than 100 original ballets, as well as composing numerous divertissements and incidental dances that were often performed as diversions during the intermissions of opera performances at the theatre. Throughout the era of the romantic ballet, the theatre presented performances by notable ballerinas, including Marie Taglioni, Carlotta Grisi, Fanny Elssler, Lucile Grahn and Fanny Cerrito, performing in the works of Perrot, Taglioni and Saint-Léon.


title: Her Majesty's Theatre

text: From 1862 to 1867, the theatre was managed by James Henry Mapleson, presenting Italian, French and German opera, including the British premieres of "La forza del destino", "Médée", "Faust" and "The Merry Wives of Windsor" and promoting such singers as Mario, Giulia Grisi, De Murska, Thérèse Tietjens, Antonio Giuglini, Charles Santley and Christine Nilsson. On the night of 6 December 1867, the theatre was destroyed by fire, thought to have been caused by an overheated stove. Only the bare walls of the theatre remained, and most of the adjacent shops in Pall Mall, and the Clergy Club hotel in Charles Street, suffered damage of varying severity. The Royal Opera Arcade, on the western side, survived with only superficial damage. With the destruction of the theatre, Mapleson took his company to the Theatre Royal, Drury Lane.


title: Her Majesty's Theatre

text: By the 1850s, with the era of the romantic ballet at an end, the principal personalities of the ballet, such as Perrot, Saint-Léon, Taglioni, and the composer Pugni, joined the Tsar's Imperial Ballet of St. Petersburg, Russia. Ballet in London went through a considerable decline beginning with the fire at Her Majesty's Theatre, a decline that lasted until the end of the 19th century.


title: Her Majesty's Theatre

text: A third building was constructed in 1868 at a cost of £50,000, within the shell of the old theatre, for Lord Dudley. It was designed by Charles Lee and Sons and their partner, William Pain, and built by George Trollope and Sons. The designers had taken over John Nash's practice on his retirement. The new theatre was designed to be less susceptible to fire, with brick firewalls, iron roof trusses and Dennett's patent gypsum-cement floors. The auditorium had four tiers, with a stage large enough for the greatest spectaculars. For opera, the theatre seated 1,890, and for plays, with the orchestra pit removed, 2,500. As a result of a dispute over the rent between Dudley and Mapleson, and a decline in the popularity of ballet, the theatre remained dark until 1874, when it was sold to a Revivalist Christian group for £31,000.


title: Her Majesty's Theatre

text: Mapleson returned to Her Majesty's in 1877 and 1878, after a disastrous attempt to build a 2,000-seat National Opera House on a site subsequently used for the building of Scotland Yard. On the return of the company, all the fittings of the theatre had been removed, including the seats, carpets and even the wallpaper. £6,000 was spent on fitting out the theatre, and on 28 April 1877 the building returned to theatrical use with the opening of Vincenzo Bellini's opera "Norma". The London premiere of Bizet's "Carmen" occurred here on 22 June 1878, and in subsequent seasons the theatre hosted the Carl Rosa Opera Company (Rosa's wife, Euphrosyne Parepa, had made her name in opera partly at Her Majesty's) and a programme of French plays and light opera. The company was the first to produce "Carmen" in English, at the theatre in February 1879, starring Selina Dolaro in the title role and Durward Lely as Don José. In 1882, the theatre hosted the London premieres of Wagner's "Ring cycle".


title: Her Majesty's Theatre

text: Mapleson returned in 1887 and 1889, but "The Times" commented that the repertoire comprised "works that had long ceased to attract a large public, the singers were exclusively of second-rate quality, and the standard of performance was extremely low". "Rigoletto", on 25 May 1889, was the last operatic performance given in the house.


title: Her Majesty's Theatre

text: With the rapid advances in theatre technology made during this period, the 1868 theatre quickly became outmoded, and the sub-lease of the theatre, still held by the Dudley family, was due to expire in 1891. The Commissioners of Woods, Forests and Land Revenues (forerunners of the Crown Estate) desired the entire block on which the theatre stood to be rebuilt, except for the Royal Arcade, where the lease did not expire until 1912. Problems were encountered in obtaining all the buildings and in financing the scheme, but the theatre and surrounding buildings were demolished in 1892. Plans were commissioned from architect Charles J. Phipps for a theatre and a hotel. In February 1896 an agreement was reached with Herbert Beerbohm Tree for the erection of the theatre at a cost of £55,000. The plans were approved in February 1897, and on 16 July 1896, the foundation stone of the new theatre was laid. Phipps died in 1897, and the theatre was his last work.


title: Her Majesty's Theatre

text: The theatre was designed as a symmetrical pair with the Carlton Hotel and restaurant on the adjacent site, now occupied by New Zealand House. The frontage formed three parts, each of nine bays. The hotel occupied two parts, the theatre one, and the two buildings were unified by a cornice above the ground floor. The buildings rose to four storeys, with attic floors above, surmounted by large squared domes in a style inspired by the French Renaissance. The theatre has a Corinthian colonnade at the first floor, rising to the second, forming a loggia in front of the circle foyer. This is above a canopy over the main ground floor entrances. The theatre lies on an east–west axis. The stage at the western end was deep and wide, and reputedly the first to be flat, rather than raked. The interior was designed by the consulting architect, W. H. Romaine-Walker (1854–1940), after the Opera at Versailles by Gabriel. Stalls and the pit were entered at ground level, with two partly cantilevered tiers above accommodating dress and family circles on the first level, and upper circle, amphitheatre and gallery on the tier above. In all, there were 1,319 seats. Contemporary opinion was critical of the project. Edwin Sachs wrote in his 1897 guide to theatres, "The treatment is considered to be in the French Renaissance style and stone has been used throughout. The detail cannot, however, be termed satisfactory, nor does the exterior architecturally express the purpose of the building."


title: Her Majesty's Theatre

text: Modern opinion of the theatre is more generous, with English Heritage describing the building as both Phipps's finest work and one of the best planned theatres in London. The building was Grade II* listed in January 1970. Appreciation of the buildings came too late to save the adjacent hotel from redevelopment as the new High Commission for New Zealand, completed in 1963 by British architects Robert Matthew, Johnson Marshall and Partners, who also designed the Commonwealth Institute. In 1995, this too was Grade II listed as a fine example of 1960s architecture. The 200-year-old Royal Opera Arcade, built by Nash and Repton, is all that survives of the second theatre and is the earliest example of a London arcade.


title: Her Majesty's Theatre

text: The current theatre opened on 28 April 1897. Herbert Beerbohm Tree built the theatre with profits from his tremendous success at the Haymarket Theatre, and he owned, managed and lived in the theatre from its construction until his death in 1917. For his personal use, he had a banqueting hall and living room installed in the massive, central, square French-style dome. This building did not specialise in opera, although there were some operatic performances in its early years. The theatre opened with a dramatisation of Gilbert Parker's "The Seats of the Mighty". Adaptations of novels by Dickens, Tolstoy, and others formed a significant part of the repertoire, along with classical works from Molière and Shakespeare. The theatre also hosted the world premiere of J. M. Synge's "The Tinker's Wedding" on 11 November 1909 and George Bernard Shaw's "Pygmalion", with Tree as Henry Higgins and Mrs Patrick Campbell as Eliza, in 1914. Tree's productions were known for their elaborate and spectacular scenery and effects, often including live animals and real grass. These remained both popular and profitable, but in his last decade, Tree's acting style was seen as increasingly outmoded, and many of his plays received bad reviews. Tree defended himself from critical censure, demonstrating his continuing popularity at the box office until his death.


title: Her Majesty's Theatre

text: In 1904, Tree founded the Academy of Dramatic Art (later RADA), which spent a year based in the theatre before moving in 1905 to Gower Street in Bloomsbury. Tree continued to take graduates of the Academy into his company at His Majesty's, employing some 40 actors in this way by 1911.


title: Her Majesty's Theatre

text: The facilities of the theatre naturally lent themselves to the new genre of musical theatre, and Percy Fletcher was appointed musical director in 1915, a post he held for the next 17 years until his death. "Chu Chin Chow" opened in 1916 and ran for an astonishing world record 2,235 performances (almost twice as long as the previous record for musical theatre – a record that it held until surpassed by "Salad Days", which opened in 1954). Major productions of plays with large casts were also performed at His Majesty's. George and Ira Gershwin's "Oh, Kay!" had its London premiere on 21 September 1927. This starred Gertrude Lawrence and John Kirby, and ran for 213 performances. Noël Coward's operetta "Bitter Sweet" enjoyed a run of 697 performances beginning 18 July 1929. J. B. Priestley's "The Good Companions" premiered on 14 May 1931.


title: Her Majesty's Theatre

text: Musicals continued to dominate at the theatre in the post-Second World War period, including transfers of the successful Broadway productions "Follow the Girls" (1945; 572 performances) and the Lerner and Loewe musicals "Brigadoon" (1949; 685 performances) and "Paint Your Wagon" (1953; 478 performances). Leonard Bernstein's "West Side Story" opened in December 1958 for a run of 1,039 performances, transferring from Broadway via the Manchester Opera House. The London premiere of "Fiddler on the Roof" was on 16 February 1967, starring Chaim Topol, and the production ran at Her Majesty's for 2,030 performances. Forty years after the original stage adaptation, André Previn's musical "The Good Companions" premiered on 11 July 1974, followed by Andrew Lloyd Webber and Alan Ayckbourn's initially unsuccessful collaboration, "Jeeves", on 22 April 1975, which has since enjoyed considerable success.


title: Her Majesty's Theatre

text: John Cleese organised "A Poke in the Eye (With a Sharp Stick)" as a benefit for Amnesty International at the theatre in 1976, and it was broadcast as "Pleasure at Her Majesty's". This was the first of "The Secret Policeman's Balls", organised by and starring such performers as Peter Cook, Graham Chapman, and Rowan Atkinson. The venue was also the setting for the popular ITV variety series "Live from Her Majesty's", which ran on television from 1983 to 1988. It was on this programme that Tommy Cooper collapsed and died on stage in 1984.


title: Her Majesty's Theatre

text: This theatre is one of the 40 theatres featured in the 2012 DVD documentary series "Great West End Theatres", presented by Donald Sinden.


title: Her Majesty's Theatre

text: "The Phantom of the Opera" had its world premiere on 9 October 1986 at the theatre, winning the Olivier Award for Best New Musical and featuring Sarah Brightman and Michael Crawford, who won an Olivier award for his performance in the title role. The piece is still playing at Her Majesty's, celebrating its 25th anniversary in October 2011 and surpassing 10,000 performances in October 2010. It is the second longest-running West End musical in history (after "Les Misérables"). In a sign of its continuing popularity, "Phantom" ranked second in a 2006 BBC Radio 2 listener poll of the "Nation's Number One Essential Musicals". The musical is also the longest-running show on Broadway, was made into a film in 2004 and had been seen by over 130 million people in 145 cities in 27 countries and grossed more than £3.2bn ($5bn) by 2011, the most successful entertainment project in history.


title: Her Majesty's Theatre

text: Her Majesty's Theatre's "grand exterior" and "luxurious interior, with its three tiers of boxes and gold statuary around the stage", as well as French Renaissance design, "make it an ideal site for this Gothic tale" set at the Opéra Garnier. The original Victorian stage machinery remains beneath the stage of the theatre. Designer Maria Björnson found a way to use it "to show the Phantom travelling across the lake as if floating on a sea of mist and fire", in a key scene from the musical. On 5 May 2008, for the first time in the run, the show closed for three days. This allowed the installation of an improved sound system at the theatre, consisting of over of cabling and the siting of 120 auditorium speakers. In March 2020, the production was stopped indefinitely due to the COVID-19 pandemic which closed every West End theatre. The show was resumed on 27 July 2021.


title: Her Majesty's Theatre

text: The theatre's capacity is 1,216 seats on four levels. Really Useful Theatres Group purchased it in January 2000 with nine other London theatres formerly owned by the Stoll-Moss Group. Between 1990 and 1993, renovation and improvements were made by the H.L.M. and C. G. Twelves partnership. In 2014, Really Useful Theatres split from the Really Useful Group and owns the theatre.


title: Francois Pienaar

text: Jacobus Francois Pienaar (born 2 January 1967) is a retired South African rugby union player. He played flanker for South Africa (the Springboks) from 1993 until 1996, winning 29 international caps, all of them as captain. He is best known for leading South Africa to victory in the 1995 Rugby World Cup. After being dropped from the Springbok team in 1996, Pienaar went on to a career with English club Saracens.


title: Francois Pienaar

text: Pienaar was born in Vereeniging, South Africa, into a working class Afrikaner family, and is the eldest of four boys. After completing high school at Hoërskool Patriot Witbank, he won an athletic scholarship to the Rand Afrikaans University, where he studied law.


title: Francois Pienaar

text: He made his provincial debut for Transvaal Province in 1989 before being selected for the South Africa squad in 1993. He was appointed Springbok captain from his first test and remained captain until his last, and remains one of the most successful South African captains of all time.


title: Francois Pienaar

text: In 1993 Transvaal won the Super 10, Currie Cup and Lion Cup under Pienaar. In 1994, Transvaal retained the Currie Cup under his captaincy and he was voted international player of the year by Rugby World magazine.


title: Francois Pienaar

text: Pienaar is most famous for being captain of the first South Africa team to win the World Cup. Prior to the World Cup in 1995, the Springboks were only seeded ninth and were not expected to dethrone the incumbent champions Australia, who had not lost a game in the preceding 12 months.


title: Francois Pienaar

text: During the tournament, South Africa defeated Australia, Romania, Canada, Western Samoa, and France. They then met New Zealand in the 1995 Rugby World Cup Final at Ellis Park Stadium. Pienaar led the Springboks to a three-point victory with a drop goal from Joel Stransky.


title: Francois Pienaar

text: During the remarkable post-match presentation ceremony Nelson Mandela, wearing a Springbok jersey bearing Pienaar's number, presented him with the Webb Ellis Cup. During his acceptance speech, Pienaar made it clear that the team had won the trophy not just for the 60,000 fans at Ellis Park, but also for all 43,000,000 South Africans.


title: Francois Pienaar

text: Pienaar is portrayed by Matt Damon in the film "Invictus", released in December 2009, which focuses on the story of the 1995 World Cup.


title: Francois Pienaar

text: Within a month of the World Cup's conclusion Pienaar had a stand-off with SARFU after he led South African players in threatening to join their Australia and New Zealand counterparts to play professionally for the World Rugby Corporation (WRC). Pienaar had convinced numerous Springbok players to sign with the WRC, but Louis Luyt eventually dissuaded them from breaking with the SARFU. During this standoff, Pienaar offered the black Springbok player Chester Williams less than other contemporary South African players. In purely marketing terms, Williams was second only to Jonah Lomu.


title: Francois Pienaar

text: Subsequently, Springbok players were given contracts and the International Rugby Board (IRB) voted in favour of professionalisation. Pienaar was instrumental in negotiating the deal between SANZAR and Rupert Murdoch's News Corporation that turned rugby into a fully-fledged professional game. Some of the older generation rugby administrators branded him a traitor for selling out South African rugby to professionalism.


title: Francois Pienaar

text: In 1996, Pienaar was controversially dropped from the Springbok side, after 29 caps, by coach Andre Markgraaff, who accused him of feigning an injury during a match.


title: Francois Pienaar

text: Pienaar subsequently left for Britain, where he became player-coach for Watford-based club Saracens. Under his leadership, they defeated the London Wasps to win the Pilkington Cup and also finished second in the Zurich Premiership. During the next two seasons, they secured third and fourth spots in the Zurich Premiership, thereby qualifying for the European Cup on consecutive campaigns.


title: Francois Pienaar

text: Pienaar captained the Barbarians in his only appearance for the club against Leicester at Twickenham in 1999.


title: Francois Pienaar

text: In 2000, Pienaar retired as a player and became Saracens’ CEO. As a consequence of the club's lack of success during the two following years, Pienaar stepped down as coach and CEO in 2002. Piennar is one of 3 directors of Saracens as of 5/20.


title: Francois Pienaar

text: In 2002 he returned to Cape Town, South Africa, where he lives with his wife Nerine Winter and two sons. Both had Nelson Mandela as a godfather.


title: Francois Pienaar

text: Pienaar wrote his autobiography "Rainbow Warrior" with Edward Griffiths in 1999. In November 2000, he was awarded an honorary doctorate by the University of Hertfordshire.


title: Francois Pienaar

text: Pienaar and Mandela are the subject of a 2008 book by John Carlin, "Playing the Enemy: Nelson Mandela and the Game that Made a Nation", that spotlights the role of the 1995 Cup win in post-apartheid South Africa. Carlin sold the film rights to Morgan Freeman. The 2009 film "Invictus", based on the book, was directed by Clint Eastwood, and starred Morgan Freeman as Nelson Mandela and Matt Damon as Pienaar.


title: Santana High School shooting

text: On March 5, 2001, a school shooting occurred at Santana High School in Santee, California. The gunman, 15-year-old Charles Andrew Williams, opened fire with an eight-shot .22-caliber revolver, killing two students and wounding 13 others. Williams was then apprehended by responding police officers and convicted. He is currently serving 50 years to life in prison.


title: Santana High School shooting

text: Weeks before the shooting, Williams allegedly attempted to speak with a school counselor but was instructed to return to class because the office was full at the time. He later reportedly complained to a school counselor multiple times about being bullied and told a school security guard he was going to bring a gun to campus, but evidence has not been found for either claim.


title: Santana High School shooting

text: As the semester unfolded, friends came to believe that Williams had just reached a tipping point and mentioned he "didn't want to live anymore," which resulted in more name-calling and threats of bullying. The Friday before the shooting, Williams and classmates reported that his drama teacher humiliated him in front of the class during an acting exercise for which he was not prepared, which he perceived as an abusive setup. Williams spoke on two occasions of his plan to "pull a Columbine" at Santana High School, but no reports were ever made of these threats to the school. He also made plans to get on top of the school's roof so that he could hit people more easily. Many friends claimed that Williams brought up his plan repeatedly prior to the shooting but would claim to just be joking, at least two friends claimed to have been warned by Williams the day before the attack but they thought he was joking. The first occasion was a week before the shooting, the second during the weekend prior to March 5.


title: Santana High School shooting

text: On March 5, 2001, at 9:20 a.m., 15-year-old Charles Andrew Williams entered a boys' bathroom at Santana High School with a loaded eight-shot .22-caliber revolver taken from his father's locked gun cabinet and fatally shot a freshman. He then left the bathroom and began firing the revolver indiscriminately at other students, killing another. According to one witness, Williams repeatedly walked out of the bathroom, fired shots, then went back into the bathroom. Others recounted that Williams methodically confronted and shot other students. The scene soon turned chaotic as students and teachers ducked or scrambled to safety. Minutes later, the school was on lockdown.


title: Santana High School shooting

text: A student teacher, Tim Estes, and Campus Security Supervisor, Peter Ruiz, walked into the bathroom to investigate what Ruiz thought may be the sound of firecrackers. Upon entering the restroom, Ruiz was shot once in the shoulder by Williams. As Estes and Ruiz turned to run, Ruiz was hit in the back by two more bullets and Estes was hit in the back by a bullet which exited through his abdomen.


title: Santana High School shooting

text: Two off-duty police officers who were visiting the school were alerted to the shooting, but were at different ends of the school. One of them approached the bathroom and called for backup. More officers quickly arrived, with many witnessing a swarm of students fleeing the building as they were trying to enter making it difficult. Responding officers discovered Williams in the bathroom along with two wounded victims, with one officer recounting that Williams was found in the process of reloading, the chamber was open and he was putting bullets in the gun. Williams calmly surrendered stating: "It's just me, I'm the only one."


title: Santana High School shooting

text: The San Diego SWAT team was called to "assess and clear" the scene of the shooting. Paramedics brought all of the wounded together and lined them up outside the principals office and wrote numbers on them in order to keep track of the wounded before transporting them to a hospital.


title: Santana High School shooting

text: In the end, he shot 15 people, two of whom died. The two students that were killed were 14-year-old Bryan Zuckor and 17-year-old Randy Gordon. Eleven students and two school supervisors suffered gunshot wounds and were treated at either the UC San Diego Medical Center or Rady Children's Hospital.


title: Santana High School shooting

text: Charles Andrew Williams was born in Frederick, Maryland on February 8, 1986, the firstborn child of Jeff and Linda Williams. Known by his family as "Andrew" or "Andy" for short, he had one half-brother, Michael. His parents divorced in 1990, leaving his father with custody and little contact with his mother. Jeff and Andy moved to California in the fall. While attending Santana High School, Williams was bullied by fellow students because of his small size. He began to spend time with a crowd of skateboarders. Williams was accepted within this peer group; however, at times these individuals also bullied him. Jeff has stated that an older man bought the boys alcohol and drugs in exchange for sexual favors and that Andy did not mention this abuse until long after his arrest. In 2011, that older man, Chris Reynolds, was sentenced to 40 years in prison in Oklahoma for molesting other adolescent boys.


title: Santana High School shooting

text: He took his father's Arminius .22 caliber long-rifle double action revolver from the locked gun cabinet in their apartment. After his arrest, he told investigators that he was "tired of being bullied". On the way to juvenile hall, Williams said that he did it because he was dared to by his friends. He also has stated at least three different anticipated outcomes of the shooting when speaking with authorities.


title: Santana High School shooting

text: On June 20, 2002, Williams pleaded guilty to all charges against him in an effort to avoid trial. On August 15, 2002, a California judge sentenced Williams, as an adult, to 50 years to life in prison, and ordered him to serve his time in the Youth Offender Program at CCI, Tehachapi (since closed) until his 18th birthday, at which time he would be transferred to an adult prison. Williams was given credit for the 529 days that he had served in juvenile hall, fined $10,000 and ordered to pay restitution to the Victims Restitution Fund. At his sentencing, Williams apologized and expressed remorse for his actions. On March 1, 2004, he was transferred to an adult prison. Williams is currently incarcerated at the California Institution for Men in Chino, California. He will be eligible for parole in March 2025, when he is 39 years old.


title: Santana High School shooting

text: There was a grass-root effort to have Williams' sentence reduced. His supporters argue that the judge was too harsh in sentencing Williams as an adult and did not take into consideration Williams' age at the time of his offense. They would like to see Williams get a retrial, but as a juvenile, which would have meant confinement by the California Youth Authority until age 25. The California State Attorney General's office handled a total of six appeals filed by Williams supporters, four to the Court of Appeals and two to the California State Supreme Court. The district court denied his petition in September 2010 and the case is now on appeal to the 9th Circuit, according to the California Attorney General's Office.


title: Santana High School shooting

text: In 2018, it was reported that Williams petitioned California Governor Jerry Brown for sentence commutation after a new law was signed prohibiting defendants under 16-years of age to be tried as adults. The San Diego District Attorney's office stated they adamantly opposed the petition as were victims and family members of victims.


title: Santana High School shooting

text: President George W. Bush offered his condolences "to the teachers and the children whose lives have been turned upside-down right now." Bush called the shooting "a disgraceful act of cowardice," adding, "When America teaches our children right from wrong and teaches values that respect life in our country, we'll be better off." But, he said, "First things are first. And our prayers go out to the families that lost a child today."


title: Santana High School shooting

text: California Governor Gray Davis also said he was "shocked and deeply saddened" by the shooting. Davis' wife Sharon is a Santana High School graduate.


title: Santana High School shooting

text: The nu metal band Linkin Park, of whom Williams was a fan, were seen as influencing Williams' actions. Following the shooting, the band released a statement saying, "Like everyone else, we are extremely saddened by these events and our hearts go out to the families and friends to the victims." Williams had written a note to his father prior to the shooting: "I tried so hard, and got so far, but in the end it doesn't really matter,” which was a quote taken from the chorus of the band's 2001 song "In the End."


title: Santana High School shooting

text: The shooting led to the development of regional active shooter response training called Immediate Action, Rapid Deployment (IARD), which has become routine for any law enforcement agency to enter a critical incident scene, and to find and stop the threat as soon as possible.


title: Santana High School shooting

text: A twentieth anniversary candlelight vigil was hosted on March 5, 2021 by the Santana High School classes of 2001-2004 to honor the victims and families of the victims of the shooting.


title: Santana High School shooting

text: In an interview with "NOVA: Mind of a Rampage Killer", Williams said he had been suicidal for several months before the shooting. He described his 15-year-old life as tumultuous, recounting the pain of his parents' recent divorce, his move across the country from Maryland to California, and the death of a friend. His description of his mental state was "numb," adding that he didn't realize people would die, but he wanted to "make a lot of noise and then the cops would show up." He admitted that his real plan was to commit suicide by cop, however he "changed his mind at the last minute, dropped his revolver and surrendered."


title: Dash (rapper)

text: Darien Corey Dash, Jr. (born July 21, 1992), known professionally as Dash (stylized as Da$H), is an American rapper. Apart from his solo career, Dash was a member of Heir Global, alongside former friend and collaborator, Retch. Dash is also an affiliate of ASAP Mob, making his first high-profile appearance on their debut mixtape "Lords Never Worry", in 2012. He frequently works with record producer Mordecai Beats, with whom he released the mixtape "La Cienega" (2012). Da$h has also collaborated with several prominent rappers in the hip-hop industry, including Ab-Soul, Action Bronson, Earl Sweatshirt, Vince Staples and Mac Miller.


title: Dash (rapper)

text: Dash began rapping around the age of 16 and subsequently uploaded music on MySpace. Dash first gained major recognition in August 2012, when he appeared on three tracks from East Coast hip hop ASAP Mob's debut mixtape, "Lord$ Never Worry". Also in 2012, Dash formed the hip hop duo The Heirs (or The H'z for short), which stands for High Everyday Ignoring Rules, with fellow New Jersey-based rapper RetcH. In 2013, Dash released his sixth solo mixtape "V.I.C.E.S." (which stands for "Very Ignorant Content Exposing Success"), to moderate success. The mixtape features guest appearances from Action Bronson, Vince Staples, as well as ASAP Mob members ASAP Nast and ASAP Ferg, among others. The production was handled by Larry Fisherman, Randomblackdude, Thelonious Martin and more. Dash followed up with the release of a two-track extended play (EP) titled, "That Time We Smoked Dust" (2014), in collaboration with RetcH.


title: Dash (rapper)

text: In 2014, in an interview with New York music magazine "The Fader", former Odd Future member Earl Sweatshirt said that Dash was staying at his apartment in Los Angeles, and that they were working on music together. Earl had previously produced the track "Whalé" from "V.I.C.E.S", as well as appearing with him on Mac Miller's track, "New Faces".


title: Dash (rapper)

text: In 2015, Da$h released an EP titled "Skrewface," followed by a mixtape titled "17 More Minutes." Music videos were released on Da$h's YouTube page for the tracks "RicHie K II," "Hello," and "Seymour," along with a short video series, "DEADMANWALKIN," a documentary-style installation following his experiences on the "Live Now x Die Later" concert tour. In 2017, Da$h released his debut album "Loose Skrew", which was released under his independent label "H'z Global". He would later go on to release two more albums under H'z Global; "5 Deadly Venoms" in 2019 with rapper V Don, and "Walk The Plank" in 2020.


title: Yuno Gasai

text: Both she and Zahra are chosen by Deus Ex Machina, the God of Time and Space, as participants of the Diary Game, a deadly battle royal between them and ten other individuals who are given Future Diaries, special diaries that can predict the future, with the last survivor becoming Deus' heir. As the Second Diary Holder, Yuno's Future Diary is the , a stalker diary that gives her explicit details on whatever Yuki is doing in the present 10 minutes. By working together with his Random Diary, they are able to solve their diaries' weaknesses.


title: Yuno Gasai

text: In the anime adaptation, Yuno is voiced by Tomosa Murata in Japanese, and by Brina Palencia in the English version. In the live-action adaptation, Ayame Goriki portrays a different, reimagined version of Yuno.


title: Yuno Gasai

text: Yuno is named after Juno, the ancient Roman goddess of love and marriage. In 2009, during an interview, Sakae Esuno, the author of "Future Diary", revealed that he chose to make Yuno a "yandere" character so that it would be more difficult for her and Yuki to work together as a team, saying that Yuno is one of the problems he would eventually have to face. In another interview, Esuno stated that Yuno is a character whose development of some facets and elements of her past would explain how she conditioned her current psychotic self. Esuno was also questioned if Yuno, who is "ready to sacrifice everything out of love for the hero [Yuki]", was his type of an ideal girl and he simply answered no, saying that "meeting such a girl in reality would still be scary".


title: Yuno Gasai

text: Yuno is a young girl with pink eyes and long pink hair styled in pigtails, two hanging as frontal locks featuring a pair of red bows, and the back pigtails left bare. Her most common attire consists of a blue shirt with a ribbon on her chest accompanied by a blue skirt with high socks, although her wardrobe changes occasionally throughout the series. Yuno's personality is ambiguous. For the most part she is a sweet, feminine, and sometimes shy girl when around Yuki. But, this masks her dark and sanguinary side — a ruthless, cold and calculating psychopath who has little, if any, problem in using others for her ends: her and Yuki's survival. She will resort to cruel and usually violent methods, most of the time coming out of nowhere, that generally end in bloody deaths, of either the Diary Holder or any respective follower, effectively making her a "yandere".


title: Yuno Gasai

text: Yuno possesses divine powers from winning the first Diary Game. An example of such powers is moving enormous structures through her will alone, such as when she tried to crush Yuki. In addition to intelligence and cunning, perhaps her most fearsome ability is demonstrating proficiency with different types of weaponry. These include knives, axes, swords, pistols and submachine guns. She is also fairly knowledgeable of poisons and drugs, although she rarely uses them. She has also demonstrated to be quite skilled in infiltration, as she has on more than one occasion entered a building unnoticed even while it was surrounded by the police.


title: Yuno Gasai

text: In the past, Yuno Gasai is abandoned in an orphanage as a baby and later adopted by Ushio and Saika Gasai, both coming from bankers' families. The first years of Yuno's life were as happy and carefree as those of any girl of her age, until her parents started having serious money problems. They begin to abuse Yuno, locking her up in a cage and timing everything she does, from sleeping to eating. Unable to endure the abuse anymore, Yuno takes advantage of a distraction from her parents to escape and lock them in the same cage in which she was locked. However, Yuno unconsciously neglects her parents and they starve to death; she hides their deaths under the pretext that they are working overseas. A year prior to the events of the series, Yuno becomes obsessively in love with fellow classmate Yukiteru "Yuki" Amano, due to a promise he made to her to go stargazing together. With nothing else to live for, Yuno decides to dedicate her entire life to Yuki, stalking him everywhere and recording everything he does in a diary on her cell phone.


title: Yuno Gasai

text: At the start of the series, both Yuno and Yuki are chosen by Deus Ex Machina, the God of Time and Space, to be participants of the Diary Game, a battle royal whose winner will succeed Deus and inherit his powers. As the Second Diary Holder, Yuno allies herself with Yuki (the First Diary Holder) to kill the remaining ten Diary Holders. Together, they use Yuno's Yukiteru Diary, which details Yuki's actions in ten-minute intervals, in conjunction with Yuki's Random Diary, which gives details of what happens around his surroundings but nothing about him, in order to overcome their own diaries' weaknesses. After killing most of the opposing Diary Holders with Yuno, Yuki discovers the corpses of Yuno's parents, as well as a third corpse, within a quarter of her home and learns through Aru Akise, an artificial human created by Deus to witness the events of the Diary Game, that the third corpse actually belongs to the Yuno Gasai of this timeline and the Yuno he currently knows and interacts with originates from another timeline in which she won the Diary Game by pretending to commit double-suicide with the Yuki of that timeline as the end of the world came closer, but discovered not even the power of a god could resurrect the dead. In her sorrow, Yuno went back in time, creating a Second World in the process, and murdered and replaced her other self.


title: Yuno Gasai

text: Exposed in the end, Yuno uses her powers to return to the past again, creating a Third World, in order to relive everything again. Yuki and Minene Uryū, the Ninth Diary Holder, follow her to change all their terrible futures, including Yuno's to prevent the Diary Game from happening. Thinking she is just using Yuki, she tries to rid herself of him by sealing him in an utopia of illusions, but he breaks free using his love and force. Yuno, realizing that she really loves him, commits suicide to let him win the Diary Game, allowing him to become the God of Time and Space of the Second World. Third World Yuno is able to find happiness with her parents, and subsequently receives the memories of First World Yuno from Murumuru. As Yuno gains the memories of her other self, she is chosen by Third World Deus to be his successor as Goddess of the Third World. She then uses her newly given divine powers to create a pathway to the Second World and finally reunite with Yuki as they prepare to fulfill their promise of stargazing together.


title: Yuno Gasai

text: In the live-action drama titled "Future Diary: Another:World", Ayame Goriki plays Yuno Furusaki, a reimagined version of Yuno Gasai. Like Gasai, the live-action Yuno is one of the Future Diary Holders, and she has a one-sided, stalker-like crush on male protagonist Arata Hoshino (a character based on Yuki Amano). Yuno's Future Diary is the , which works like Gasai's Yukiteru Diary, as it allows Yuno to predict everything about Arata, but nothing about herself unless it is related to Arata. Unlike her manga/anime counterpart, Yuno seems to be more mentally stable, as she has not shown any psychopathic tendencies and seems to be more supportive and friendly to Arata. Despite this, some aspects of Yuno's personality resemble Gasai's, as she goes to great lengths to ensure Arata's safety and also becomes increasingly possessive of Arata, to the point of claiming that she's the only one he can trust.


title: Yuno Gasai

text: Yuno Gasai also appears in the visual novel based on the manga titled "Future Diary: The 13th Diary Owner".


title: Yuno Gasai

text: Yuno Gasai has become an extremely popular and somewhat of a breakout character in anime and manga fandom. She has also become a popular subject of cosplay, causing a trend in Japan where women attempted to replicate her iconic look. In a 2013 poll by BIGLOBE, Yuno was voted to be the most popular "yandere" character. In June 2020, Yuno was ranked as the 6th Best "Yandere" Character in Anime by "Comic Book Resources". In November 2020, Yuno was elected the 8th Best & Hottest Yandere Girl In Anime by "OtakuKart". The facial expression Yuno makes at the end of the first episode of "Future Diary" has become a popular meme on internet known as ""Yandere" Face", and has since been used by fans to associate "yandere" characters, with several netizens editing Yuno's face to make it look like other characters from various anime/manga series.


title: Yuno Gasai

text: In a review for "Future Diary", a writer identified as "7mononoke" commented about the "fascinating and toxic" psyche of Yuno, noting how she has shown symptoms of various mental and personality disorders throughout the series, including dissociative identity disorder, borderline personality disorder and antisocial personality disorder. 7mononoke also points out that Yuno "isn't only memorable as the crazy "yandere"; she is so much more". THEM Anime Reviews described Yuno as being an "standard anime archetype" ("yandere"), but complimented her development throughout the series, saying that, by the end of "Future Diary", she has become a character "worth caring about". Reviewing "Future Diary", Jacob Chapman of Anime News Network criticized Yuno as being a "slavering "yandere"". "The Artifice" highlighted the depiction of Yuno and how she jumps back and forth from "just your average adorable middle schooler" to a "raging, calculated, cold-blooded killer".


title: Yuno Gasai

text: Sean Cubillas of "Comic Book Resources" called Yuno the "poster child" for the "Future Diary" series, in addition to stating, "Yuno Gasai is possibly the most famous "yandere" character of all time. Whether that's because of her iconic look or the fact that she always keeps the plot unpredictable, Yuno is definitely the spice that keeps the show interesting. Yuno can either be the competent protector for Yuki that handles issues with a cool head or just a pure villain that has fans screaming at their TV. She's a truly terrifying force that never fails to stick to people's imaginations, and she's carried this series the same way that she carries Yuki." Ritwik Mitra of "Screen Rant" said Yuno is "easily the most entertaining aspect of the entire series".


title: Merce Cunningham

text: Mercier Philip "Merce" Cunningham (April 16, 1919 – July 26, 2009) was an American dancer and choreographer who was at the forefront of American modern dance for more than 50 years. He frequently collaborated with artists of other disciplines, including musicians John Cage, David Tudor, Brian Eno, and graphic artists Robert Rauschenberg, Bruce Nauman, Andy Warhol, Roy Lichtenstein, Frank Stella, and Jasper Johns; and fashion designer Rei Kawakubo. Works that he produced with these artists had a profound impact on avant-garde art beyond the world of dance.


title: Merce Cunningham

text: As a choreographer, teacher, and leader of the Merce Cunningham Dance Company, Cunningham had a profound influence on modern dance. Many dancers who trained with Cunningham formed their own companies. They include Paul Taylor, Remy Charlip, Viola Farber, Charles Moulton, Karole Armitage, Deborah Hay, Robert Kovich, Foofwa d'Imobilité, Kimberly Bartosik, Flo Ankah, Jan Van Dyke, Jonah Bokaer, and Alice Reyes.


title: Merce Cunningham

text: In 2009, the Cunningham Dance Foundation announced the Legacy Plan, a plan for the continuation of Cunningham's work and the celebration and preservation of his artistic legacy.


title: Merce Cunningham

text: Cunningham earned some of the highest honours bestowed in the arts, including the National Medal of Arts and the MacArthur Fellowship. He also received Japan's Praemium Imperiale and a British Laurence Olivier Award, and was named Officier of the Légion d'honneur in France.


title: Merce Cunningham

text: Cunningham's life and artistic vision have been the subject of numerous books, films, and exhibitions, and his works have been presented by groups including the Paris Opéra Ballet, New York City Ballet, American Ballet Theatre, White Oak Dance Project, and London's Rambert Dance Company.


title: Merce Cunningham

text: Merce Cunningham was born in Centralia, Washington in 1919, the second of three sons. Both his brothers followed their father, Clifford D. Cunningham, into the legal profession. Cunningham first experienced dance while living in Centralia. He took tap dance class from a local teacher, Mrs Maude Barrett, whose energy and spirit taught him to love dance. Her emphasis on precise musical timing and rhythm provided him with a clear understanding of musicality that he implemented in his later dance pieces. He attended the Cornish College of the Arts in Seattle, headed by Nellie Cornish, from 1937 to 1939 to study acting, but found drama's reliance on text and miming too limiting and concrete. Cunningham preferred the ambiguous nature of dance, which gave him an outlet for exploration of movement. During this time, Martha Graham saw Cunningham dance and invited him to join her company. In 1939, Cunningham moved to New York City and danced as a soloist in the Martha Graham Dance Company for six years. He presented his first solo concert in New York in April 1944 with composer John Cage, who became his lifelong romantic partner and frequent collaborator until Cage's death in 1992.


title: Merce Cunningham

text: In the summer of 1953, as a teacher in residence at Black Mountain College, Cunningham formed the Merce Cunningham Dance Company.


title: Merce Cunningham

text: Throughout his career, Cunningham choreographed more than 200 dances and over 800 "Events", or site-specific choreographic works. In 1963 he joined with Cage to create the Walker Art Center's first performance, instigating what would be a 25-year collaborative relationship with the Walker. In his performances, he often used the "I Ching" to determine the sequence of his dances and, often, dancers were not informed of the order until the night of the performance. In addition to his role as choreographer, Cunningham performed as a dancer in his company into the early 1990s.


title: Merce Cunningham

text: In 1968 Cunningham published his book "Changes: Notes on Choreography", edited by Francis Starr, containing various sketches of his choreography.


title: Merce Cunningham

text: Cunningham continued to live in New York City and lead his dance company as Artistic Director until his death. He presented his last work, a new work, "Nearly Ninety", in April 2009, at the Brooklyn Academy of Music, New York, to mark his 90th birthday. Later that year he died in his home at the age of 90.


title: Merce Cunningham

text: Cunningham formed Merce Cunningham Dance Company (MCDC) at Black Mountain College in 1953. Guided by its leader's radical approach to space, time and technology, the company has forged a distinctive style, reflecting Cunningham's technique and illuminating the near limitless possibility for human movement.


title: Merce Cunningham

text: The original company included dancers Carolyn Brown, Viola Farber, Marianne Preger-Simon, Paul Taylor, and Remy Charlip, and musicians John Cage and David Tudor. In 1964 the Cunningham Dance Foundation was established to support his work.


title: Merce Cunningham

text: From 1971 until its dissolution in 2012, the company was based in the Westbeth Artists Community in the West Village; for a time Cunningham himself lived a block away at 107 Bank Street, with John Cage.


title: Merce Cunningham

text: On July 20, 1999, Merce Cunningham and Mikhail Baryshnikov performed together at the New York State Theater for Cunningham's 80th birthday.


title: Merce Cunningham

text: In its later years, the company had a two-year residency at , where MCDC performed "Events", Cunningham's site-specific choreographic collages, in the galleries of Richard Serra, Dan Flavin, and Sol LeWitt, among others. In 2007, MCDC premiered "XOVER", Cunningham's final collaboration with Rauschenberg, at Dartmouth College in New Hampshire. In 2009, MCDC premiered Cunningham's newest work, "Nearly Ninety", at the Brooklyn Academy of Music. The company concluded its farewell tour on December 31, 2011, with a performance at the Park Avenue Armory.


title: Merce Cunningham

text: Merce Cunningham Dance Company frequently collaborated with visual artists, architects, designers, and musicians.


title: Merce Cunningham

text: Many of Cunningham's most famous innovations were developed in collaboration with composer John Cage, his life partner. Cunningham and Cage used chance procedures to generate material, discarding many artistic traditions of narrative and form. Famously, they asserted that dance and its music should not be intentionally coordinated with one another.


title: Merce Cunningham

text: John Cage, after his death, was succeeded in the role of music director by David Tudor. After 1995, MCDC's music director was Takehisa Kosugi. MCDC commissioned more work from contemporary composers than any other dance company. Its repertory included works by musicians ranging from Cage and Gordon Mumma to Gavin Bryars, as well as popular bands like Radiohead, Sigur Rós and Sonic Youth.


title: Merce Cunningham

text: The company also collaborated with an array of visual artists and designers. Robert Rauschenberg, whose famous "Combines" reflect the approach he used to create décor for several MCDC's early works, served as the company's resident designer from 1954 through 1964. Jasper Johns followed as Artistic Advisor from 1967 until 1980, and Mark Lancaster from 1980 through 1984. The last Advisors to be appointed were William Anastasi and Dove Bradshaw in 1984. Other artists who have collaborated with MCDC include Daniel Arsham, Tacita Dean, Liz Phillips, Rei Kawakubo, Roy Lichtenstein, Bruce Nauman, Ernesto Neto, Frank Stella, Benedetta Tagliabue, and Andy Warhol.


title: Merce Cunningham

text: Cunningham valued the process of a work over the product. Because of his strong interest in the creation of the choreography he used chance procedures in his work. A chance procedure means that the order of the steps or sequence is unknown until the actual performance and is decided by chance. For instance in his work "Suite by Chance" he used the toss of a coin to determine how to put the choreographed sequences together. Indeterminacy was another part of Cunningham's work. Many of his pieces had sections or sequences that were rehearsed so that they could be put in any order and done at any time. Although the use of chance operations was considered an abrogation of artistic responsibility, Cunningham was thrilled by a process that arrives at works that could never have been created through traditional collaboration. This does not mean, however, that Cunningham considered every piece created in this fashion a masterpiece. Those dances that did not "work" were quickly dropped from the repertory, while those that did were celebrated as serendipitous discoveries.


title: Merce Cunningham

text: Cunningham used "non-representational" choreography which simply emphasizes movement, and does not necessarily represent any historical narrative, emotional situation, or idea. Such non-representational dance appears in many styles throughout history, but was not commonly used by ballet or Martha Graham, Cunningham's primary influences.


title: Merce Cunningham

text: In the use of chance procedures, Cunningham abandoned the more traditional structured form of dance. He did not believe that dance needs a beginning, middle or end.


title: Merce Cunningham

text: In "Sixteen Dances for Soloist" and "Company of Three" (1951), Cunningham used Indeterminacy for the first time in this piece; the changing element for each show was the sequence of the sections.


title: Merce Cunningham

text: In "Field Dances" (1963), Cunningham experimented with giving the dancer more freedom. Each dancer was given a sequence of movements with which they could do as they pleased. This included exiting and entering at will, executing it in any order and as many times as desired.


title: Merce Cunningham

text: In "Story" (1963), Cunningham experimented with the variables of costumes and sets. Before each performance dancers chose an outfit from a pile of second-hand clothes picked out by the designer, Robert Rauschenberg. Rauschenberg was also responsible for creating a new set for every show with items he found in the theatre.


title: Merce Cunningham

text: "Suite by Chance (1953)" was his first work made entirely through chance procedures. Charts were created listing elements such as space, time, and positions. A coin was then tossed to determine each of these elements.


title: Merce Cunningham

text: "Canfield" (1969) was created by using playing cards. Each movement was assigned a playing card and chosen randomly.


title: Merce Cunningham

text: Cunningham's lifelong passion for exploration and innovation made him a leader in applying new technologies to the arts. He began investigating dance on film in the 1970s, and after 1991 choreographed using the computer program LifeForms, a software made by Zella Wolofsky, Tom Calvert, and Thecla Schiphorst. Cunningham explored motion capture technology with digital artists Paul Kaiser and Shelley Eshkar to create "Hand-drawn Spaces", a three-screen animation that was commissioned by and premiered at SIGGRAPH in 1998. This led to a live dance for the stage, "BIPED", for which Kaiser and Eshkar provided the projected decor. In 2008, Cunningham released his "Loops" choreography for the hands as motion-capture data under a Creative Commons license; this was the basis for the open-source collaboration of the same name with The OpenEnded Group.


title: Merce Cunningham

text: Cunningham was one of the first choreographers to begin experimenting with film. He created an original work for the video "Westbeth" (1974) in collaboration with filmmaker Charles Atlas The computer program later became DanceForms and uses avatars of dancers with color-coded limbs as a platform for choreography.


title: Merce Cunningham

text: In 2009, Cunningham's interest in new media led to the creation of the behind-the-scenes webcast "Mondays with Merce".


title: Merce Cunningham

text: The use of stage space also changed in Cunningham's choreography. The "front and centre" spot traditionally coveted by soloists no longer exists in his works. Dance can take place on any part of the stage; it need not even be frontally oriented, but can be viewed from any angle (at performances in Cunningham's studio, for instance, audiences are seated in an L-shaped configuration). The viewer's focus is never directed to a particular spot; he must often decide among many centres of activity.


title: Merce Cunningham

text: Merce Cunningham saw randomness and arbitrariness as positive qualities because they exist in real life.


title: Merce Cunningham

text: Most of Cunningham's choreographic process works to break the boundaries of "putting on a show," the removal of centre stage is an example of this—without a focal point for the audience, no one dancer or step holds the most value and can be seen as arbitrary... or not.


title: Merce Cunningham

text: The Cunningham Dance Foundation announced the Legacy Plan (LLP) in June 2009. The Plan provided a roadmap for the future of the Merce Cunningham Dance Company, as envisioned by Cunningham. The first of its kind in the dance world, the plan represented Cunningham's vision for continuing his work in the upcoming years, transitioning his company once he was no longer able to lead it, and preserving his oeuvre.


title: Merce Cunningham

text: The Legacy Plan included a comprehensive digital documentation and preservation program, which ensures that pieces from his repertory can be studied, performed and enjoyed by future generations with knowledge of how they originally came to life. By other provisions of the plan, the Merce Cunningham Trust, established by Cunningham to serve as the custodian for his works, controls his dances for licensing purposes; Cunningham associates prepared detailed records of the dances so they could be licensed and given authentic productions by other companies. Besides, the plan outlined a final international tour for the company, and, ultimately, the closure of the Cunningham Dance Foundation and Merce Cunningham Dance Company and the transfer of all assets to the Merce Cunningham Trust. From Merce's death at age 90 through the Board's last meeting in 2012, the Legacy Plan implemented his wish that the company complete a worldwide legacy tour and then close. The final performance of the Merce Cunningham Dance Company was on December 31, 2011, at the Park Avenue Armory in New York City.


title: Merce Cunningham

text: The final meeting of the board of directors for the Merce Cunningham Dance Company was held March 15, 2012, in Cunningham's studio at the top of the Westbeth building in the West Village.


title: Merce Cunningham

text: There have been numerous exhibitions dedicated to Cunningham's work. Also, his visual art is represented by Margarete Roeder Gallery.


title: Merce Cunningham

text: The major exhibition "Invention: Merce Cunningham & Collaborators" at the New York Public Library for the Performing Arts closed on October 13, 2007.


title: Merce Cunningham

text: "Merce Cunningham: Dancing on the Cutting Edge", an exhibition of recent design for MCDC, opened at the Museum of Contemporary Art, North Miami, in January 2007.


title: Merce Cunningham

text: A trio of exhibitions devoted to John Cage, Robert Rauschenberg, and Merce Cunningham, curated by Ron Bishop, was shown in the spring of 2002 at the Gallery of Fine Art, Edison College, Fort Myers, Florida.


title: Merce Cunningham

text: A major exhibition about Cunningham and his collaborations, curated by Germano Celant, was first seen at the Fundació Antoni Tàpies in Barcelona in 1999, and subsequently at the Fundação de Serralves, Porto, Portugal, 1999; the Museum Moderner Kunst Stiftung Ludwig, Vienna, 2000; and the Museo d'Arte Contemporanea, Castello di Rivoli, Turin, 2000.


title: Merce Cunningham

text: Kitty Carlisle Hart Award for Outstanding Achievement in the Arts (Arts & Business Council), New York NY


title: Merce Cunningham

text: Inducted into the National Museum of Dance's Mr & Mrs Cornelius Vanderbilt Whitney Hall of Fame in Saratoga Springs, NY


title: Merce Cunningham

text: (With John Cage, posthumously) the Wexner Prize of the Wexner Center for the Arts at Ohio State University, Columbus OH


title: Merce Cunningham

text: Inducted as an Honorary Member into the American Academy and Institute of Arts and Letters, New York NY


title: Jetsons: The Movie

text: Jetsons: The Movie is a 1990 American animated science fiction comedy film based on the animated television series "The Jetsons", produced by Hanna-Barbera Productions and distributed by Universal Pictures. The film was directed by William Hanna and Joseph Barbera from a screenplay by Dennis Marks, and stars the voices of George O'Hanlon, Penny Singleton, Don Messick and Mel Blanc, all series veterans, alongside Tiffany as Judy Jetson. The story follows George Jetson, who is tasked with running a new Spacely Sprockets facility by his boss Cosmo Spacely. However, after he brings his family along to support him, they uncover the tragic truth of the facility's location.


title: Jetsons: The Movie

text: The film was released on July 6, 1990. It grossed $20.3 million on a budget of $8 million during its theatrical run, though it was considered a box office disappointment and received mixed reviews. O'Hanlon and Blanc died during production of the film, which was dedicated to both their memories.


title: Jetsons: The Movie

text: It is also the last theatrical film to be directed by William Hanna and Joseph Barbera, before they died in 2001 and 2006 respectively. It was also the final "Jetsons" production for 27 years until the release of "" in 2017.


title: Jetsons: The Movie

text: In the late 21st century, Spacely Sprockets and Spindles has opened a new mining colony on an asteroid. The proposed project is meant to increase productivity at 1/10 the cost of making the items on Earth. However, the factory continues to be sabotaged by someone or something. As Cosmo Spacely (Mel Blanc) checks up on the "Orbiting-Ore Asteroid" again, he learns from the plant engineer Rudy-2 (Ronnie Schell) that the latest head of the factory Alexander Throttlebottom has run off, making four vice presidents of the new plant that Spacely has lost so far.


title: Jetsons: The Movie

text: Fearing for his company (and profits), Spacely names George Jetson (George O'Hanlon) as Throttlebottom's successor and sends George and his family to the plant. While the family is thoroughly upset at being thrown from their normal lifestyle (and the plans that they had coming up that week), they set up apartments on the adjoining apartment community to the asteroid and its neighboring shopping complex, while it takes the family time to adjust.


title: Jetsons: The Movie

text: Rudy-2 shows George around the plant as they prepare for the grand re-opening of the plant. Meanwhile, Jane (Penny Singleton) and Rosie (Jean Vander Pyl) befriend Rudy-2's wife Lucy-2 (Patti Deutsch). Judy Jetson (Tiffany) is having a hard time adjusting, and accepting the fact that she lost her chance at a date with rock star Cosmic Cosmo (Steve McClintock) which a friend of hers later takes, but soon feels better after meeting a teenaged boy named Apollo Blue (Paul Kreppel). Elroy Jetson (Patric Zimmerman) meets Rudy-2's son Teddy-2 (Dana Hill) with whom he first is at odds, but eventually befriends. George soon figures that he is ready to set the plant running again, and Mr. Spacely is all set to see the plant working full-throttle, and soon to churn out the one millionth Spacely sprocket. However, the opening-day festivities give way to panic as the factory is sabotaged once again. Over the next several days, George and Rudy-2 try to fix things, but the problems persist to the point that, fed up with the problems and thinking George is responsible, Mr. Spacely heads on up to check on things personally. Thinking he has to take charge, George stays overnight hoping to catch the saboteurs in the act, only to fall asleep and be taken off by the mysterious creatures. Elroy, Teddy-2, and their neighbor Fergie Furbelow (Russi Taylor) sneak into the plant and meet Squeep (Frank Welker), a member of a furry alien race known as Grungees (Frank Welker).


title: Jetsons: The Movie

text: Squeep tells them (with Teddy-2 translating) that the factory is actually drilling into his people's community, which is based inside the asteroid. Soon, Jane, Judy, Apollo, Rudy-2, and Astro show up and realize what is happening as well. George is found hog-tied in the Grungees' colony, and although he soon realizes just what the factory is doing, Spacely does not. Seeing his factory at a stand-still, he starts it up (despite that it is the night and after disconnecting Rudy-2, who tries to stop him), nearly burying Elroy and Squeep alive under rubble, and prompting everyone in the asteroid to get top-side, where George manages to shut down the factory and show his boss exactly what he is doing. After some talk, when George finally stands up to his boss, telling him that all he cares about is money, they come to an agreement: the Grungees will run the plant, and create new Spacely sprockets through recycling old ones (thus stopping the further destruction of the Grungees' homes inside the asteroid).


title: Jetsons: The Movie

text: Spacely Sprockets reaches the millionth sprocket at long last, and when George asks about being vice president, Spacely retorts, stating, "he's lucky that he'll be getting his old job back". Only when pressured by everyone else does he reluctantly promote him to vice president (without a raise). However, George knows that with the Grungees now running the plant, he is no longer needed as head of the asteroid. With heavy hearts, the Jetsons then bid their new friends goodbye, including Fergie, who attempted to stow away aboard the Jetsons' car. They then return home to Earth. As the family passes over the factory, the Grungees arrange themselves to form the words "THANKS GEORGE", as a friendly goodbye to him for saving their home.


title: Jetsons: The Movie

text: A film adaptation based on "The Jetsons" started development when Paramount Pictures first tried to film a live-action version around 1985, which was to be executive produced by Gary Nardino. However, the project never got far into production, putting the film into a turnaround. Later on during the 1980s, Universal Pictures bought the film rights for "The Jetsons" from Hanna-Barbera Productions.


title: Jetsons: The Movie

text: A problem that arose during production of the film was the advanced age and poor health of many of the voice actors from the series; all of the major cast members except Don Messick (himself in his early 60s) were over 65 years old by this point. Daws Butler, the voice of Elroy, fell ill with a stroke and pneumonia in early 1988, before he could record any lines for the film, and ultimately died on May 18. Though Butler had been training Joe Bevilacqua and Greg Burson to succeed him, voice coordinator Kris Zimmerman brought in her then-husband Patric, then a relative unknown, to fill the role of Elroy. George O'Hanlon, who had already been in ill health throughout the 1980s run of the series, died of a stroke on February 11, 1989 after he finished recording; voice director Andrea Romano later recalled that he could record only an hour at a time due to ill health and had his final stroke while at the studio. Mel Blanc also died during production of the film on July 10, 1989. Voice actor Jeff Bergman would later step in and fill in for both O'Hanlon and Blanc as George Jetson and Mr. Spacely to complete their dialogue in additional scenes of the film.


title: Jetsons: The Movie

text: Janet Waldo, the original voice of Judy Jetson, recorded the role for the film, but her voice was later replaced by singer Tiffany (though Waldo still provided the voice of a robot secretary and some of Judy's lines by Waldo remain in the film). Studio executives hoped that Tiffany's involvement would result in a stronger box office performance. Displeased with the casting change, Romano attempted to have her name removed from the finished film. Tiffany said her singing voice was what initially drew the attention of Barbera. Tiffany sang three songs used in the film ("I Always Thought I'd See You Again", "You and Me" and "Home"), which are on the soundtrack album along with "Jetsons' Rap" by XXL and tracks by other artists. Tiffany did not write any of the songs, but she cited "I Always Thought I'd See You Again" as one of her favorites to sing.


title: Jetsons: The Movie

text: "Jetsons: The Movie" was originally slated for a December 1989 release, but was delayed to avoid competition with Disney's "The Little Mermaid", Don Bluth's "All Dogs Go to Heaven" (which were both released on the same day), Universal's own "Back to the Future Part II" and Warner Bros.' "National Lampoon's Christmas Vacation". Universal released "The Wizard" in its place.


title: Jetsons: The Movie

text: A behind-the-scenes featurette of the movie was showcased during the broadcast special "" that aired on TNT on July 17, 1989. The segment includes work in progress pencil tests, set designs of the environments and a recording session of the song "I Always Thought I'd See You Again" performed by Tiffany, the voice of Judy Jetson in the film.


title: Jetsons: The Movie

text: During the summer of the film's release, Kool-Aid had a tie-in where Kool-Aid points could be redeemed for a red "Jetsons" car featuring the cast. However, the promotion was not carried by some theaters, and instead of a red Jetsons car, the points were redeemed for a miniature film poster. Wendy's restaurants had a "Jetsons" kids' meal tie-in. When clips were shown on television, scenes with George had re-dubbed lines from an unnamed voice actor. The commercials showed Wendy's founder Dave Thomas either in a theater watching the movie or at his restaurant promoting the film.


title: Jetsons: The Movie

text: A tie-in simulator ride named "The Funtastic World of Hanna-Barbera" opened at Universal Studios Florida one month before the film's release. In the attraction, William Hanna and Joseph Barbera state that the Jetsons will star in their next project (presuming the film), which angers Dick Dastardly and Muttley and leads them to kidnap Elroy. Yogi Bear and Boo-Boo Bear must save Elroy by riding through the worlds of "The Flintstones", "Scooby-Doo", and "The Jetsons". Merchandise based on the film and other Hanna-Barbera-related stuff was sold at the ride's gift shop. Also in 1990, Ralston released an apple and cinnamon–flavored "Jetsons" cereal.


title: Jetsons: The Movie

text: The film was first released on home video on VHS, Betamax, and Laserdisc on October 25, 1990. In contrast to the theatrical release, the initial video release presented it in an open matte full screen format. On April 28, 2009, it received a region 1 DVD release in its original widescreen format, with a re-release in new packaging art on September 8, 2015. Prior to this, the film had only been released on DVD in international countries such as Europe and Australia in the early 2000s. It is also available via digital download on the Sony Entertainment Network and the iTunes Store. A Region B Blu-ray was released on June 6, 2016, and in Region A on February 16, 2021 by Kino Lorber (under license from Universal). This release included a commentary track by author and film historian Lee Gamber, an audio interview with Jeff Bergman, the option for viewers to listen to John Debney's music score in 5.1 DTS-HD and in lossless stereo, and the film's theatrical trailer.


title: Jetsons: The Movie

text: The film opened at fourth place, behind "Die Hard 2", "Days of Thunder" and "Dick Tracy", with a weekend gross of $5 million from 1,562 theaters. The film then lost 43% of its audience in its second weekend, falling to tenth place with a second weekend gross of $2.9 million, and bringing its ten-day gross to $10.9 million. It ended up grossing just $20.3 million in the United States. While made on a budget of $8 million, Universal spent $12 million on marketing, hurting its ability to turn a profit.


title: Jetsons: The Movie

text: On review aggregation website Rotten Tomatoes, the film has an approval rating of 27% based on 15 reviews, with an average rating of 4.4/10. On Metacritic, it has a score of 46 out of 100 based on 17 reviews indicating "mixed or average reviews".


title: Jetsons: The Movie

text: Charles Solomon of the "Los Angeles Times" criticized the filmmakers for not deciding "whether they're making a with-it musical for teen-agers or re-creating the ingenuous humor of a '60s TV show". He also criticized the film's use of CGI, claiming it makes the 2D characters "look as though they stumbled in from another film. Their prominent shadows give them an odd, plastic texture, but don't help them fit into the computerized world." "Siskel & Ebert" gave this film two thumbs down, citing both the story and the animation as having "no imagination whatsoever". Roger Ebert later named it one of the ten worst films of 1990.


title: Jetsons: The Movie

text: Janet Maslin of "The New York Times" wrote the film would "appeal only to small children, and only to the most patient among them. On the positive side, it has a bright, perky look and a few amusing gadgets, like the machine that bathes and washes George Jetson after ejecting him from his bed...On the other hand, the film isn't any more fascinating than the television cartoon series that inspired it. It's only longer." William Thomas of "Empire Magazine" gave the film two out of five stars, stating "it's not nearly exciting enough and at an hour and twenty minutes is overlong for animation fans, yet by virtue of the fact it's a cartoon, it presents itself as too childish for older live action devotees."


title: Al Harrington

text: Albert Harrington (born February 17, 1980) is an American former professional basketball player and current assistant coach for the Cape Town Tigers. Selected with the 25th overall pick in the 1998 NBA draft, Harrington played 16 seasons in the National Basketball Association (NBA) for the Indiana Pacers, Atlanta Hawks, Golden State Warriors, New York Knicks, Denver Nuggets, Orlando Magic and Washington Wizards. He also spent a short stint with the Fujian Sturgeons of the Chinese Basketball Association (CBA).


title: Al Harrington

text: Since retiring from the NBA, Harrington has become an entrepreneur in the cannabis industry. Harrington is a cousin of former NBA player and Los Angeles Clippers assistant coach Dahntay Jones.


title: Al Harrington

text: Born in Orange, New Jersey, Harrington grew up in Roselle, New Jersey and played high school basketball at St. Patrick High School in Elizabeth, New Jersey. He was named both Gatorade and USA Today's National Player of the Year, as well as a 1998 McDonald's High School All-American after his senior season.


title: Al Harrington

text: At only 18 years of age, Harrington was selected by the Indiana Pacers with the 25th overall pick in the 1998 NBA draft, making him the first player born in the 1980s to be drafted by the NBA. Harrington spent six seasons with the Pacers, primarily coming off the bench. Harrington really began to come into his own in the 2001–02 season, in which he averaged 13.1 points and 6.3 rebounds per game, but his season came to an end in a game against the Boston Celtics when he suffered a knee injury that forced him to miss the final 38 games of the season.


title: Al Harrington

text: He made a comeback in the 2002–03 season, becoming the only Pacer to play in all 82 games that year. He averaged 12.2 points and 6.0 rebounds per game while starting in 37 games. The following season, he boosted his averages slightly to 13.3 points and 6.4 rebounds per game, and finished second in voting for the NBA Sixth Man of the Year Award. He was an integral part of the Pacers' first run to the Eastern Conference Finals since 2000.


title: Al Harrington

text: On July 15, 2004, Harrington was traded to the Atlanta Hawks in exchange for Stephen Jackson. Harrington finally became a nightly starter, but the Hawks did not fare as successfully as the Pacers did after his departure.


title: Al Harrington

text: On August 22, 2006, Harrington and John Edwards were acquired by the Indiana Pacers from the Atlanta Hawks in a sign-and-trade deal that also sent the Hawks a 2007 first round draft pick. In 2006–07, Harrington wore jersey #32 because his first choice #3 was worn by teammate Šarūnas Jasikevičius (saying it stands for "number three, and it's my second time around").


title: Al Harrington

text: On January 17, 2007, Harrington was dealt to the Golden State Warriors along with teammates Stephen Jackson, Šarūnas Jasikevičius, and Josh Powell for Troy Murphy, Mike Dunleavy, Ike Diogu, and Keith McLeod.


title: Al Harrington

text: On November 21, 2008, Harrington was traded to the New York Knicks in exchange for Jamal Crawford. In his two seasons with the Knicks, he played the best basketball of his career, but did not reach the playoffs in either season. In 140 games (66 starts), he averaged 19.2 points, 5.9 rebounds, 1.4 assists and 1.0 steals in 32.7 minutes per game.


title: Al Harrington

text: On July 15, 2010, Harrington signed a multi-year deal with the Denver Nuggets. During the 2010–11 season, he averaged 10.5 points, 4.5 rebounds, and 1.4 assists in 22.8 minutes per game. The Nuggets finished 50–32, fifth best in the Western Conference and second in the Northwest Division. The Oklahoma City Thunder defeated the Nuggets in five games in the first round of the 2011 playoffs.


title: Al Harrington

text: On August 10, 2012, Harrington was traded to the Orlando Magic in a four-team trade which sent Dwight Howard to the Los Angeles Lakers. He only played 10 games for the Magic in 2012–13, averaging 5.1 points, 2.7 rebounds, and 1.0 assists in 11.7 minutes per game. The Magic finished with a 20–62 record, the worst record in the NBA. On August 2, 2013, Harrington was waived by the Magic.


title: Al Harrington

text: On August 14, 2013, Harrington signed with the Washington Wizards. He came off the bench in all 37 games he played for Washington, averaging 6.6 points and 2.4 rebounds per contest. The Wizards made their first playoff appearance since 2008, and Harrington played in 7 of the team's 11 postseason games.


title: Al Harrington

text: On August 11, 2014, Harrington signed with the Fujian Sturgeons of the Chinese Basketball Association. On November 25, 2014, he parted ways with Fujian amidst NBA interest.


title: Al Harrington

text: After returning to the United States and not receiving any NBA offers, Harrington announced his retirement from professional basketball on March 18, 2015, after averaging 13.5 points and 5.6 rebounds in a 16-year career that included stints with seven teams.


title: Al Harrington

text: Harrington later came out of retirement and signed with the Sydney Kings of the National Basketball League on October 28, 2015 as an injury replacement for Josh Childress. He made his debut for the Kings two days later, scoring 12 points off the bench in an 87–78 win over the Townsville Crocodiles. With Childress set to return from injury, Harrington played his last game with Sydney on November 19, recording 18 points and 6 rebounds in a loss to the New Zealand Breakers. In six games for the Kings, he averaged 17.7 points, 6.8 rebounds, and 2.7 assists per game.


title: Al Harrington

text: In the summer of 2017, Harrington competed in the inaugural season of the Big3 basketball league. He played for Trilogy and served as co-captain with former teammate Kenyon Martin. The team went an undefeated 10–0 that season, winning the first-ever Big3 Championship.


title: Al Harrington

text: On December 24, 2021, Harrington was announced as assistant coach of South Africa's Cape Town Tigers.


title: Al Harrington

text: After retiring from the NBA, Harrington started a business that produces cannabis extracts. The company, Viola Brands, is named after Harrington's grandmother. Suffering from glaucoma and diabetes, she tried cannabis at the urging of Harrington and found significant relief. The company cultivates cannabis in-house and has facilities in several states.


title: Al Harrington

text: In February 2018 Harrington announced the launch of Harrington Wellness, a company that manufactures non-psychoactive cannabinoid products. Also announced was his investment in a third company Butter Baby, which makes cannabis edibles. All three companies together comprise The Harrington Group.


title: Al Harrington

text: In July 2021, Harrington and NBA Hall of Famer Allen Iverson announced a partnership through which a line of cannabis products would be launched named "The Iverson Collection". As part of the partnership, Iverson will aid in the development of various business initiatives for Viola Brands.


title: Al Harrington

text: In July 2022, Harrington announced a partnership with the National Basketball Players Association (NBPA) to promote his Re+Play line of CBD products, which will be sold by Amazon and Walmart.


title: Al Harrington

text: Harrington is a proponent for the legalization of cannabis. In October 2016, he appeared in an online ad endorsing the passage of California's Proposition 64. He has also written an essay for "The Players' Tribune" titled "9 Reasons to End the War on Marijuana".


title: Al Harrington

text: In October 2017, Harrington interviewed former NBA commissioner David Stern regarding cannabis use by players. Stern told Harrington during the interview: "I'm now at the point where personally I think [cannabis] probably should be removed from the banned list. You've persuaded me."


title: Al Harrington

text: In January 2021, Harrington interviewed U.S. Senate Majority Leader Chuck Schumer about his efforts to end cannabis prohibition at the federal level.


title: Kill switch

text: A kill switch, also known as an emergency stop (E-stop), emergency off (EMO) and as an emergency power off (EPO), is a safety mechanism used to shut off machinery in an emergency, when it cannot be shut down in the usual manner. Unlike a normal shut-down switch or shut-down procedure, which shuts down all systems in order and turns off the machine without damage, a kill switch is designed and configured to abort the operation as quickly as possible (even if it damages the equipment) and to be operated simply and quickly (so that even a panicked operator with impaired executive functions or a bystander can activate it). Kill switches are usually designed to be noticeable, even to an untrained operator or a bystander.


title: Kill switch

text: Some kill switches feature a removable, protective barrier against accidental activation (e.g. a plastic cover that must be lifted or glass that must be broken), known as a mollyguard. Kill switches are features of mechanisms whose normal operation or foreseeable misuse might cause injury or death; industrial designers include kill switches because damage to or the destruction of the machinery is less important than preventing workplace injuries and deaths.


title: Kill switch

text: A similar system, usually called a dead man's switch, is a device intended to stop a machine (or activate one) if the human operator becomes incapacitated or leaves the machine unattended, and is a form of fail-safe. They are commonly used in industrial applications (e.g., locomotives, tower cranes, freight elevators) and consumer applications (e.g., lawn mowers, tractors, personal watercraft, outboard motors, snow blowers, motorcycles and snowmobiles). The switch in these cases is held by the user, and turns off the machine if they let go. Some riding lawnmowers have a kill switch in the seat which stops the engine and blade if the operator's weight is no longer on the seat.


title: Kill switch

text: On railways, an emergency stop is a full application of the brakes in order to bring a train to a stop as quickly as possible. This occurs either by a manual emergency stop activation, such as a button being pushed on the train to start the emergency stop, or on some trains automatically, when the train has passed a red signal or the driver has failed to respond to warnings to check that they are still alert, which is known as a dead man's switch. A similar mechanism is the watchdog timer.


title: Kill switch

text: In large ships, an emergency stop button pulls the countershaft for the fuel pumps to the stop position, cutting off the fuel supply and stopping the engines. With a controllable-pitch propeller, the stop button may declutch the engine from the propeller.


title: Kill switch

text: NASCAR requires all their stock cars to be equipped with a steering wheel-mounted kill switch, in case the accelerator pedal sticks and the driver needs to shut down the engine.


title: Kill switch

text: Kill switches are also used on land vehicles as an anti-theft system and as an emergency power off. Such devices are often placed in bait cars and configured so that observing police can trigger the switch remotely.


title: Kill switch

text: A related concept is the dead man's switch, where the operator must be holding a button or lever any time the vehicle is operating. A common example of this is the kill switches used by boaters and jetskiers wherein a cord connects the kill switch to the operator (usually by the operator's life jacket or clothing), and if the operator is thrown overboard in an accident, the cord will pull the switch and immediately shut down the vessel's engine. This prevents it from becoming a runaway vessel that could impose a danger to other vessels or swimmers at sea, and allows the operator to swim back to the vessel and re-board it without the risk of being injured by the boat's propeller. A similar device is featured on most lawnmowers: a lever on the handle either disables the ignition system and applies a brake to the flywheel (on a gasoline lawnmower), or cuts the power to the motor (on an electric lawnmower), as long as it is not held down.


title: Kill switch

text: Monster Truck Racing Association requires all of their monster trucks to be equipped with kill switches (either remote or in cab), in case the monster truck loses control and the driver needs to shut off the engine. Monster trucks' kill switches are tested before races.


title: Kill switch

text: Early aviators using rotary engine-powered aircraft from the beginnings of their use in 1908, up through the end of World War I in 1918 had what could be called a reversed functionality version of the "dead man's switch" for cutting the ignition voltage to the spark plugs on such a power-plant, to give a degree of in-flight speed control for a rotary engine. This was often called a "blip switch" or "coupe switch" (from the French term "coupez", or "cut") and when not being pressed, allowed the high voltage from the engine's magnetos to operate the ignition with normal engine operation in flight — pressing the "blip switch" cut the flow of high voltage from the magnetos, stopping the combustion process in the cylinders. When such a "blip switch" was intermittently used on landing approach, this allowed a limited degree of engine speed control, as rotary engines generally did not have a conventional throttle in their carburettors to regulate engine speed, but only for governing the fuel-air ratio for start-up and full-speed operation.


title: Kill switch

text: On large industrial machines, an emergency stop button is typically located on the panel, and possibly in several other areas of the machine. Often, an emergency stop is made wireless using a remote control. This provides a rapid means to disconnect the energy source of the device to protect workers. For fail-safe operation, the emergency stop button is a normally closed switch, which ensures that a broken wire will not prevent it from being activated, but may accidentally activate the emergency stop.


title: Kill switch

text: In the European Union, most types of machinery are required to be equipped with an emergency stop according to the Directive 2006/42/EC. Exceptions apply for machinery in which an emergency stop would not lessen the risk as well as for portable hand-held/hand-guided machinery.


title: Kill switch

text: A kill switch in a nuclear reactor plant is called SCRAM. It is usually characterized as an acronym for "safety control rod axe man", though this is probably a backronym.


title: Kill switch

text: Emergency stop functions are frequently used on machine tools, including equipment like wood and metal sawing machines, grinding machines, drilling machines, milling machines and machining centres and lathes. The emergency stop safety function, and general requirements for emergency stop devices are set out in ISO 13850. Machine specific (type-C) standards often include specific requirements for the emergency stop functions, but in the absence of a relevant type-C standard, the risk assessment should be used to determine whether or not an emergency stop function would be useful in avoiding or limiting harm. The ISO machinery safety standard types are defined in ISO 12100, and this nomenclature is used by other standards development organizations, like ANSI in the USA, and CSA in Canada.


title: Kill switch

text: A machinery's emergency stop control is considered a complementary protective measure because it is intended to complement the primary safeguarding measures like fixed guards, movable interlocked guards or safeguarding devices. The primary safeguarding measures prevent injury automatically, either by enforcing distance between a hazard and a person, or by eliminating the hazard by stopping hazardous motion or switching off a source of hazardous energy.


title: Kill switch

text: By contrast, emergency stop requires a deliberate action on the part of a person who must first recognize that some hazardous condition is about to arise or is arising, and who then must activate the emergency stop function by pressing the emergency stop button or activating another emergency stop device such as a pull-cord switch.


title: Kill switch

text: A kill switch is also used for gasoline pumps or any other device that pumps large amounts of explosive or flammable chemicals. There is commonly a single kill switch for all pumps at a pumping station.


title: Kill switch

text: Elevators often have a red two-way button on the control panel which is either marked "Emergency Stop" or "Run/Stop". Normally, the button is in the "up" or unpushed position, allowing the elevator to "run" in normal service. When the button is pushed, the elevator comes to an immediate stop. When the button is pulled back out, it resumes normal service, thus the reason for the use of the phrase "Run/Stop". Escalators will typically have a key-operated control that will turn the escalator off, or change its direction to up or down. Next to the key switch will be a red "Emergency Stop" button, which is used in the event of equipment failure, or where there is a potential for injury, such as when someone's shoe gets stuck in the "comb" at the top or bottom of the escalator and there is a risk of serious injury. The key switch is used to return the escalator to service after it has been stopped.


title: Kill switch

text: Treadmills often use a safety key with one end magnetically attached to the machine and the other end clipped to the user's waist. If the safety key is pulled out, such as in the event of a fall, the treadmill stops immediately. In other cases, some other treadmills have a more traditional kill switch, often mounted towards the rear of one of the hand railings.


title: Kill switch

text: The emergency stop on an amusement ride is similar to that on industrial equipment. Typically brakes on a ride are designed to be disengaged when power is applied; disconnecting power will cause all brakes to engage. Most amusement rides have a computer that can, similar to the rail example provided above, engage the emergency stop when such a ride is determined to be out of operating specification, or an accident involving a passenger or ride employee has happened.


title: Kill switch

text: By analogy to physical kill switches, "kill switch" can be used to refer to a mechanism incorporated in software that can be activated by its manufacturer or licensor, for example if the product is withdrawn, or a maintenance fee has not been paid, or a device has been lost or stolen. It can also refer to kill switches for the stopping of malware such as in the WannaCry ransomware attack.


title: Kill switch

text: There is a debate about implementing kill switches in robots and advanced artificial intelligence systems.


title: Kill switch

text: In smartphones, a kill switch is a security feature that allows the phone's owner to remotely render the smartphone inoperable if it is lost or stolen. From 2015 this feature is legally required in California for smartphones.


title: Kill switch

text: There are also "hardware kill switches" on some phones, such as PinePhone, where the user can, by moving a hardware switch inside the phone, disable hardware like the camera, microphone, Wi-Fi or LTE.


title: Kill switch

text: It is thought that some electronic chips used in equipment, particularly military, have a secret "kill" function that disables the equipment. It has been reported that French and Israeli electronic warfare units have used kill switches to disable opponents' military systems. And systems have been infected with malware specifically designed to damage them.


title: Kill switch

text: John Deere tractors have been criticised for it being impossible for owners to service or repair them; only John Deere has access to computer code required for this and to accept non-John-Deere replacement parts. Vital equipment from other manufacturers such as critical medical equipment has similar restrictions. Remote locking by the manufacturer may also be possible. It was reported that during the 2022 Russian invasion of Ukraine Russian troops stole Ukrainian farm equipment, but that the dealers who owned the equipment locked it remotely.


title: Kill switch

text: Range safety systems can automatically destroy errant vehicles in-flight. Range-safety officers may also manually destroy vehicles; this method was used to destruct errant solid rocket boosters in the Space Shuttle Challenger disaster.


title: Shylock (2020 film)

text: Shylock is a 2020 Indian Malayalam-language action thriller film directed by Ajay Vasudev. The film stars Mammootty, Rajkiran, Meena, Siddique, Kalabhavan Shajon, Baiju Santhosh,Bibin George,John Vijay and Hareesh Kanaran. Shylock is a slang term for a loan shark. The film is written by debutants Aneesh Hameed and Bibin Mohan and was released on 23 January 2020.


title: Shylock (2020 film)

text: Boss aka "Shylock" is a ruthless moneylender who provides money to a film producer Prathapa Varma to produce a film, but Prathapa Varma cheats Boss by not repaying the money, which enrages him. Varma is the friend of a corrupted Police Commissioner Felix John. Boss creates a ruckus on Prathapa Varma's film sets and abduct the film director, due to which Varma sends men to kill Boss. Boss defeats everyone and mocks Prathapa and Felix. Felix charges a fake case that Prathapa Varma's son Adithya Varma has gone missing and Boss is the kidnapper. The police arrest Boss but a piece of video evidence proves that Adithyan is celebrating Holi in Nagpur with Felix's daughter Jewel.


title: Shylock (2020 film)

text: Felix is forced to release Boss. On the way home, Varma confronts Boss and demands to know the whereabouts of Adithyan. After the video was telecasted, Boss reveals that he kidnapped and killed Adithyan by using Varma's car claiming it as an accident. During Adhitya's funeral, Felix and Prathapa Varma doubt that Boss was part of a plot that they did before. Boss confirms this. His associates ask him, but Boss doesn't respond and receives a call which leads Boss going to a house where an old man named Ayyanar wakes up. His associates question him once again. Boss reveals that his real name is Devan and that Ayyanar is his brother and reveals his past:


title: Shylock (2020 film)

text: 7 years ago: Devan used to live with his rich family. Devan's cousin Velumurugan is in love with a woman named Poonkuzhali. Poonkuzhali's family declined their relationship due to caste differences. Devan and Ayyanar fights Poonkuzhali's elder brother Rangan and his henchman and convinces Poonkuzhali to marry Devan's cousin. Rangan is angered by this and teams up with Felix and Prathapa Varma to get revenge on Devan and his family. Devan has to go to Chennai for a few days. During this time, a producer asks Ayyanar for money. Ayyanar agrees, but on the condition that Devan, who aspires to be an actor should act in the movie. Rangan, Rangan's brother, Felix, Prathapa Varma and their henchmen arrive at Ayyanar's house and kill the producer and fights with Ayyanar.


title: Shylock (2020 film)

text: Rangan kills Ayyanar's wife, Lakshmi. In revenge, Ayyanar kills Rangan by stabbing him. Rangan's brother realizes that Felix and his men were cheating him and Rangan and thus he gets killed by Felix. Adhityan and his henchman kill all the family members except Ayyanar who is stabbed. Assuming him to be dead, Felix and Prathapa Varma leave. Devan returns that night, only to find his family members dead. He finds that Ayyanar is still alive and takes him to a hospital. The doctor says that everyone except Ayyanar is dead but Ayyanar will be crippled for life.


title: Shylock (2020 film)

text: Present: Felix and Prathapa Varma also learn about Boss's past. Boss kidnaps Prathapa's and Felix's friend Chacko and Felix's son Joel. They find Chacko heavily drunk and strapped to a chair and Joel murdered. Chacko provokes Felix by telling that Boss will kill everyone and they can't do anything. Enraged, Felix kills Chacko. Boss calls him and challenges Prathapa Varma and Felix for a final confrontation in his old house. They both agree to the challenge and reaches the venue where Boss overpowers their henchman and subdues Felix. Ayyanar stabs Felix to death while Boss kills Prathapa Varma. With no one else to trouble him, Boss takes care of Ayyanar continuing his business as Shylock.


title: Shylock (2020 film)

text: Principal photography of the film began on 9 August 2019. Mammootty joined the sets a week after the shoot started.


title: Shylock (2020 film)

text: The film marks the debut of actor Raj Kiran in the Malayalam film. Raj Kiran and Meena who had earlier worked in "Pasamulla Pandiyare" (1997) is acting together after 23 years. Actor Bibin George was chosen for an important role.


title: Shylock (2020 film)

text: The film was scheduled for release on 23 January 2020 along with a Tamil dubbed version named Kuberan. The film's Tamil version along with a Telugu dub released as "Kuberan" on the Aha streaming platform.


title: Shylock (2020 film)

text: The film was dubbed and released in Tamil as Kuberan,the film was dubbed in Telugu and Hindi in the same title later it was also dubbed in Kannada in the same title.