title: Fatal Frame II: Crimson Butterfly

text: In creating the horror atmosphere, they considered more closely how spirits may behave. They may randomly disappear or reappear in different locations, and their presence can sometimes still be felt after they are killed. Shibata called these "never-endings loops" characteristic of a horror scenario, and this illusion was something he felt in a dream which he was using as inspiration for the game's story. Kikuchi took his inspiration from movies, literature, and also traditions and customs. He specifically cited Japanese novelist Seishi Yokomizo and Stanley Kubrick's "The Shining" as inspirations.


title: Fatal Frame II: Crimson Butterfly

text: The decision to make an Xbox port of "Fatal Frame II" was not made until after release of the PlayStation 2 version and during planning of "Fatal Frame III". The Xbox port featured enhanced graphics with better lighting techniques, and also a Dolby Digital audio option was added. Additional gameplay modes were also added, First-Person Shooter Mode and Survival Mode, and more costumes as well. Kikuchi considers this version to be "Fatal Frame 2.5".


title: Fatal Frame II: Crimson Butterfly

text: "Fatal Frame II" was originally released in 2003 for the PlayStation 2. This version has been made available for download on the PlayStation 3. The PS3 version was removed from the online store shortly after release due to various technical issues with the emulator, before it was fixed and re-released on July 30, 2013. The download was only available for players in North America.


title: Fatal Frame II: Crimson Butterfly

text: "Fatal Frame II: Crimson Butterfly Director's Cut" was released for the Xbox in 2004. The director's cut added in several updates, including a first-person play mode, a survival mode, a new ending, enhanced graphics, and a greater number of alternate costumes to unlock. In first-person mode, the player can play through the entire game from a first-person perspective. The Xbox version also has a "shop" feature where the player can trade points from pictures for healing items and film.


title: Fatal Frame II: Crimson Butterfly

text: "Fatal Frame II: Crimson Butterfly" has received positive reviews from critics. Aggregating review website Metacritic gave the Xbox version 84/100, and the PS2 version 81/100.


title: Fatal Frame II: Crimson Butterfly

text: "Fatal Frame II" was ranked second in GameTrailers' "Top Ten Scariest Games" in 2006, and third in X-Play's "Top Ten Scariest Games of All Time". "Game Informer" also ranked it number one on a similar list. Ars Technica published an article about the game in its 2011 Halloween Masterpieces series, while PSU.com in 2003 opined "Fatal Frame II" was the scariest video game ever made. "Fatal Frame II" was a nominee for GameSpot's 2004 "Best Adventure Game" award, which ultimately went to "".


title: Fatal Frame II: Crimson Butterfly

text: Naughty Dog's Neil Druckmann described the game as "the scariest kind of experience in any medium; I haven’t seen a movie that comes close".


title: Mark Moseley

text: Mark DeWayne Moseley (born March 12, 1948) is an American former professional football player who was a placekicker in the National Football League (NFL) for 16 seasons. He played for Philadelphia Eagles (1970), the Houston Oilers (1971–72), the Washington Redskins (1974–86), and the Cleveland Browns (1986). A native of Livingston, Texas, Moseley played quarterback at Texas A&M University and Stephen F. Austin State University before switching to kicker for his senior season at Stephen F. Austin.


title: Mark Moseley

text: Drafted by the Eagles in the 14th round of the 1970 NFL Draft, he played one season with them and then two seasons with the Houston Oilers. He was out of football in 1973 before signing with the Washington Redskins in 1974, with whom he played until 1986. He won the Most Valuable Player Award during the strike-shortened 1982 season. He is the only special teams player to win the NFL MVP award and is one of only three non-offensive MVPs.


title: Mark Moseley

text: Moseley was released by the Redskins in 1986 and retired that year after a few games with the Cleveland Browns.


title: Mark Moseley

text: Moseley grew up in Livingston, Texas, and played football at Livingston High School. After high school, he attended Texas A&M University from 1965 to 1966 and Stephen F. Austin State University (SFA) from 1967 to 1969. He played quarterback while at both schools until his senior season at SFA when he made the switch to placekicker. In that season, he set Lone Star Conference records for most points in a game and most field goals in a season.


title: Mark Moseley

text: Moseley was selected 346th overall in the 14th round of the 1970 NFL Draft by the Philadelphia Eagles making him the first kicker ever drafted in the NFL. He was released by the Eagles in 1971 and signed by the Houston Oilers only to be released again in 1972. He spent two years out of the NFL and moved back to Livingston, Texas, where he installed septic systems and coached high school sports. During this period, he sent letters to two dozen NFL teams and routinely practiced kicking with his children returning his kicks. In 1974, the Washington Redskins signed him as a free agent.


title: Mark Moseley

text: With the retirement of the Minnesota Vikings' Rick Danmeier in 1982, Moseley became the sole full-time straight on placekicker in the National Football League; there has only been one other (Dirk Borgognone, who played two games in 1995) since then. In the 1960s, the "soccer-style" of kicking (wherein the kicker approaches the ball at an angle and kicks it with the instep) was introduced by the Hungarian brothers Pete and Charlie Gogolak, and it is now universal in the NFL and other levels.


title: Mark Moseley

text: In the strike-shortened 1982 season, Moseley converted 23 straight field goals from 1981-82,(a record at the time), made a league-leading 20 of 21 field goals, a then-record 95.2 success rate, and was responsible for 76 points. He became the first placekicker to ever win the Associated Press NFL Most Valuable Player; (Hall of Famer Lou Groza would win the Sporting News NFL Player of the Year Award in 1954 as a placekicker and offensive tackle, followed by George Blanda winning the same as a kicker and quarterback in 1970.) Moseley had a much rougher time in the postseason, missing four field goals in Washington's two postseason games. But in the Washington Redskins' 27–17 victory in Super Bowl XVII over the Miami Dolphins, Moseley kicked two field goals and was successful on all three of his extra point attempts. During the following season, he led the NFL in scoring with 161 points. He also kicked the game-winning field goal in Washington's 24-21 win over the San Francisco 49ers in the NFC championship game, despite missing four prior attempts in the game.


title: Mark Moseley

text: In 1986, the 38-year-old Moseley was released by the Washington Redskins mid-season. He remains their all-time leading scorer with 1,207 points. He signed with the Cleveland Browns and retired at the end of the season, helping them win their divisional playoff game against the New York Jets with a game-winning field goal in double overtime despite missing two field goals in regulation and another in the first overtime period.


title: Mark Moseley

text: In his career, Moseley was successful on 300 out of 457 field-goal attempts (65%), successful on 482 out of 512 extra points attempts (94%), and scored a total of 1,382 points. He led the NFL in field goals made four times.


title: Mark Moseley

text: Moseley owned two restaurants in Virginia and later became the director of franchising for Five Guys Enterprises. He has five children and 13 grandchildren. Moseley's younger sister, Pamela Moseley Carpenter, was murdered by Johnny Paul Penry in 1979. After the killing, Moseley was extremely critical of the criminal justice system's treatment of Penry, who was released after serving two years of a five-year sentence for rape months before the murder took place. Moseley said he supported giving Penry the death penalty.


title: Dadagiri

text: In its first season, called "Dadagiri: Beat the Bullies", contestants were selected every week and would compete for a prize money of Rs. 50,000. It was hosted by Akash Beri and had 4 "bullies": Vishal as "The Beast", Shraman Jain as "The Mindstein", Esha Bhaskar as "The Goddess" and Quaiser Jamal as Juicy The Chef. Contestants were required to complete physical and mental challenges, as well as endure abuse by the show's "bullies". According to a former contestant, the show was about 70% scripted and 30% improvised.


title: Dadagiri

text: The second season premiered in 2009 and featured 12 contenders competing for a prize of Rs. 1,000,000. It had 2 bullies; Vishal returned as "The Beast" for the second season, and Sonnalli Seygall replaced Esha as "The Goddess".


title: Dadagiri

text: The third season premiered in 2010, "D3 Commando Force: Dadagiri Against Terrorism", and it also had cash prize.


title: Dadagiri

text: The fourth and final season premiered in 2011, titled "Dadagiri: The Revenge of the Sexes", and it featured two groups divided by gender. The male team was led by Vishal as "The Beast", and the female team by Shaurya Chauhan as "The Goddess".


title: Dadagiri

text: In one episode in 2008, "Esha, the Goddess" (Esha Bhaskar) slapped a contestant named Ravi Bhatia in an unscripted physical attack. He immediately slapped her back. The incident resulted in the male host (Akash Beri) and some crew members physically assaulting Bhatia while he repeatedly asked "How can she slap?". The video also went viral on the Internet. Bhatia subsequently sent a legal notice to the producers and asked for a public apology.


title: Western Armenia

text: Western Armenia (Western Armenian: Արեւմտեան Հայաստան, "Arevmdian Hayasdan") is a term to refer to the eastern parts of Turkey (formerly the Ottoman Empire) that are part of the historical homeland of the Armenians. Western Armenia, also referred to as Byzantine Armenia, emerged following the division of Greater Armenia between the Byzantine Empire (Western Armenia) and Sassanid Persia (Eastern Armenia) in 387 AD.


title: Western Armenia

text: The area was conquered by the Ottomans in the 16th century during the Ottoman–Safavid War (1532–1555) against their Iranian Safavid arch-rivals. Being passed on from the former to the latter, Ottoman rule over the region became only decisive after the Ottoman–Safavid War of 1623–1639. The area then became known also as Turkish Armenia or Ottoman Armenia. During the 19th century, the Russian Empire conquered all of Eastern Armenia from Iran, and also some parts of Turkish Armenia, such as Kars. The region's Armenian population was affected during the widespread massacres of Armenians in the 1890s.


title: Western Armenia

text: The Armenians living in their ancestral lands were exterminated or deported by Ottoman forces during the 1915 Armenian genocide and over the following years. The systematic destruction of Armenian cultural heritage, which had endured over 4000 years, is considered an example of cultural genocide. Assimilated and crypto-Armenians still live in the area today, and some irredentist Armenians living both in turkey and in exile it as part of United Armenia or as a Sovereign state. The most notable political party with these views is the Armenian Revolutionary Federation.


title: Western Armenia

text: Since 2000, an organizing committee of the congress of heirs of Western Armenians who survived the Armenian genocide is active in diasporan communities. On August 10, 2020, the three traditional Armenian parties—the Armenian Revolutionary Federation (ARF, Dashnaks), Social Democrat Hunchakian Party (Hunchaks) and the Armenian Democratic Liberal Party (Ramgavars)—issued a joint statement on the centenary of the Sèvres Treaty, stating that the treaty is the only international document defining the border between Armenia and Turkey. "The Treaty of Sevres is a valid international treaty, although it has not been ratified by all signatories, but it has not been legally replaced by any other international instrument. At least from the point of view of the rights of the Armenian Cause, the Republic of Armenia and the Armenian nation, it remains a promissory note based on international law."


title: Western Armenia

text: A 2014 survey in Armenia asked what kind of demands should Armenia make to Turkey. Some 80% agreed that Armenia should make territorial claims (30% said only territorial claims, while another 50% said territorial, moral, financial, and proprietary). Only 5.5% said no demands should be made. According to a 2012 survey, 36% of Armenians asked agree or somewhat agree that Turkish recognition of the Armenian Genocide will result in territorial compensation, while 45% believe it will not. The online publication Barometer.am wrote: "It appears that our pragmatic population believes that all possible demands should be forwarded to Turkey [...] but a relative majority consider the practival realization of territorial claims to Turkey is unrealistic."


title: Western Armenia

text: In the Armenian language, there are several names for the region. Today, the most common is "Arevmtyan Hayastan" (Արևմտյան Հայաստան) in Eastern Armenian (mostly spoken in Armenia, Russia, Georgia, Iran) and "Arevmdean Hayasdan" (Արեւմտեան Հայաստան) in Western Armenian (spoken in the Diaspora: US, France, Lebanon, Syria, Argentina, etc.). Archaic names (used before the 1920s) include "Tačkahayastan" (Տաճկահայաստան) in Eastern and "Daǰkahayasdan" in Western Armenian. Also used in the same period were "T'urk'ahayastan" (Թուրքահայաստան) or "T'rk'ahayastan" (Թրքահայաստան), both meaning "Turkish Armenia".


title: Western Armenia

text: In the Turkish language, the literal translation of "Western Armenia" is "Batı Ermenistan". The region has been officially described as Eastern Anatolia ("") since the seven geographical regions of Turkey were defined at the 1941 First Geography Congress. Throughout much of recorded history the eastern boundary of Anatolia was not considered to extend as far as the Araxes, the river which marks the present day boundary between the states of Armenia and Iran. Kurds refer to the southern parts of region as "Bakurê Kurdistanê" (Northern Kurdistan).


title: Western Armenia

text: After the Ottoman-Persian War (1623–1639), Western Armenia became decisively part of the Ottoman Empire. After the Russo-Turkish War, 1828–1829, the term "Western Armenia" referred to the Armenian-populated historical regions of the Ottoman Empire that remained under Ottoman rule after the eastern part of Armenia was ceded to the Russian Empire by the Qajar Persians, following the Russo-Persian War (1804–1813) and Russo-Persian War (1826–1828).


title: Western Armenia

text: Western (Ottoman) Armenia consisted of six vilayets ("vilâyat-ı sitte"): the vilayets of Erzurum, Van, Bitlis, Diyarbekir, Kharput, and Sivas.


title: Western Armenia

text: The fate of Western Armenia – commonly referred to as "The Armenian Question" – is considered a key issue in the modern history of the Armenian people.


title: Western Armenia

text: In 1894–1896 and 1915 the Ottoman Empire perpetrated systematic massacres and forced deportations of Armenians resulting in the Armenian genocide.


title: Western Armenia

text: The massive deportation and killings of Armenians began in the spring 1915. On 24 April 1915, Armenian intellectuals and community leaders were deported from Constantinople. Depending on the sources cited, about 1,500,000 Armenians were killed during this act.


title: Western Armenia

text: During the Caucasus campaign of World War I, the Russian Empire occupied most of the Armenian-populated regions of the Ottoman Empire. A temporary provincial government was established in occupied areas between 1915 and 1918.


title: Western Armenia

text: The chaos caused by the Russian Revolution of 1917 put a stop to all Russian military operations and Russian forces began to conduct withdrawals. The first and second congresses of Western Armenians took place in Yerevan in 1917 and 1919.


title: Western Armenia

text: The Sazonov–Paléologue Agreement of 26 April 1916 between Russian Foreign minister Sergey Sazonov and French ambassador to Russia Maurice Paléologue proposed to give Western Armenia to Russia in return for Russian assent to the Sykes–Picot agreement.


title: Western Armenia

text: Currently, Armenia does not have any territorial claims against Turkey, although one political party, the Armenian Revolutionary Federation, the largest Armenian party in the diaspora, claims the area given to the Republic of Armenia (1918–1920) by US President Woodrow Wilson's arbitral award as part of the Treaty of Sèvres in 1920, also known as Wilsonian Armenia.


title: Western Armenia

text: Since 2000, an organizing committee of the congress of heirs of Western Armenians who survived the Armenian genocide is active in diasporan communities.


title: Seongnam

text: Seongnam () is the fourth largest city in South Korea's Gyeonggi Province after Suwon and the 10th largest city in the country. Its population is approximately one million. Seongnam is a satellite city of Seoul. It is largely a residential city located immediately southeast of Seoul and belongs to the Seoul Capital Area.


title: Seongnam

text: Seongnam, the first planned city in Korea's history, was conceived during the era of President Park Chung-Hee for the purpose of industrializing the nation by concentrating electronic, textile, and petrochemical facilities there during the 1970s and 1980s. The city featured a network of roads, to Seoul and other major cities, from the early 1970s on. Today, Seongnam has merged with the metropolitan network of Seoul. Bundang, one of the districts in Seongnam, was developed in the 1990s.


title: Seongnam

text: To accelerate the dispersion of Seoul's population to its suburbs and relieve the congested Seoul metropolitan area, the Korean government has provided stimulus packages to large public corporations and private companies to be headquartered in the Bundang district. Bundang-gu is now home to prominent companies such as KT (formerly Korea Telecom).


title: Seongnam

text: In recent years, a movement to have Seongnam designated a metropolitan city capable of governing itself has arisen.


title: Seongnam

text: The Seongnam Arts Center includes three theaters: the opera house, concert hall, and ensemble theater. It also includes the main arts hall and the cube arts hall, an academy, musical fountains, outdoor recreation facilities, and leisure facilities.


title: Kaoru Kobayashi (murderer)

text: Kaoru Kobayashi was born on November 30, 1968, in the Sumiyoshi-ku ward of Osaka, Osaka Prefecture. He worked as a paperboy since his childhood as his family was poor, and his mother died in 1978. In 1989, Kobayashi was convicted of sexually assaulting eight children, receiving a suspended sentence of two years imprisonment. In October 1991, Kobayashi attempted to kill a five-year-old girl and was sentenced to three years in prison, for which he was paroled on November 9, 1995, and officially released on July 23, 1996.


title: Kaoru Kobayashi (murderer)

text: Kobayashi had worked at a newsstand for "Asahi Shimbun" in Tomio, a neighborhood in the west-side of Nara, Nara Prefecture, between March and July 2000. At the time of the murder, he was employed as a newspaper deliveryman for "Mainichi Shimbun" in the Ikoma District of Nara Prefecture, adjacent to Tomio.


title: Kaoru Kobayashi (murderer)

text: On November 17, 2004, Kobayashi kidnapped seven-year-old Kaede Ariyama at random while she travelled from Tomio North Elementary School to her home, near the west-side police station in Tomio. Using Ariyama's cellular phone, Kobayashi sent a photograph of the girl to her mother with the message: "I've got your daughter". Kobayashi then murdered Ariyama and dumped her body in the town of Heguri in the Ikoma District of Nara Prefecture, which was found that night. The autopsy revealed the cause of Ariyama's death to be drowning; the water collected in her lungs was not dirty, so it was assumed that she had been drowned in a sink or bathtub. Several of her teeth were missing and abrasions were found on her hands and feet, which were assumed to have been done by Kobayashi after her death. It also appeared that Kobayashi had undressed Ariyama before murdering her and then re-dressed her afterwards.


title: Kaoru Kobayashi (murderer)

text: On December 14, 2004, Kobayashi sent an email from Ariyama's cellular phone to her mother's cellular phone, saying, "I'll take her baby sister next" with a photograph. He had shown off a photograph of Ariyama to a waitress and customers in a local bar, claiming to have gotten the photograph from a website.


title: Kaoru Kobayashi (murderer)

text: On December 30, 2004, Kobayashi was arrested for kidnapping after he had sent a photograph from Ariyama's cellular phone to his own, which helped speed his arrest because the local cell phone towers logged the messages sent from the phone. Kobayashi lived in the town of Kawai in Kitakatsuragi District, located in the northwest area of Nara Prefecture along with Tomio and Ikoma, and was arrested after he had finished his morning paper route distributing the news that the suspect would be arrested soon. During a search of his room, the police discovered Ariyama's cellular phone and "randoseru", a video and a magazine containing child pornography, and a considerable amount of girls' underwear which Kobayashi had stolen between June and December 2004.


title: Kaoru Kobayashi (murderer)

text: A witness reported seeing Ariyama walking to Kobayashi's car, which suggested that they knew each other. However, Kobayashi said, "I would have kidnapped anybody."


title: Kaoru Kobayashi (murderer)

text: On January 19, 2005, Kobayashi was prosecuted for kidnapping. Because he had previous sexual offenses involving girls, public attention turned to passing a law in Japan similar to Megan's Law in the United States.


title: Kaoru Kobayashi (murderer)

text: In the wake of the arrest, it was revealed that the manager of the newspaper delivery agency in Osaka's Higashisumiyoshi Ward had made a report to the police that a newspaper subscription fee of JP¥230,000 had been stolen. Afterwards, the manager discovered that the thief was Kobayashi, now working in Kawai. On November 17, 2004, the day of the kidnapping, a judge had issued an arrest warrant for Kobayashi for the embezzlement reported by the manager. However, the manager did not inform the police of this because he was promised that the suspect would repay him for the stolen money with monthly payments. Therefore, the police were not able to arrest Kobayashi and he was free to commit his attack. As a result of this, "Mainichi Shimbun" announced on January 19, 2005, that it would terminate its contracts with two delivery agents in Kawai and Higashisumiyoshi Ward in Osaka on January 31.


title: Kaoru Kobayashi (murderer)

text: Ariyama's murder fueled an increased hostility towards "otaku" culture in Japan, which had already been the subject of a moral panic since the killing spree of serial murderer Tsutomu Miyazaki in 1989. Miyazaki became known as the "Otaku Murderer" due to his strong interest in anime and horror films, sparking negative stereotypes of "otaku" leading people to become violent criminals, particularly against young girls. Kobayashi's crime was associated with "otaku" in Japanese society due to its similarity to Miyazaki's crimes.


title: Kaoru Kobayashi (murderer)

text: Japanese journalist Akihiro Ōtani suspected that Kobayashi's crime was committed by a member of the figure "moe zoku" sub-culture, which Ōtani associated with "lolicon" even before Kobayashi's arrest. Although Kobayashi was not an "otaku", and did not even own any figurines, the degree of social hostility against "otaku" seemed to increase for a while, as suggested by increased targeting of "otaku" by law enforcement as possible suspects for sex crimes, and by calls from persons in local governments for stricter laws controlling the depiction of eroticism in materials which cater to some "otaku" (e.g. erotic manga and erotic video games). Social Democratic Party politician Nobuto Hosaka criticised much of the uproar.


title: Kaoru Kobayashi (murderer)

text: Kobayashi's trial began on April 18, 2005. He said: Both Miyazaki and Takuma were child murderers with histories of mental illness and sex crimes against children. For his part, Miyazaki stated, "I won't allow him to call himself 'the second Tsutomu Miyazaki' when he hasn't even undergone a psychiatric examination." Miyazaki was subsequently executed on June 17, 2008, after making this comment, possibly due to the significance of Kobayashi's case and another recent incident, the Akihabara massacre.


title: Kaoru Kobayashi (murderer)

text: Kobayashi's psychiatrist diagnosed him as suffering from antisocial personality disorder and pedophilia, but sane enough to be responsible for his actions, believing he might have even been gnawed by a sense of guilt. Ariyama's identity had been withheld by the Japanese media when the media learned of his sex crime, but the bereaved released her name and photograph in September 2006.


title: Kaoru Kobayashi (murderer)

text: On September 26, 2006, Kobayashi was sentenced to death by hanging by the Nara district court. The defense made an appeal on the same day, but retracted it on October 10, 2006. Kobayashi's new lawyer claimed in June 2007 that the withdrawal was invalid, which the Nara district court declined on April 21, 2008. On May 22, 2008, the Osaka high court upheld the decision. On July 7, 2008, the Supreme Court of Japan upheld the decision.


title: Waiting for a Girl Like You

text: "Waiting for a Girl Like You" is a 1981 power ballad by the British-American rock band Foreigner released as the second single from the album "4" (1981) and was co-written by Lou Gramm and Mick Jones. The opening motif was written by Ian McDonald and the distinctive synthesizer theme was performed by the then-little-known Thomas Dolby.


title: Waiting for a Girl Like You

text: It has become one of the band's most successful songs worldwide, peaking at number 2 on the "Billboard" Hot 100, number 1 on "Billboard"'s Rock Tracks chart, and number 1 on the "Radio & Records" (R&R) Top 40/CHR chart. On both the "Billboard" and "R&R" Adult Contemporary chart, the song reached number 5. The song peaked at number 8 on the UK Singles Chart.


title: Waiting for a Girl Like You

text: "Waiting for a Girl Like You" achieved a chart distinction by spending its record-setting 10 weeks in the number 2 position of the "Billboard" Hot 100 chart, without ever reaching the top. It debuted on the Hot 100 chart dated October 10, 1981. It reached the number 2 position in the week of November 28, where it was held off the number 1 spot by Olivia Newton-John's single "Physical" for nine consecutive weeks, and then by Hall & Oates' "I Can't Go for That (No Can Do)" for a tenth week on January 30, 1982. Because of its chart longevity, it ended up being the number 19 song on the Top 100 singles of 1982. The song was the band's biggest hit until "I Want to Know What Love Is" hit number 1 in 1985.


title: Waiting for a Girl Like You

text: It just came out. I had no idea what it meant, but it got to the point where I couldn't even be in the studio when we were recording it sometimes. It left such a deep impression on me. It's the kind of song that the pen does the writing, and you don't even know where it came from. But I feel that it's stuff that's floating around at times, and you have to grasp it. It's kind of flying around in the air, and you just have to be open enough to let that flow through you.


title: Waiting for a Girl Like You

text: In his autobiography, Gramm tells of a beautiful, mysterious woman who appeared in the control room when he was recording his vocal and gave him the inspiration to deliver the stirring take that was better than he has ever sung the song. He writes that this ephemeral beauty vanished, and he has never discerned her identity.


title: Waiting for a Girl Like You

text: The introduction was created by Dolby using a Minimoog synthesizer. Dolby remembers Lange leaving him to his own devices in the studio one night, "like a kid locked in a toy shop" to develop the intro to the song with six tracks of the multitrack available. As a result he made the "Eno-esque" ambient drones. These were sustained single notes in a minor scale, each recorded on a single track of a (separate) 2" multitrack tape; Dolby "played" the faders on the mixing console at Electric Lady Studios (by fading in and out the sustained notes) like a mellotron and bounced down the result onto two tracks. Drummer Dennis Elliott likened the intro to "massage music" but Jones liked it and it stuck.


title: Charango

text: The charango is a small Andean stringed instrument of the lute family, from the Quechua and Aymara populations in the territory of the Altiplano in post-Colonial times, after European stringed instruments were introduced by the Spanish during colonialization. The instrument is widespread throughout the Andean regions of Bolivia, Peru, Ecuador, northern Chile and northwestern Argentina, where it is a popular musical instrument that exists in many variant forms.


title: Charango

text: About long, the charango was traditionally made with the shell from the back of an armadillo (called "quirquincho" or "mulita" in South American Spanish), but it can also be made of wood, which some believe to be a better resonator. Wood is more commonly used in modern instruments. Charangos for children may also be made from calabash. Many contemporary charangos are now made with different types of wood. It typically has ten strings in five courses of two strings each, but many other variations exist.


title: Charango

text: The charango was primarily played in traditional Andean music. A charango player is called a "charanguista".


title: Charango

text: When the Spanish conquistadors came to South America, they brought the vihuela (an ancestor of the classical guitar) with them. It is not clear whether the charango is a direct descendant of a particular Spanish stringed instrument; it may have evolved from the vihuela, bandurria (mandolin), or the lute. Ernesto Cavour, Bolivian charanguista, composer, and consulting music historian for many museums around the world, has noted characteristics of the charango in various vihuelas and guitars of the 16th century, and maintains the charango is the direct descendant of the vihuela.


title: Charango

text: There are many stories of how the charango came to be made with its distinctive diminutive soundbox of armadillo. One story says that the native musicians liked the sound the vihuela made, but lacked the technology to shape the wood in that manner. Another story says that the Spaniards prohibited natives from practicing their ancestral music, and that the charango was a successful attempt to make a lute that could be easily hidden under a garment such as a poncho.


title: Charango

text: There is no clear evidence that points to a specific location or moment in time for the birth of the charango but there are a number of theories being debated. One of those is that it is believed the charango came into its present form in the early 18th century in the city of Potosí in the Royal Audiencia of Charcas part of the Viceroyalty of Peru (in what is present-day Bolivia), probably from Amerindian contact with Spanish settlers. Cavour presents evidence from Bolivian murals and sculptures as early as 1744, in, for example, the Church of San Lorenzo of the city of Potos (Potosí), the facade of which depicts two mermaids playing what he believes to be charangos.


title: Charango

text: Another two theories that are being researched are that the Charango originally came to Potosí from the Ayacucho region in colonial Peru as a result of migration within the Quechua populations. This suggests that the charango originated in the territory of what is now Peru via cultural exchange and then spread to the rest of the Andean area. This theory has not been proven either.


title: Charango

text: Because the modern states of Peru and Bolivia had not yet been established at the time, it is difficult to trace the charango's origin to a specific country, and the issue remains highly debated among nationalists from both countries.


title: Charango

text: One Bolivian musician has posited a third theory which is that the Charango was created as a variant of the timple canario from the Canary islands. More research however is required.


title: Charango

text: The first published historic information on the charango may be that gathered by Vega, going back to 1814, when a cleric from Tupiza documented that "the Indians used with much enthusiasm the guitarrillos mui fuis... around here in the Andes of Bolivia they called them Charangos". Turino mentions that he found carved sirens representing playing charangos in some Colonial churches in the highlands of Bolivia. One of the churches to which Turino refers may well be that mentioned by Cavour; construction on the San Lorenzo edifice began in 1547 and wasn't completed until 1744.


title: Charango

text: According to Eduardo Carrasco of Quilapayún, in the first week after the 1973 Chilean coup d'etat, the military organized a meeting with folk musicians where it was explained that the traditional instruments charango and quena were now banned.


title: Charango

text: The origin of the term "charango" is not entirely clear. One source suggests that the instrument took its name from its players, who were called "charangeros", meaning "someone of questionable character and low morals". Another traces the term to the alteration of a Spanish term, "charanga", which could refer to either a type of military music played on wind instruments, or an out-of-tune orchestra. Charanguista Alfredo Coca, offers yet a third theory: asserting that "charango" comes from a Spanish corruption of the Quechua word “Chajwaku”, which means joy, noisy, boisterous, referring directly to the sound of the charango. As support for this he points to the common practice of the Conquistadors appropriating local terminology.


title: Charango

text: Charanguista Ernesto Cavour disagrees, and tends to support the second origin, maintaining that the word “charango” comes from a mispronunciation of the Spanish word “charanga”, meaning "brass band" (a reasonable corollary to 'military music played on wind instruments').


title: Charango

text: One of the most complete contemporary statements on the origin of the term "charango" appears in the introduction to Duran and Pedrotti's, "Charango Method", ostensibly the first complete, bilingual charango method to be published:


title: Charango

text: Traditionally a charango was made with a dried armadillo shell for the back and wood for the soundbox top, neck etc. While still common, this is no longer the norm: rather they are now typically made of wood, with the bowled back merely imitating the shape of the armadillo shell. Unlike most wooden lutes, the body and neck are typically made of a single block of wood, carved into shape. The charango's ten strings require quite a large headstock, often approaching or even exceeding the size of its diminutive sound box. Aside from these visual distinctions, it resembles something between a bowl-backed mandolin and a small ukulele.


title: Charango

text: The overall length of a typical charango is about 66 cm, with a string scale length of about 37 cm. The number of frets ranges from five to eighteen. The most common form of the instrument has ten strings of nylon, gut, or (less commonly) metal. (Variant forms of the charango may have anywhere from four to fifteen strings, in various combinations of single, double, or triple courses.) The body generally has a narrowed "waist", reminiscent of the guitar family, and not the pear-shape of the lute. There are many minor variations in the shape of the body and soundboard (top), and many different kinds of wood are used, although, like guitars, the preferred tone woods for the top come from the cedar or spruce families. Old instruments had friction-style tuning pegs (similar to those used on violins), but today a classical guitar style peghead with geared "machine" tuners is the norm, though these are occasionally positioned perpendicular to the headstock. Most instruments include some degree of ornamentation, which may range from simple purfling inlays around the perimeter of the top, to elaborately carved headstocks, and whole scenes engraved, carved, or burned into the back of the body. Strap buttons are sometimes added, as are position marker dots on the fingerboard.


title: Charango

text: Variations may include a separate glued-on neck, a two-piece top plate of contrasting woods, old-style friction tuning pegs in palisander or ebony, guitar-style box construction, or even a hollowed-out neck. The size, shape, and number of soundholes is highly variable and may be a single round or oval hole, dual crescents, or even multiple holes of varying arrangement. Another variant is a neck with two holes bored 3/4 of the way through, parallel to the fretboard and close to the headstock (an innovation said to color the instrument's tone).


title: Charango

text: More recently solid-body electric and hollow-body acoustic-electric charangos have become available. The solid-body instruments are built very much as miniature electric guitars, whereas the acoustic-electrics are usually a standard acoustic charango with the addition of a contact microphone or piezoelectric pickup to run the output of the instrument through an amplifier.


title: Charango

text: In his book "The Motorcycle Diaries", Che Guevara described a charango he saw near Temuco, Chile, in 1952. It was "made with three or four wires some two meters in length stretched tightly across tins fixed to a board. The musician uses a kind of metal knuckle duster with which he plucks the wires producing a sound like a toy guitar."


title: Charango

text: The basic charango has five pairs (or courses) of strings, typically tuned GCEAE. This tuning, disregarding octaves, is similar to the typical C-tuning of the ukulele or the Venezuelan cuatro, with the addition of a second E-course. Unlike most other stringed instruments, all ten strings are tuned inside one octave. The five courses are pitched as follows (from 5th to 1st course): G4 G4 - C5 C5 - E5 E4 - A4 A4 -E5 E5. Some "charanguistas" use "octave" strings on other pairs in addition to the middle course. Note that the lowest pitch is the "E" string in the middle (3rd) course, preceded by the higher pitched "g" (5th) course and "c" (4th) course, and followed by still higher pitched "a" (2nd) course and "e" (1st) courses. This tuning pattern is known as a re-entrant pattern because the pitches of the strings do not rise steadily from one string or course to the next, but progress from high to low and then back to high pitch again.


title: Charango

text: The ramifications of the charango tuning are that there is a very narrow tonal range in most chords, often with many pitch duplications, which produces a surprisingly powerful sound from the small instrument. Seventh and ninth chords shimmer more than on a guitar due to the close harmonies. In terms of melody playing, the "charanguista" can create a harp-like sound with close intervals ringing out (i.e., like a piano with the sustain pedal engaged). With the close pitch spacing across strings (intervals like 2nds), a simple alternating finger-style pattern in the right hand can produce very rapid chromatic and diatonic runs with only minimal movement of the left hand on the fingerboard. This makes the charango an extremely agile melodic instrument, especially when compared to instruments traditionally played with a flat pick.


title: Charango

text: As with any stringed instrument, tunings for the charango may vary, but the "standardized" tunings most commonly used (for the 10-stringed, five-course version) are:


title: Charango

text: G#m7 and Gm7 tunings are achieved by tuning a semitone or a full step down, respectively. Em7 is achieved by tuning down by a perfect fourth.


title: Charango

text: There are metal string, nylon/gut string, and mixed-string charangos. Some metal-stringed versions have all strings at the same gauge. There are also solid-body electric charangos.


title: Charango

text: There are many types of charango. In many cases the variant is named for the town or region in which it originated, or in which it is most frequently seen, "e.g.", the "Charango Ayquileño" of Ayquile, Bolivia. The number of strings on these variant instruments ranges from four to 20, and courses may be single, double, triple, or quadruple strung. (The standard charango has 10 strings in five courses of two strings each.)


title: Charango

text: As one of the most popular stringed instruments in regions along the Andes, countless other regional variations of the charango exist, for example:


title: Charango

text: Several hybrids of charango with other instruments have also been made, for example: "charanquena" (charango and quena); "charansicu" (charango and zampoña); and "charango charanguita" (charango and guitar).


title: D'oh!

text: "D'oh!" () is the most famous catchphrase used by the fictional character Homer Simpson, from the television series "The Simpsons," an animated sitcom (1989–present). It is an exclamation typically used after Homer injures himself, realizes that he has done something foolish, or when something bad has happened or is about to happen to him. All his prominent blood relations—son Bart, daughters Lisa and Maggie, his father, his mother and half-brother—have also been heard to use it themselves in similar circumstances. On a few occasions, Homer's wife Marge and characters outside the family such as Mr. Burns and Sideshow Bob have also used this phrase.


title: D'oh!

text: In 2006, "d'oh!" was listed as number six on TV Land's list of the 100 greatest television catchphrases. The spoken word "d'oh" is a sound trademark of 20th Century Fox (now known as 20th Century Studios). Since 2001, the word "doh" has appeared in the "Oxford English Dictionary", without the apostrophe. Early recorded usages of the sound "d'oh" are in numerous episodes of the BBC Radio series "It's That Man Again" between 1945 and 1949, but the "OxfordWords" blog notes "Homer was responsible for popularizing it as an exclamation of frustration." The term also appeared in an early issue of "Mad" comics, with a different spelling but the same meaning, in issue 8 (December 1953 – January 1954); in a one-page story by Harvey Kurtzman entitled "Hey Look!", a man seeking peace and quiet suddenly hears a loud radio and, grimacing, says, "D-oooh – the neighbors radio!!"


title: D'oh!

text: During the voice recording session for a "Tracey Ullman Show" short, Homer was required to utter what was written in the script as an "annoyed grunt". Dan Castellaneta rendered it as a drawn out "d'ooooooh". This was inspired by Jimmy Finlayson, who had used the term in his first sound film role, in 1929's "Men O' War", as a minced oath for suggesting the word "damn!" without actually saying it. The mustachioed Scottish actor (acknowledged by Dan Castellaneta as the progenitor for Homer Simpson's similar expression of disbelief or outrage) would go on to appear in 33 Laurel and Hardy films, from the pre-sound era up to 1940. Matt Groening felt that it would better suit the timing of animation if it were spoken faster. Castellaneta then shortened it to a quickly uttered "d'oh!" The first intentional use of "d'oh!" occurred in the "Ullman" short "The Krusty the Clown Show" (1989), and its first usage in the series was in the series premiere, "Simpsons Roasting on an Open Fire". It is typically represented in the show's script as "(annoyed grunt)", and is so spelled out in the official titles of several episodes. Some episodes feature variations of the word such as "Bart of Darkness" (season six, 1994), where Homer says "D'oheth" after an Amish farmer points out to him that he has built a barn instead of the swimming pool he was intending; "Thirty Minutes over Tokyo" (season ten, 1999), where Homer says "d'oh" in Japanese (with English subtitles, the spoken phrase being ""shimatta baka ni"", meaning roughly "damn folly"); or "The Simpsons Movie" (2007) where Homer shouts "d'oooohme!" after the EPA seals the Simpsons' hometown, Springfield, in a giant dome. The spelling is made official in "El Viaje Misterioso de Nuestro Jomer (The Mysterious Voyage of Homer)" (season eight, 1997), in which Homer, after having eaten a very spicy chili, hallucinates about a tortoise and exclaims a loud "d'oh!" as he realizes that he needs to follow the slow animal in order to find out about his soul mate.


title: D'oh!

text: As the word arose out of Castellaneta's interpretation of a non-specific direction, it did not have an official spelling for several years. Instead, it was always written in Simpsons scripts as "(Annoyed Grunt)", and then later on being spelled "d'oh", as it remains today.


title: D'oh!

text: The term "d'oh!" has been used or adopted by many "Simpsons" fans as well as non-fans. The term has become commonplace in modern speech and demonstrates the extent of the show's influence. "D'oh!" was first added to the "Oxford Dictionary of English" in 1998 as an interjection with the definition "(usually [in a manner] mildly derogatory) used to comment on an action perceived as foolish or stupid."


title: D'oh!

text: The headword spelling is "doh", but "d'oh" is listed as a variant (as is "dooh"). The etymology section notes "the word appears (in the form "D'oh") in numerous publications based on "The Simpsons"". Eight quotations featuring the sound "d'oh" are cited: the earliest is from a 1945 episode of the BBC radio series "It's That Man Again"; two others are "Simpsons"-related.


title: Mom (season 8)

text: The eighth and final season of the sitcom "Mom" premiered November 5, 2020 on CBS in the United States. The season is produced by Chuck Lorre Productions and Warner Bros. Television, with series creators Chuck Lorre, Eddie Gorodetsky and Gemma Baker serving as executive producer. This is also the only season in which Anna Faris is not featured.


title: Mom (season 8)

text: Bonnie (Allison Janney) must learn to adjust without her daughter and former-roommate, Christy, around. With her chaotic past behind her and a newly empty nest, she focuses on her marriage to her husband, Adam (William Fichtner), and on what she wants to be now that she has finally grown up. Now more than ever, Bonnie depends on the support of her friends, including the wise Marjorie (Mimi Kennedy), the wealthy and sometimes misguided Jill (Jaime Pressly), the overly emotional Wendy (Beth Hall) and her loudmouthed but sweet former foster sister, Tammy (Kristen Johnston). Collectively, they help each other overcome their mistakes and stay sober in the face of whatever life throws at them. The episodes are usually titled with two odd topics that are mentioned in that episode.


title: Vattam

text: Vattam () is a 2022 Indian Tamil-language hyperlink action drama film directed by Kamalakannan. The film stars Sibi Sathyaraj, Andrea Jeremiah, Athulya Ravi and Shyam Prasad. Principal photography of the film commenced in around July 2018. The film is released on 29 July 2022 on Disney+ Hotstar.


title: Vattam

text: Mano decides to get dead drunk on the eve of his ex-girlfriend's Kokilavani's wedding but gets thrown out of the wine shop. He gets cheated and goes on to kidnap a random businessman named Gautham where he bumps into and eventually swaps Gautham's wife Parvathy as the hostage.


title: Vattam

text: The shooting of the film began during July 2018 and the portions of the film were mostly shot and set in Coimbatore. Sibi Sathyaraj signed onto play the lead role while he wrapped up shooting for "Ranga" with Athulya Ravi and Andrea Jeremiah roped into play the pivotal roles as main female leads in the film.


title: Dailies

text: In filmmaking, dailies are the raw, unedited footage shot during the making of a motion picture. The term comes from when movies were all shot on film because usually at the end of each day, the footage was developed, synced to sound, and printed on film in a batch (and later telecined onto videotape or disk) for viewing the next day by the director, selected actors, and film crew members. After the advent of digital filmmaking, "dailies" were available instantly after the take and the review process was no longer tied to the overnight processing of film and became more asynchronous. Now some reviewing may be done at the shoot, even on location, and raw footage may be immediately sent electronically to anyone in the world who needs to review the takes. For example, a director can review takes from a second unit while the crew is still on location or producers can get timely updates while travelling. Dailies serve as an indication of how the filming and the actors' performances are progressing. The term was also used to describe film dailies as "the first positive prints made by the laboratory from the negative photographed on the previous


title: Dailies

text: In some regions such as the UK, India and Canada, dailies are usually referred to as rushes or daily rushes, referring to the speed at which the film prints were developed. In animation, dailies are also called rushes or sweat box sessions.


title: Dailies

text: Dailies may be viewed by members of the film crew on a regular basis either early in the morning before filming starts, during the lunch break, or in the evening after filming ends. It is common for several members of the film crew including the director, cinematographer, editor, and others to view and discuss the dailies as a group, but some productions opt to distribute multiple copies of the dailies for individual viewing. They may be distributed via a network to individuals on set or remotely. Some filmmakers may choose to distribute dailies via a storage medium such as DVDs or USB sticks for security reasons. Individual copies may be uniquely coded or serialized to help discourage and prosecute unauthorized leaks of the material.


title: Dailies

text: Viewing dailies allows the film crew to see exactly what images and audio were captured with the takes, to detect technical problems such as a dirty lens, focus issues, exposure, etc. It also presents an opportunity for the director to evaluate the actor's performances and to confirm having captured a scene from an adequate assortment of camera angles. Timely review of takes allows the director to order a reshoot if necessary while venues and talent are still available. The ability to implement timely reshoots also helps mitigate continuity issues such as weather changes in exterior shots.


title: Dailies

text: Dailies are also often viewed independently of the production crew by producers, and studio executives, not engaged, day-by-day, in production but who must have assurances that the project is meeting their respective expectations as investors. Commonly, asynchronous daily sequences are repetitious, often including multiple takes of the same shot.


title: Dailies

text: When production was done using film, directors and producers preferred to view dailies on film, rather than on DVD dailies. However, because of the costs involved and depending on the target quality of the film, some productions viewed dailies on DVD. With digital production, directors and others who need a high-quality viewing will simply use the highest quality viewing device available given the resolution. A high-quality viewing device makes it much easier to check for correct focus and smaller details.


title: Dailies

text: In the production of low-budget films with few crew and a short and uninterrupted shooting period, review of the takes may be very quick and a formal, regular group viewing of dailies may be forgone.


title: Dailies

text: Many films have one main film unit which does all primary filming and one or more smaller film units shooting additional "pickup" shots, stunts, or shots involving special effects. These shots are included with the main unit footage on the dailies reels. A typical pickup shot might be a simple shot of the exterior of a building that does not involve any actors and is filmed with a smaller crew to save time and money.


title: Dailies

text: If a unit shoots with more than one camera usually all the shots from one "A" camera will be followed by all "B" camera shots because of the way the dailies are processed.


title: Dailies

text: To save time, ordinarily, only a small amount of the previous day's footage is viewed. If viewing dailies on video, often all the footage is transferred and the viewer can fast-forward as desired. Dailies on print film are more expensive to produce and cannot be easily fast-forwarded. In this case, during shooting the director will specify which takes he or she wants converted to dailies. When a take is completed, the director yells, "Cut" and if the director wants the take converted to dailies, the director will also yell, "Print". Once the director yells, "Cut! Print!", the script supervisor, the camera assistant, and the sound person circle the take number on their log sheets so that only these circle takes will be printed that night by the film laboratory.


title: Dailies

text: The end of a daily reel may contain sound that was recorded without simultaneous picture recording called wild sound.


title: Dailies

text: Visual effects shots are often assembled daily for viewing by a visual effects or animation supervisor. They will contain the previous day's work by animators and effects artists in various states of completion. Once a shot is at the point where additional feedback from the director is needed they will be assembled and screened for the director either as part of the normal dailies screening or as a separate weekly VFX dailies screening.


title: Dailies

text: Dailies delivered to the editing department will usually have timecode and keycode numbers overlaid on the image. These numbers are used to later assemble the original high-quality film and audio to conform to the edit. Depending on how the dailies are produced, these numbers may only be on the editor's copy of the dailies or all copies of the dailies.


title: Dailies

text: During the typical filming of a motion picture, a movie camera captures the image on 35 mm film and a separate audio recorder (such as a Nagra tape recorder or digital hard disk recorder) records the sound on-set.


title: Dailies

text: The film negative is developed and printed or telecined so that the images can be viewed on a projector or video monitor.


title: Dailies

text: The sound is synced to the film using a clapperboard as a reference. The clapperboard is labeled to identify the scene, shot, and take number for the camera. The numbers are also read aloud to label the audio recording. Once the camera and sound are rolling, a camera assistant will close the clapper creating a visual and auditory reference point. During the synching process after the film has been developed, the technician will look at the numbers on the slate board and then match the numbers with the verbal slate. Then the technician looks for the frame where the clapper first closes and for the beep or clapping sound on the audiotape, adjusting one or the other until they happen simultaneously when played back. This needs to be done for every take. Systems exist which record synchronized timecode onto the film and audiotape at the time of shooting, allowing for automatic alignment of picture and audio. In practice, these systems are rarely used.


title: Dailies

text: Before computer-based editing tools became widely available in the late 1980s, all feature-film dailies were printed on film. These pieces of film are called the workprint. After viewing, the workprint is used by the film editor to edit the movie using a flatbed editor. Once the workprint is edited and approved, the negative is assembled so it is identical to the edited workprint.


title: Dailies

text: Today, most editing is done on computer-based non-linear editing systems which use a video copy of the dailies. When the film is telecined, keycode numbers are logged which assign a number to each frame of film and are later used to assemble the original film to conform to the edit.


title: Dailies

text: When using a video camera or digital motion picture camera, the image and sound are often recorded simultaneously to video tape or hard disk in a format that can be immediately viewed on a monitor, eliminating the need to undergo a conversion process to create dailies for viewing. The footage recorded each day will still usually go through a daily process to create a second copy for protection and create multiple copies on DVD or other media for viewing by producers or other people not on set.


title: Dailies

text: Outside of their use in producing a motion picture, dailies are desirable by fans as a collector's item and to see more of the filmmaking process. They are also desirable to film students and teachers to illustrate how a film is shot and as a tool to practice editing.


title: Dailies

text: For a variety of reasons, major motion picture studios never release their dailies for outside use. One cited problem is that the Screen Actors Guild has a clause in their contract to protect their actors' privacy which says that the producers of all union productions must give up their rights to the actor's performance for anything but the edited movie. In most other English-speaking countries, the actor's unions have similar contracts which limit the distribution of all film dailies. New Zealand does not have this limitation, which is why the dailies from "" and "" are included on the DVDs for these shows.


title: Dailies

text: Every year American Cinema Editors holds the ACE Film Editing Contest in which they make dailies available to 50 film students for an editing contest. ACE also sells a videotape with film dailies from the 1950s TV show "Gunsmoke". These film dailies have been used by many film schools for the last 40 years.


title: Dailies

text: Rushes and dailies are also used to create trailers, even if they may contain footage that is not in the final movie, or the trailer editor and the film editor may use different takes of a particular shot.


title: The 50th Law

text: The 50th Law is a "New York Times" bestselling book on strategy and fearlessness written collaboratively by rapper 50 Cent and author Robert Greene. The book is a semi-autobiographical account detailing 50 Cent's rise as both a young urban hustler and as an up-and-coming musician with lessons and anecdotes from historical figures such as Abraham Lincoln, Sun Tzu, Socrates, Napoleon, Malcolm X, and James Baldwin.


title: The 50th Law

text: "The 50th Law" grew out of the friendship and mutual admiration between 50 Cent and Robert Greene. Greene's book "The 48 Laws of Power", which has long been a staple in the hip hop world, came to the attention of 50 Cent, who asked his manager to arrange a meeting. Greene said that he was surprised by 50 Cent's persona and was impressed by his "Zen-like calmness" and eye for strategy. The two began to work on a book project that would combine their two worlds.


title: The 50th Law

text: According to Greene, 50 Cent is an example of what Machiavelli called a "New Prince," a leader who emerges in a time of chaos or turmoil and rewrites the rules. According to 50 Cent, Greene's books describe the laws and strategies used by hustlers on the street, even if they might not know the "technical terms" for what they were doing.


title: The 50th Law

text: Each of the 10 chapters in the book explains a factor of fearlessness and begins by telling how 50 Cent learned this Fearless Philosophy in Southside Queens. "The 50th Law" illustrates the laws of the book by supplementing anecdotes from 50 Cent's life with historical examples from Malcolm X, Miles Davis, Sun Tzu, François de La Rochefoucauld, Machiavelli, Richard Wright, James Baldwin, Thucydides, Dostoyevsky, Charlie Parker, and the Baron de Montesquieu.


title: The 50th Law

text: The book debuted at #5 on "The New York Times" Bestseller list and was a "USA Today" bestseller. The book was met with positive reviews, with the "New York Post" calling "The 50th Law" "a modern day "Art of War"," "The Guardian" referring to the book as "a manual on power similar to the works of Machiavelli and Sun Tzu," and "Library Journal" stating that "The 50th Law" is written for "anyone interested in how to succeed in business and the game of life."


title: The 50th Law

text: The book was also featured in "The New York Times", MSNBC, "Huffington Post", "The Sun", "The New York Daily News", "Forbes", Business Insider, "Fast Company", "The Telegraph", MTV, "Vibe" and "Billboard". In promotion of the book, Greene and 50 Cent appeared on "The Today Show", CNBC, ABC, BBC and MTV News. "The 50th Law" was also published as a 60-page comic book.


title: Stars Dance

text: Stars Dance is the solo debut studio album by American singer Selena Gomez. It was released on July 19, 2013, by Hollywood Records. Gomez began planning the project in 2012, at which time she announced that her band Selena Gomez & the Scene would be taking an indefinite hiatus, and continued work into 2013. "Stars Dance" is an EDM and electropop album, incorporating elements of dubstep, techno, disco, electro house and worldbeat. Gomez worked with producers such as Rock Mafia and The Cataracs (now known as KSHMR) on the album.


title: Stars Dance

text: Upon its release, "Stars Dance" received generally mixed reviews from music critics, many of whom complimented Gomez's maturing image and the album's content both lyrically and vocally, but criticized the electronic-heavy production style. It marked her first album to debut at number one on the "Billboard" 200. The album sold 97,000 copies in its first week of release in the country, making it her highest-selling debut to that point. This was later surpassed by its successor, "Revival" (2015), which sold 117,000 units in its first week. It became her fourth top twenty entry in the United Kingdom, peaking at number fourteen. Elsewhere, "Stars Dance" topped the charts in Canada, Norway, Mexico, Taiwan and China. As of 2017, the album has sold an estimated over 410,000 copies in the United States.


title: Stars Dance

text: The album's lead single, "Come & Get It" featured heavy electronic and worldbeat themes, became Gomez's first top 10 entry in the United States, and entered the top ten in countries such as the United Kingdom, Ireland, and Canada, among others. It was also successful on pop radio, reaching number-two on the Mainstream Top 40 chart. The second single, "Slow Down", failed to match the success of its predecessor, though did peak inside the top 30 in the United States. It was met with success on pop radio, reaching the top ten of the Mainstream Top 40 chart. Gomez promoted the album through a number of high-profile performances, such as the 2013 "Billboard" Music Awards. Gomez embarked on the Stars Dance Tour (2013) to further promote the release.


title: Stars Dance

text: Selena Gomez & the Scene's third studio album, "When the Sun Goes Down" (2011), was musically rooted in electropop and dance-pop, similar to the group's sophomore album, "A Year Without Rain" (2010). Although reviews from contemporary music critics were mixed, the album was a commercial success. In January 2012, Gomez announced that she would put her music career on hold in order to focus on her acting career, and that the band would be taking a hiatus: "my band and I are going our separate ways for a while. This year is all about films and acting and I want my band to play music wherever with whoever. We will be back but, it will be a good while." Despite her earlier statements, Gomez first confirmed in October 2012 that work had begun on an upcoming album, and later said it would be her solo debut album, rather than her band's fourth album. Gomez announced in March that the album's lead single would be released the following month, and that the album would follow that Summer. On April 15, Gomez revealed plans of her first world tour, known as the Stars Dance Tour. Gomez officially confirmed on June 3 that the album would be titled "Stars Dance", and also revealed the album's track listing and cover art.


title: Stars Dance

text: On her return to music, Gomez stated "I miss it. I want to be able to write about things I've never talked about before and tell a story with this album, because I've never actually had time to go in and do that." For the album, Gomez made it with production team The Cataracs, as well as the Norwegian Stargate. Gomez also worked with Rock Mafia on numerous tracks on the album, having previously worked with them on previous singles with The Scene. For "Stars Dance", Gomez attempted to have more creative control over her music, stating "It's definitely the hardest I have ever worked on a record, that's for sure. I wanted to have more creative control over the album's direction." Jason Evigan, who worked with Gomez on the album, said "She's not a little girl anymore. She wants to be like that and be respected like the great pop artists out there [...] And I think she is. I think this album is really gonna blossom her into a new realm of electronic pop dance artist." Prior to the album's release, Gomez announced she would be taking a musical hiatus after "Stars Dance", commenting "I've been saying that I worked really hard on this record and I feel like it might be my last one for a while [...] I definitely love acting and I love film and I don't feel like I've done enough of that."


title: Stars Dance

text: Following the album's announcement, numerous sources began claiming that the majority of the album was written about Gomez's relationship with Bieber. These rumors continued to rise in popularity following the release of "Come & Get It", and prompted Gomez to confirm that the song was not about Bieber. She later said, however, that the song "Love Will Remember" is about her relationship with Bieber. She revealed the song was "the most personal track on the record", and added "I think it's a sweet way of releasing it. It's not an aggressive approach to what people are probably expecting. I'm sure he'll love mikey too." The song "Birthday" was the first song recorded for the album. Gomez has listed "Forget Forever" as one of her favorite tracks on the album saying, "It's a really beautiful song. It has meaning behind it and it was a really special time in the studio. I got to be with the writers and just enjoy being in that moment. That was a really fun emotional song for me to sing but then I just kind of wanted to dance after I released it because it felt like I got to release this feeling that I had and it's a beautiful song." She later spoke of "Forget Forever" by stating "It's forgetting all the troubles, about the past, just enjoying everything else." Recording artist Jennifer Lopez wanted to record the song "Save the Day" for her 2013 album, but failed to get it from Gomez. "Come & Get It" was initially recorded by Barbadian recording artist Rihanna for her sixth studio album. However, she decided against using the song.


title: Stars Dance

text: Musically, "Stars Dance" is an album rooted stylistically in EDM and pop, this later specifically showcased as electropop while also containing strong elements of dubstep, techno, disco and worldbeat. Jocelyn Vena of MTV News described the music on "Stars Dance" as "dance-song-heavy" dubstep, that contains "wobbly synths, loopy vocals, fist-pumping beats and crunchy breakdowns". The album contains a highly diverse musical composition, highlighted by Caroline Sullivan of "The Guardian" as "darting efficiently from EDM to Bollywood". The majority of the album contains dubstep breakdowns, requisite stabs of synths, and according to Jim Farber of "New York Daily News", "features a frisson of sex previously absent from this good-girl singer's work." Jason Evigan said of the album's musical style, "She's got some really cool like ethnic influence, kind of tribally dance drums and stuff like that", stating that it was similar to music by Jennifer Lopez. August Brown of the "Los Angeles Times" called "Stars Dance" a "sassy" pop-EDM album, noting its composition included "oxygen-sucking" sub-bass, trap snares. Brown noted the influence of "Spring Breakers" on the album, saying that Gomez wasn't ready to leave the "neon-splattered emotional hellscape of "Spring Breakers" just yet". He further went on to say: ""Stars Dance" is exactly the kind of album one makes in 2013 if you want to keep the pop sugar of the Disney tween cabal but mix in some broken glass and a club bathroom nosebleed. Its productions are rooted in today's pop-EDM default mode, but as that stuff goes, 'Slow Down' is pretty capable, and the bhangra-appropriating 'Come & Get It' is guilelessly silly enough to work."


title: Stars Dance

text: The album's title track was described by Gomez as being "kind of sensual", while "Like a Champion" is said to feature Jamaican and reggae influences. When talking about the song "Save the Day", Gomez stated "Do you ever have moments where you don't ever want them to end? I've had those moments. It's about saving those moments and never wanting it to go away." The song "Write Your Name" is about the feeling of falling in love. Gomez described B.E.A.T. by saying "The song is cool and the lyrics are great, but it was more, 'I can't wait to perform this song onstage because I love the way I feel when I hear this song.' It's just dope." Gomez later stated that "Undercover" was her favorite song on the album, commenting "I've never had the confidence to do different licks and melody changes. I messed up a lot [while recording] that one." The album's lead single, "Come & Get It", has been described as featuring "Bollywood" influences, as well as tribal music.


title: Stars Dance

text: On-air personality Peter Dee noted that the song featured various electropop elements. "Slow Down" is noted as featuring various dubstep influences, while the song's lyrics speak of taking a relationship slowly rather than rushing into things. Gomez has listed Britney Spears and Janet Jackson as some of the album's biggest influences, and later cited Skrillex, Taylor Swift, and Christina Aguilera as major influences on the record. She listed dubstep producer Skrillex as an influence to the album, with him having previously worked on the soundtrack for Gomez's film "Spring Breakers". She later stated "Doing "Spring Breakers" was really fun, because Skrillex and Cliff Martinez did the soundtrack, and [Skrillex] kind of inspired me with a baby dubstep, because I have a few songs that have that." Jim Farber of "New York Daily News" noted influences of Spears, Jennifer Lopez, and Janet Jackson, although going on to say "Gomez's writer and producers have aped other stars' tricks gamely enough to create a pretty good time. It helps that Gomez boasts a far richer voice than her idols, Britney, J.Lo and Janet."


title: Stars Dance

text: The album opens with "Birthday", an electropunk song which contains sparse drums, trap snares and vocal chants and has been described by Julia Rubin of "Headlines and Global News" as a "candy-coated, clap-happy club anthem with plenty of girl power and sex appeal, much like a bubblegum version of Rihanna's 'Cockiness (Love It)'." "Slow Down" is a high-octane, uptempo dance-pop and EDM song, that has been described as "wobbly club thumper" by Robert Copsey of Digital Spy. It features a dubstep chorus, funk guitars, a four on the floor beat, and a spoken word outro. Lyrically, the song speaks of "slowing down the song" so the party doesn't end. "Stars Dance", the album's title track, is a "breathy and sultry" dubstep song, which contains an orchestral-dubstep beat. According to Rubin, "Gomez's soft voice takes center stage over sexy synth-beats, icy choruses and wallowing melodies." "Stars Dance" has also received comparisons to the works of Britney Spears. "Like a Champion" is a dancehall song, with influences of funk, reggae, and soca music, and features Gomez singing the song in a Bajan accent. The song has received heavy comparisons to the works of Rihanna, with critics noting the song's breezy and carefree vocal delivery. "Come & Get It" is a tribal electropop and popstep song, which contains a Bhangra beat, sonic drops, and influences of Indian music. Lyrically, the song is about female lover's attempts to rekindle a previously ended romance.


title: Stars Dance

text: "Forget Forever" is a dance-pop and synthpop song which contains an EDM beat and house music breakdowns. Lyrically, the song is about a breakup. Sam Lansky of Idolator said the song is an "electrifying dance-pop banger with a monolithically great chorus and a storming, anthemic beat, plus a big house break." Nate Jones of Popdust called the song "bright and expansive", going onto say that Gomez's vocals "fly over an EDM beat that can't help getting us ready for summer." "Save the Day" is a "thumping" Latin pop and house music song "B.E.A.T." is a "sexy" urban hip hop song who samples the chorus of Dev single "Bass Down Low", described by Jon O'Brien of Yahoo! Music as "minimal spoken word electro". Christina Drill of Popdust said the song was "infectious and definitely racier than usual for Selena (the chorus: 'It's a big bad world but I'm not ashamed / I like the lights in my hand and the beat in my face')". "Write Your Name" has been described as an "exotic" sounding electronic dance and house music song. The song contains elements of dubstep. O'Brien of Yahoo! Music said that: "Forget Forever' and 'Write Your Name' both manage to tiptoe into 'hands in the air' territory without succumbing to the usual Guetta-style bombast."


title: Stars Dance

text: Gomez promoted the album through a number of interviews and televised live performances. She appeared on "On Air with Ryan Seacrest" on April 8, 2013, to promote "Come & Get It". She gave her first televised performance of the song at the 2013 MTV Movie Awards on April 14, 2013. The appearance saw Gomez in an "all-red, 'earthy'" outfit, and received a generally positive reception. She appeared on "Dancing with the Stars" on April 16 to perform "Come & Get It". On April 18, she performed the song again on "The Ellen Degeneres Show". Gomez donned a bindi for these performances, and later came under fire by the Universal Society of Hinduism for her use of the religious symbol. Gomez appeared on "The Late Show with David Letterman" on April 25, where she performed "Come & Get It". On April 27, she performed the song yet again at the 2013 Radio Disney Music Awards. She did not perform the song again until May 19, when she performed at the 2013 Billboard Music Awards. Days later, she performed "Come & Get It" on "The Graham Norton Show".


title: Stars Dance

text: Gomez appeared at the MuchMusic Headquarters on May 30, where she performed "Slow Down" for the first time. On July 4, Gomez performed both "Come & Get It" and "Slow Down" at the Macy's 4th of July Celebration. Gomez appeared on "This Morning" in the United Kingdom to perform "Come & Get It". To coincide with the release of "Stars Dance", Gomez performed "Come & Get It", "Slow Down", and "Birthday" on "Good Morning America". In September, Gomez appeared on "Live! With Kelly and Michael" to perform "Birthday". Following the release of "Slow Down", Gomez appeared on "The View" to perform the song. She performed the song again on "The Late Show with David Letterman". She performed "Slow Down" on "The X Factor" in the United States. Gomez was selected to be the halftime performer during the Dallas Cowboys vs. Oakland Raiders game held on Thanksgiving. For the show, Gomez performed a medley of "Like a Champion", "Slow Down", and "Come & Get It". The tour was further promoted through her worldwide Stars Dance Tour (2013), which visited countries such as the United States and Asia. The tour became making over $36 million at the box office. Originally meant to feature dates in Australia and Japan, the tour was cancelled due to personal issues.


title: Stars Dance

text: "Come & Get It", was released as the lead single from the album on April 7, 2013. As of July 2013, the song became one of Gomez's most successful singles, peaking at number 6 of the US "Billboard" Hot 100 and the Canadian Hot 100 as well as being certified 3× Platinum by the RIAA. The music video premiered on MTV on May 7, 2013 and was directed by Anthony Mandler.


title: Stars Dance

text: "Slow Down", was released as a promomotinal single on June 3, 2013. via an instant digital download with the pre-order of the album on iTunes, and was co-produced by The Cataracs and David Kuncio. It was later released as the album's official second single on August 13, 2013. It peaked at number 27 on the "Billboard" Hot 100. The official video was uploaded to YouTube on July 19, 2013.


title: Stars Dance

text: "Stars Dance" received mixed reviews from music critics. Positive remarks went toward the overall production of the album, as well as its lyrics and Gomez's vocals. Mixed reviews went towards her inability to create her own musical identity; she was compared to singer Rihanna on several occasions. At Metacritic, which assigns a normalized rating out of 100 to reviews from critics, the album received an average score of 59, which indicates "mixed or average reviews". Tim Sendra from Allmusic awarded the album three-and-a-half stars out of five. As he pointed out "Slow Down", "Save the Day" and "Undercover" as highlights, he said "Selena's reliably strong vocals and the variety of sounds, it adds up to be another fine entry in her catalog and just another example of why Selena Gomez is one of the best pop stars making music in 2013." Stephen Unwin from Express.co.uk compared the new effort to Vanessa Hudgens and said "Both [Gomez and Hudgens] have now turned their attention to themes of a more adult nature, this new album of Selena's being one of them and she's just about pulled it off."


title: Stars Dance

text: Two "Guardian" reviews were issued. The first, observed by Kitty Empire, awarded the album three stars out of five. Conversely, the second "Guardian" review, observed by Hermione Hoby, was mixed and awarded it two stars out of five. She clarified that "if she really wants to be considered a grown-up pop star, Selena Gomez is going to have to find some better hit-makers." She compared the work, including "Like a Champion", to Rihanna. August Brown from the "Los Angeles Times" found that the album was "the kind of album one makes in 2013 if you want to keep the pop sugar of the Disney tween cabal but mix in some broken glass and a club bathroom nosebleed. Its productions are rooted in today's pop-EDM default mode [...]" Natalie Palmer from Entertainmentwise took perspective of other critics and commentators, saying the album should have been praised for "trying something new". She discussed "'Stars Dance' isn't what you would expect from a girl who was once a Disney princess. Many often go for the bubblegum pop or the angry rock chick but the 21-year-old has opted for an edgier genre and a unique sound."


title: Stars Dance

text: Matthew Horton from Virgin Media awarded the album two stars. He criticized her "lack of personality" in most songs and felt her vocal abilities on the album "doesn't help". He concluded saying "It's all too identikit, [and] could be anyone with a grasp of average dance-pop". Simon Price from "The Independent" awarded one star out of the five, criticizing the lack of effort saying that "Even given these facts, it's a pop record, which means one killer track would redeem everything. Predictably enough, it never comes." Ron Harris from "The Huffington Post" felt the album did not live up to expectations, citing Gomez as a "vibrant young woman of Disney pedigree [who] simply punched the clock and worked through an already cooked musical plot foisted upon her. Gomez might be an incredibly talented and interesting person with much to offer artistically, but we'll never find out at this rate." He also found the album to have less personality than her previous records with The Scene.


title: Stars Dance

text: "Stars Dance" debuted at number one on the "Billboard" 200, selling 97,000 copies in its first week of release. This made it Gomez's first album to reach the top of the chart, as well as her highest first sales week for an album, until surpassed by her second release "Revival", which sold 117,000 its first week. The album fell to number eight on the chart during its second week, selling an additional 31,000 copies. These sales were a 68% drop from the previous week's sales. In its third week, the album fell to number thirteen. The album continued to decline on the chart the following week, landing at number eighteen. In its fifth week, the album fell to number twenty-five. The album rose to number twenty-four on the chart following this. Following this rise, the album had a 23% increase in sales, selling 17,213 copies and reaching number twenty-one. Despite this, the album dropped to number thirty-three the following week, selling just over 7,000 copies. "Stars Dance" spent a total of twenty-five weeks on the "Billboard" 200, with its last appearance being on the week ending January 25, 2014.


title: Stars Dance

text: The album debuted at number one on the Canadian Albums Chart, with sales of 16,500 copies in its first week. It was her first number one in the country, and sold more than 5,000 in its first week than her previous effort. On August 27, 2013, the album received a Gold certification from the CRIA, for sales exceeding 40,000. "Stars Dance" had its first chart entry on the New Zealand Albums Chart, entering in the top five at number five itself. In the United Kingdom, the album debuted and peaked at number fourteen; it spent a total of four weeks on the chart. It peaked at number nine in Ireland, and spent a total of six weeks on the chart. The record peaked at number eight in Australia. The album was more successful in international territories. In Mexico, the album debuted at number one on the Mexican Albums Chart, and later went on to be certified Gold in the country for selling 30,000 copies. "Stars Dance" reached number two in Portugal, and was certified Platinum in the country. The album peaked at number eight in Brazil, and also received a Platinum certification in the country.


title: Lloyd Carr

text: Lloyd Henry Carr Jr. (born July 30, 1945) is a former American football player and coach. He served as the head football coach at the University of Michigan from 1995 through the 2007 season. Under Carr, the Michigan Wolverines compiled a record of 122–40 and won or shared five Big Ten Conference titles (1997, 1998, 2000, 2003, and 2004). Carr's undefeated 1997 team was declared the national champion by the Associated Press. His record coaching against top ten-ranked opponents was 20–8. Carr was inducted into the College Football Hall of Fame as a coach in 2011.


title: Lloyd Carr

text: Born in Hawkins County, Tennessee, Carr moved with his family to Riverview, Michigan when he was ten years old. Carr's picture is still on display in the Riverview Community High School gym lobby, where he quarterbacked the Pirates to a 1962 conference championship. A talented athlete, Carr played college football and college baseball for three seasons at the University of Missouri, and one season at Northern Michigan University (NMU) while earning his Master of Arts in education administration. He was a star quarterback at NMU and led the Wildcats to an undefeated season in 1967. Carr had originally played under Dan Devine at Missouri, following fellow Riverview graduates Woody Widenhofer and Bill McCartney. Carr transferred to Northern Michigan when the man who chiefly recruited him to Missouri, Rollie Dotsch, was named head coach.


title: Lloyd Carr

text: Carr received an honorary doctorate from the University of Michigan shortly after retiring. He also received an honorary degree from Albion College in 2008.


title: Lloyd Carr

text: Carr's coaching career began as an assistant at Nativity High School in Detroit, Michigan (1968–69) and at Belleville High School (1970–73). He became head coach at John Glenn High School in Westland, Michigan in 1973 and earned Regional Class A Coach of the Year honors in 1975 following an 8–1 season.


title: Lloyd Carr

text: Carr's collegiate coaching career started with two seasons as an assistant coach at Eastern Michigan University (1976–77) under head coach Ed Chlebek, followed by two seasons as an assistant coach at Illinois (1978–79) under head coach Gary Moeller. He was briefly the defensive backs coach at West Virginia in the summer of 1980 under head coach Don Nehlen, before departing for Michigan in the fall to work under head coach Bo Schembechler. At Michigan, he was reunited with Moeller, who was returning as an assistant coach. Carr was the team's defensive secondary coach for his first seven seasons and then defensive coordinator from 1987 until 1994. When Moeller succeeded Schembechler in 1990, he granted Carr the title of assistant head coach.


title: Lloyd Carr

text: Carr was named Michigan's interim head coach on May 13, 1995, following the resignation of Gary Moeller nine days earlier due to off-the-field trouble. Though athletic director Joe Roberson initially declared that Carr was not a candidate in the search for Moeller's permanent replacement, Roberson reversed his earlier position and formally named Carr as Michigan's 17th head coach on November 13, 1995, after Carr posted an 8–2 record through his first ten games. His very first game as head coach, at home against Virginia in late August 1995, was at the time Michigan's largest-ever comeback win, from 17–0 down. Carr has acknowledged that had Michigan lost that game, he might not have been given the permanent coaching job.


title: Lloyd Carr

text: In 1997, Carr's team defeated Ohio State, 20–14, making him the third Michigan coach to defeat Ohio State in each of his first three games, following Fielding H. Yost and Fritz Crisler. The Wolverines concluded that season with a win over Washington State in the Rose Bowl, after which Michigan was named national champions by the Associated Press. They were also awarded the MacArthur Trophy by the National Football Foundation and the Grantland Rice Award by the Football Writers Association of America, given annually to the nation's most outstanding football team. For his efforts Carr received the Paul "Bear" Bryant Award and the Walter Camp Coach of the Year Award.


title: Lloyd Carr

text: During the 2003 season, Carr joined Yost, Bennie Oosterbaan and Schembechler as the only coaches in school history to serve for more than 100 career games. The Wolverines won consecutive Big Ten Conference championships in 2003 and 2004, earning the school's 18th and 19th appearances in the Rose Bowl. In 2005, Carr recorded his 100th career victory against Iowa. He ranks third in school history in career victories, behind only Schembechler (194) and Yost (165).


title: Lloyd Carr

text: At a Sunday team meeting, on November 18, 2007, after the completion of the 2007 regular season, Carr told his team that he was retiring after Michigan's bowl game, and he made his official public announcement at a press conference on Monday, November 19, 2007. On the eve of his final game versus the defending national champion Florida in the Capital One Bowl, Carr was awarded the Bobby Dodd Coach of the Year Award.


title: Lloyd Carr

text: On January 1, 2008, then-unranked Michigan beat ninth-ranked Florida, 41–35, in the Capital One Bowl, allowing Carr to record a win in his final game as Michigan's head coach. The Gators were led by head coach Urban Meyer and Heisman Trophy winner Tim Tebow. In the celebration that followed, Carr was carried off the field by his Michigan players. In the final AP Poll released after the game, Michigan was ranked #18.


title: Lloyd Carr

text: Carr was among the winningest active football coaches in the NCAA Division I Football Bowl Subdivision (formerly Division I-A). His teams won five Big Ten titles and the 1997 national championship after beating Washington State in the Rose Bowl. In addition, Michigan was ranked in the Associated Press Top 25 for all but nine of its games under Carr (all occurring in 1998, 2005, and 2007). Only once during his tenure did Michigan conclude its season unranked (2005). Carr became the first Wolverine coach to win four straight bowl games, beating Auburn, 31–28, in the 2001 Citrus Bowl, after leading Michigan to victories in the 1998 Rose Bowl, 1999 Citrus Bowl, and the 2000 Orange Bowl.


title: Lloyd Carr

text: Carr was inducted into the Rose Bowl Hall of Fame on December 30, 2013, at the Pasadena Convention Center.


title: Lloyd Carr

text: Carr finished his Michigan head coaching tenure with 122 victories, the third-most in school history. He posted a winning record against two of Michigan's three top rivals, going 5–4 against Notre Dame and 10–3 against Michigan State, while faring 6-7 against Ohio State. Carr also recorded a 9–2 record against Penn State.


title: Lloyd Carr

text: While Carr never posted a losing season (either in Big Ten play or overall), the second half of his tenure was less successful than the first half in two respects: his performance against Ohio State and in bowl games. While he won five of his first six games against Ohio State, he lost six of his last seven. Likewise, after winning five of his first eight bowl games, he lost four consecutively before winning his career finale against Florida. In his final season, fifth-ranked Michigan lost its home opener to Football Championship Subdivision member Appalachian State in what is considered one of college football's largest upsets.


title: Lloyd Carr

text: Carr was inducted into the Northern Michigan University Sports Hall of Fame in 1996, and the University of Michigan Athletic Hall of Honor in 2015.


title: Lloyd Carr

text: In addition to his work on the football field, Carr is involved with the University and the community. He has been active in support of women’s athletics, endowing a women’s sports scholarship that is presented annually to a female student-athlete at UM.


title: Lloyd Carr

text: Carr has served as the chairman of the WJR/Special Olympics Golf Outing. He and his wife, Laurie, were also co-chairs of the 2002 Washtenaw County United Way Campaign. Carr serves on the NCAA Rules Committee and is a member of the American Board of Trustees.


title: Lloyd Carr

text: Since 2004, an annual summer "Carr's Wash for Kids" has been held with the proceeds benefiting C.S. Mott Children's Hospital. Coach Carr has probably been the most visible celebrity raising money for the new Mott hospital building, discussing it often on Michigan Replay and sporting a bracelet showing his support for the hospital for several years.


title: Lloyd Carr

text: Carr also hosts the Hall-of-Fame Football Camp in his hometown of Riverview, Michigan. In 2008 the city renamed the former Pennsalt Park "Lloyd Carr Park" in his honor.


title: Lloyd Carr

text: He was an assistant athletic director at Michigan through 2010 after he retired as head football coach.


title: Lloyd Carr

text: Carr is also cohost, with WXYZ-TV sports director Tom Leyden, of the Detroit ABC affiliate's college football pregame show, "Big Ten Ticket," which focuses primarily on the Wolverines, the Michigan State Spartans and other Big Ten football teams.


title: Lloyd Carr

text: Lloyd Carr's first wife, Karen, worked at Pioneer High School in Ann Arbor, Michigan. Carr married his second wife, Laurie, in 1994, one year before he became the Michigan head coach. It was the second marriage for both of them. The couple lived in Ann Arbor until 2019, when they moved to South Carolina. During their short time there, Laurie was diagnosed with cancer.


title: Lloyd Carr

text: They returned to Ann Arbor in 2020, where she received treatment at the University of Michigan Hospital. Laurie Carr died of cancer at the age of 70.


title: Syam Pushkaran

text: Syam Pushkaran (born 6 September 1984) is an Indian scriptwriter who works in Malayalam cinema. He is known for his collaboration with directors Aashiq Abu and Dileesh Pothan. He made his debut with "Salt N' Pepper" (2011), co-written with Dileesh Nair. He has written screenplays for popular films such as "22 Female Kottayam" (2012), "Da Thadiya" (2012), "Idukki Gold" (2013), "Iyobinte Pusthakam" (2014), "Rani Padmini" (2015), "Maheshinte Prathikaaram" (2016), "Mayaanadhi" (2017), and "Kumbalangi Nights" (2019) and "Joji" (2021) . He also served as co-director and wrote the dialogues for "Thondimuthalum Driksakshiyum" (2017). Pushkaran won the National Film Award for Best Screenplay for "Maheshinte Prathikaram" at the 64th National Film Awards (2016).


title: Syam Pushkaran

text: Syam Pushkaran penned the script for "Salt N' Pepper" along with Dileesh Nair. In 2012, he wrote the script for "Da Thadiya" (2012); another film directed by Aashiq Abu, along with Dileesh Nair and Abhilash S Kumar. He wrote "Sethulakshmi" (Segment) in the anthology film "5 Sundarikal". He was also the writer for another Aashiq Abu film "Idukki Gold" (2012).


title: Terri Sewell

text: Terrycina Andrea "Terri" Sewell (; born January 1, 1965) is an American lawyer and politician. A member of the Democratic Party, she has served since 2011 as the U.S. representative for , which includes most of the Black Belt, as well as most of the predominantly black portions of Birmingham, Tuscaloosa, and Montgomery.


title: Terri Sewell

text: A native of Huntsville, Sewell studied at Princeton University, Harvard Law School, and St Hilda's College at the University of Oxford. Before entering politics, she was a securities lawyer for Davis Polk & Wardwell and a public finance lawyer for Maynard, Cooper & Gale, where she was the first Black woman to make partner. She is the first African-American woman elected to Congress from Alabama and, along with Republican Martha Roby, was one of the first women elected to Congress from Alabama in a regular election. Sewell has been the only Democrat in Alabama's House delegation during her entire term in office, and apart from Doug Jones's tenure as a U.S. senator from 2018 to 2021, she has also been the state's only congressional Democrat.


title: Terri Sewell

text: Terri Sewell was born in Huntsville, Alabama, to Andrew A. Sewell, a former high school basketball coach, and Nancy Gardner Sewell, a retired high school librarian and former Selma city council member. Her mother was the first Black woman elected to Selma's city council.


title: Terri Sewell

text: As a child, Sewell wanted to be a star on Broadway. Because her mother had hoped for her to become a lawyer, Sewell joined the debate team in high school. She was the first Black valedictorian of Selma High School.


title: Terri Sewell

text: After graduating from high school, Sewell went to Princeton University. She was the first Selma High School graduate to attend an Ivy League school. She was recruited to attend Princeton by Julian L. McPhillips, who read about her in the local Selma newspaper. At Princeton, she befriended Michelle Obama, who served as what Sewell called her "big sister" on campus. Sewell completed a 158-page long senior thesis, "Black Women in Politics: Our Time Has Come". During her time at Princeton, she interned with Richard Shelby (then a Democrat) and Howell Heflin.


title: Terri Sewell

text: After graduating from Princeton in 1986, Sewell attended Oxford University where she was a Marshall Scholar. It was there that she befriended Susan Rice. Her master's thesis, on the election of the first black members of the British parliament, was later published as a book, "Black Tribunes: Race and Representation in British Politics" (1993). Sewell graduated from Oxford with a degree in political science in 1988. She attended Harvard Law School for her J.D. degree, which she completed in 1992. There she overlapped with and was friends with Barack Obama, who became a lifelong friend and influenced Sewell's decision to enter politics.


title: Terri Sewell

text: After graduation, Sewell served as a judicial law clerk in Birmingham, Alabama, to Chief Judge U. W. Clemon, In New York, she worked at Davis Polk & Wardwell, alongside Kirsten Gillibrand, starting in 1994.


title: Terri Sewell

text: Sewell returned to Alabama in 2004 due to her father's health problems. She worked for another law firm, Maynard, Cooper & Gale PC, where she was the first black woman partner at the firm. She was a public finance lawyer.


title: Terri Sewell

text: In 2007, Sewell was at Brown Chapel A.M.E. Church, where she is a member, when then Senator Barack Obama spoke during the 2008 United States presidential election. Sewell credits Obama's speech (in which he asked "[t]he questions that I have today is, what’s called of us in this Joshua generation? What do we do in order to fulfill that legacy, to fulfill the obligations and the debt that we owe to those who allowed us to be here today?") as the catalyst for her serving in politics. Weeks after his speech, Gillibrand called Sewell, recruiting Sewell to run for office.


title: Terri Sewell

text: After four-term Democratic incumbent Artur Davis gave up the seat to run for governor, Sewell entered the Democratic primary—the real contest in this majority Democratic, majority-black district. She finished first in the four-way primary with 36.8% of the vote. In the runoff, she defeated Jefferson County commissioner Sheila Smoot with 55% of the vote.


title: Terri Sewell

text: Sewell was the only candidate to file for the Democratic nomination in 2012, and defeated Chamberlain again in the general election. She has not had a Republican opponent since.


title: Terri Sewell

text: Sewell was challenged in the Democratic primary by Tamara Harris Johnson, a former Birmingham City Attorney. She defeated Johnson with 83.9% of the vote, effectively clinching a third term.