Some context: Ashanti Shequoiya Douglas was born on October 13, 1980, in Glen Cove, New York. Her mother, Tina Douglas, is a former dance teacher, and her father, Ken-Kaide Thomas Douglas, is a former singer. Her mother named her after the Ashanti Empire in Ghana; in this nation, women had power and influence, and Tina wanted Ashanti to follow that model. Her grandfather, James, was a civil rights activist who associated with Martin Luther King, Jr. in the 1960s.
After a four-year hiatus, Ashanti released the song "Never Too Far Away", which was featured in Morgan Creek's film Dream House starring Daniel Craig, Rachel Weisz with Naomi Watts. The lead single from her fifth studio album, "The Woman You Love" featuring American rapper Busta Rhymes, was released online on December 15, 2011. Ashanti teamed up with Meek Mill and French Montana for the second single "No One Greater", which was produced by 7 Aurelius, Irv Gotti and Chink Santana. In April 2013, she released another single called "Never Should Have", which later won "Best Independent R&B/Soul Performance" at the 2013 Soul Train Awards. A music video for the track was also released. In November 2012, it was reported that she had landed her first series regular role in the seventh season of Army Wives in which she played Latasha Montclair. The series was cancelled on September 24, 2013. In the fall of 2013, she appeared in a guest spot on Law & Order: Special Victims Unit alongside Clay Aiken and Taylor Hicks. She starred in the Lifetime film Christmas in the City which premiered on December 7, 2013. In August 2013, Ashanti announced her plans to work with Ja Rule again, who'd been released from prison in July of that year after a six-year sentence stemming from a gun charge. On January 8, 2014, she revealed the official cover art and release date for Braveheart, her fifth album, which was released on March 4, 2014. In January 2014, Ashanti shot the video for the official first single from Braveheart titled "I Got It" featuring Rick Ross. The video was shot in Miami, Florida and was directed by Eif Rivera. In July, Ashanti announced that the second official single from BraveHeart would be "Early in the Morning" featuring French Montana. Upon release, the album garnered favorable reviews, with music critics describing Braveheart's sound as an "evolution of R&B" and praising the themes of empowerment, but criticizing the romantic cliches and lack of interesting moments on the album. On the charts, Braveheart opened at number ten on the U.S. Billboard 200, becoming Ashanti's fifth consecutive top-ten album, as well as her first Independent Albums chart topper. It also debuted in the top-thirty of the UK R&B Albums Chart and top-forty of the UK Indie Albums Chart. In 2015, she announced that she has been working on new music for her sixth album, with an unknown release date. Ashanti also teamed with Michelle Obama and her Let's Move campaign to spread awareness of drinking water with her new video and song "Let's Go". The video is also available at www.drinkupashanti.com. In 2016, she appeared on The Hamilton Mixtape, singing "Helpless", in which Eliza is introduced to Hamilton, whose part was rapped by Ja Rule. In 2017, she announced her sixth studio album, set to be released in 2018. On November 6, 2017, she released the first single, "Say Less" feat. Ty Dolla $ign.
What happened after the release
A: November 2012, it was reported that she had landed her first series regular role in the seventh season of Army Wives
Some context: Gilliam was born in Minneapolis, Minnesota, the son of Beatrice (nee Vance) and James Hall Gilliam. His father was a travelling salesman for Folgers before becoming a carpenter. Soon after, they moved to nearby Medicine Lake, Minnesota. The family moved to the Los Angeles neighbourhood of Panorama City in 1952.
Well, I really want to encourage a kind of fantasy, a kind of magic. I love the term magic realism, whoever invented it - I do actually like it because it says certain things. It's about expanding how you see the world. I think we live in an age where we're just hammered, hammered to think this is what the world is. Television's saying, everything's saying 'That's the world.' And it's not the world. The world is a million possible things. As for his philosophical background in screenwriting and directing, Gilliam said on the TV show First Hand on RoundhouseTV, "There's so many film schools, so many media courses which I actually am opposed to. Because I think it's more important to be educated, to read, to learn things, because if you're gonna be in the media and if you'll have to say things, you have to know things. If you only know about cameras and 'the media', what're you gonna be talking about except cameras and the media? So it's better learning about philosophy and art and architecture [and] literature, these are the things to be concentrating on it seems to me. Then, you can fly...!" His films are usually imaginative fantasies. His long-time co-writer Charles McKeown commented, "the theme of imagination, and the importance of imagination, to how you live and how you think and so on ... that's very much a Terry theme." Most of Gilliam's movies include plotlines that seem to occur partly or completely in the characters' imaginations, raising questions about the definition of identity and sanity. He often shows his opposition to bureaucracy and authoritarian regimes. He also distinguishes "higher" and "lower" layers of society, with a disturbing and ironic style. His movies usually feature a fight or struggle against a great power which may be an emotional situation, a human-made idol, or even the person himself, and the situations do not always end happily. There is often a dark, paranoid atmosphere and unusual characters who used to be normal members of society. His scripts feature black comedy and often end with a dark tragicomic twist. Gilliam is fascinated with the Baroque period because of the pronounced struggle between spirituality and rationality in that era. There is often a rich baroqueness and dichotomous eclecticism about his movies, with, for instance, high-tech computer monitors equipped with low-tech magnifying lenses in Brazil and a red knight covered with flapping bits of cloth in The Fisher King. He also is given to incongruous juxtapositions of beauty and ugliness or antique and modern. Regarding Gilliam's theme of modernity's struggle between spirituality and rationality whereas the individual may become dominated by a tyrannical, soulless machinery of disenchanted society, the film critic Keith James Hamel observed a specific affinity of Gilliam's movies with the writings of the economic historian Arnold Toynbee and the sociologist Max Weber, specifically the latter's concept of the "iron cage" of rationality.
What themes did he use?
A:
I love the term magic realism,