title: Divorce in the United States

text: In 2002 (latest survey data as of 2012), 29% of first marriages among women aged 15–44 were disrupted (ended in separation, divorce or annulment) within 10 years. Beyond the 10-year window, population survey data is lacking, but forecasts and estimates provide some understanding. It is commonly claimed that half of all marriages in the United States eventually end in divorce, an estimate possibly based on the fact that in any given year, the number of marriages is about twice the number of divorces. Amato outlined in his study on divorce that in the late of 1990s, about 43% to 46% of marriages were predicted to end in dissolution. According to his research, only a small percentage of marriages end in permanent separation rather than divorce. Using 1995 data, National Survey of Family Growth forecast in 2002 a 43% chance that first marriages among women aged 15–44 would be disrupted within 15 years. More recently, having spoken with academics and National Survey of Family Growth representatives, PolitiFact.com estimated in 2012 that the lifelong probability of a marriage ending in divorce is 40%–50%.


title: Divorce in the United States

text: A 2008 study by Jenifer L. Bratter and Rosalind B. King conducted on behalf of the Education Resources Information Center examined whether crossing racial boundaries increased the risk of divorce. Using the 2002 National Survey of Family Growth (Cycle VI), the likelihood of divorce for interracial couples to that of same-race couples was compared. Comparisons across marriage cohorts revealed that, overall, interracial couples have higher rates of divorce, particularly for those that married during the late 1980s. The authors found that gender plays a significant role in interracial divorce dynamics: According to the adjusted models predicting divorce as of the 10th year of marriage, interracial marriages that are the most vulnerable involve White females and non-White males (with the exception of White females/Hispanic White males) relative to White/White couples. White wife/Black husband marriages are twice as likely to divorce by the 10th year of marriage compared to White/White couples. Conversely, White men/non-White women couples show either very little or no differences in divorce rates. Asian wife/White husband marriages show only 4% greater likelihood of divorce by the 10th year of marriage than White/White couples. In the case of Black wife/White husband marriages, divorce by the 10th year of marriage is 44% less likely than among White/White unions. Intermarriages that did not cross a racial barrier, which was the case for White/Hispanic White couples, showed statistically similar likelihoods of divorcing as White/White marriages.


title: Divorce in the United States

text: A 2011 study at the University of Iowa found that a woman's loss of virginity before age 18 was correlated with a greater number of occurrences of divorce within the first 10 years of marriage.


title: Divorce in the United States

text: A 2012 study cited by Pew Research Center found that an estimated 78% of women with bachelor's degrees, and 65% of men with bachelor's degrees who married between 2006-2010 can expect their marriages to last at least two decades. Women with a high school degree or less, on the other hand, face a meager 40% probability of their marriages surviving the same period.


title: Divorce in the United States

text: Studies have shown that men who "earn high incomes have a decreased probability of getting a divorce". However, higher income makes a woman's chances of marriage less likely and it has no connection to possible divorces. In 1995, divorce rates have gone down due to education rates going up. This is because educated individuals make higher incomes in most cases, which result in less financial stress when couples set down to get married. Lower income couples value and respect marriage just as much as higher income couples, however lower income couples are more likely to get a divorce because of financial strains on their marriage. Having low income is not the only factor that can potentially lead to divorce. Religious beliefs, morals and compatibility all come into play when it comes to long term marital statuses.


title: Monstress (comics)

text: Monstress is an ongoing epic fantasy comics series written by Marjorie Liu and drawn by Sana Takeda, published since November 2015 by the American publisher Image Comics.


title: Monstress (comics)

text: The comic was described as "ambitious as George R. R. Martin or J. R. R. Tolkien" for its high fantasy concepts and heavy world-building. The series has earned many awards, including five Eisner Awards, four Hugo Awards, and the Harvey Awards Book of the Year in 2018.


title: Monstress (comics)

text: The series is set in a matriarchal world inspired by early 20th-century Asia, and tells the story of Maika Halfwolf, a teenage girl who shares a mysterious psychic link with a powerful monster. The background to the story is a war between the Arcanics, magical creatures who sometimes can pass for human, and the Cumaea, an order of sorceresses who consume Arcanics to fuel their power. Maika is an Arcanic who looks human, and who is set on learning about and avenging her dead mother. Maika's left arm has been severed and a demon, Zinn, occasionally emerges from its stub. The demon, who takes over her body and mind, is a source of great power, but challenging for Maika to understand and control.


title: Monstress (comics)

text: Liu first introduced the story to Takeda in 2013. The two started working together a year later, and the first issue was published in November 2015; the trade paperback first volume in July 2016, the second in July 2017, the third in September 2018, and the fourth in September 2019.


title: Monstress (comics)

text: Liu has said that she struggled with depression before writing "Monstress". She had taken a hiatus from writing before returning to the industry with Image Comics.


title: Monstress (comics)

text: She has described the comic as "a huge epic fantasy." As such, the story required world-building. The first issue was triple-sized (70 pages) in order to properly introduce the various characters and factions.


title: Monstress (comics)

text: Liu and Takeda first worked together on Liu's run of "X-23" for Marvel. Liu would later describe her work with Takeda as "a wonderful process; it felt like she was reading my mind." A native of Japan, Takeda's art takes inspiration from manga.


title: Monstress (comics)

text: According to Liu, among the series's themes are the inner strength required to withstand constant dehumanization, as well as the power of friendship among women. Race also plays a large role in the series. In the series the Arcanics, a race of magical creatures, have been at war with humans for decades, and they are now at a stalemate; however the humans are taking Arcanics and selling them as slaves to other humans.


title: Monstress (comics)

text: At the review aggregator website Comic Book Roundup, the series received an average score of 9.0 out of 10 based on 210 reviews. The first, triple-sized issue of "Monstress" received critical praise. Writing for "Kotaku", Evan Narcisse called it "a gorgeous comic book about racism, war and slavery", noting the intricate detail of Takeda's manga-inspired art. Reviewing the book for The A.V. Club, Caitlin Rosberg described the leading characters, all women, as "deeply flawed and showing layers of nuanced characterization that you don’t often see in comic books", and appreciated the series's "sense of in-between-ness—(...) neither traditionally Western nor manga, paced like a novel but drawn like a comic".


title: Monstress (comics)

text: The comic was described by the "Los Angeles Review of Books" as "ambitious as George R. R. Martin or J. R. R. Tolkien" for its high fantasy concepts and heavy world-building.


title: Kafkaesque (Breaking Bad)

text: "Kafkaesque" is the ninth episode of the third season of the American television drama series "Breaking Bad", and the 29th overall episode of the series. Written by Peter Gould and George Mastras and directed by Michael Slovis, it aired on AMC in the United States and Canada on May 16, 2010.


title: Kafkaesque (Breaking Bad)

text: Walt and Jesse are now in full production in the new lab and are easily producing 200 pounds of meth each week, as per their quota. Jesse finds that they're even overproducing, and is resentful when Walt refuses to allow him to remove the extra pounds from the shipment, particularly since he has calculated that Gus will net at least $96 million by the end of their three-month contract, while the two of them are receiving only a combined payment of $3 million despite doing all of the work. Walt, however, is unconcerned by this and simply brushes off Jesse's complaints as him being unappreciative.


title: Kafkaesque (Breaking Bad)

text: Hank is still recovering in the hospital, and Steve Gomez shows up to tell him that the blue meth has made a comeback in several states, thus confirming Hank's suspicions that Heisenberg has not yet been captured. Hank is nevertheless dissatisfied, and reveals that the only reason he's still alive is that he got a warning call a minute before his would-be assassins attacked him. Instantly suspicious of Walt, Skyler asks him if they, and he, are safe. Walt assures her that they are.


title: Kafkaesque (Breaking Bad)

text: Though Hank is now conscious and functioning, his legs are mostly paralyzed, and the prognosis is that he may not be able to walk again, even with months of physical therapy. His doctor tells Marie that the therapy he needs is unlikely to fall within their insurance plan, and they would most likely end up having to pay out of pocket, which could end up costing them hundreds of thousands of dollars.


title: Kafkaesque (Breaking Bad)

text: Walt meets with Gus at his distribution center to "clear the air." Hank's revelation that he received a phone call before the attack has led Walt to the conclusion that Gus was the one who diverted the Cartel assassins away from him and directed them towards Hank instead so that an attempted hit on a DEA agent would get the American and Mexican governments to crack down hard on the Cartel and close off the distribution of meth from across the border, thereby granting Gus complete control over the market from within the States. Despite having put Hank's life in jeopardy, Walt nevertheless expresses gratitude towards Gus for saving his own life and commends him for his strategy, saying that he'd have done the same in Gus' position. He also brings up the issue of not knowing what will happen when his three-month contract has expired. Gus promises him security for his family and also brings up the possibility of extending their contract to a year, which would increase his earnings to $15 million. Walt considers it. Walt, seemingly disoriented due to his loyalty to Gus and his family, loses control of his vehicle and nearly crashes on his way back.


title: Kafkaesque (Breaking Bad)

text: Saul encourages Jesse to purchase a nail salon which he can use to launder the money he makes from the meth business. Jesse flatly refuses, especially since doing so would require him to report his income to the IRS and thereby pay taxes. Tired of having to adhere to the quotas and responsibilities within his new job, and wanting a larger cut of the profits, Jesse decides to steal the leftover pounds of meth that he and Walt produce in the lab to sell separately to the members of his rehab support group. He enlists Badger and Skinny Pete in this endeavor, and during a meeting, they pose as two new members and initiate a conversation within the group where they mention the blue meth, piquing everyone's interest in it.


title: Kafkaesque (Breaking Bad)

text: Marie becomes increasingly frustrated about being unable to find a means to pay for Hank's physical therapy, as their insurance will not cover the therapists. Skyler finally offers to pay their bills directly using Walt's drug money. She fabricates a story of Walt being a compulsive blackjack gambler, saying that this has been the cause of their recent marital problems. She explains that Walt took to gambling to pay his medical bills after his cancer diagnosis, and after some losses, his winnings have netted them an amount with seven figures. Marie is left shocked and appalled but agrees to take their money to pay for Hank's therapy.


title: Kafkaesque (Breaking Bad)

text: Walt expresses surprise in Skyler's ability to come up with such an elaborate story on the fly. Skyler tells Walt that she believes he is somehow responsible for the attack on Hank, and that she is "not forgetting that."


title: Kafkaesque (Breaking Bad)

text: The episode was written by Peter Gould and George Mastras, and directed by Michael Slovis; it aired on AMC in the United States and Canada on May 16, 2010. The title "Kafkaesque" is a word that is brought up in the episode in the context of relating to the nightmarish fictional worlds of Franz Kafka.


title: Kafkaesque (Breaking Bad)

text: The episode's original broadcast was viewed by 1.61 million people, which was a decrease from the 1.78 million of the previous episode, "I See You".


title: Kafkaesque (Breaking Bad)

text: The episode received strong reviews. Seth Amitin of IGN gave the episode a 9.1/10 rating, stating that the episode "reminded us that the process of Breaking Bad's story is as much fun to watch as the product." Donna Bowman of the A.V. Club gave the episode an A rating noting that a majority of the supporting characters were taking action.


title: ORCID

text: The ORCID (; Open Researcher and Contributor ID) is a nonproprietary alphanumeric code to uniquely identify authors and contributors of scholarly communication as well as ORCID's website and services to look up authors and their bibliographic output (and other user-supplied pieces of information).


title: ORCID

text: This addresses the problem that a particular author's contributions to the scientific literature or publications can be hard to recognize as most personal names are not unique, they can change (such as with marriage), have cultural differences in name order, contain inconsistent use of first-name abbreviations and employ different writing systems. It provides a persistent identity for humans, similar to tax ID numbers, that are created for content-related entities on digital networks by digital object identifiers (DOIs).


title: ORCID

text: ORCID aims to provide a persistent code for humans, to address the problem that a particular author's contributions to scholarly communication can be hard to recognize as most personal names are not unique and thus multiple persons of the same name could contribute to the same scholarly field, even from the same institutional department. Further, names can change (such as with marriage); there are cultural differences in name ordering conventions; journals make inconsistent use of first-name abbreviations, name suffixes, and middle initials; and employ different writing systems.


title: ORCID

text: The ORCID organization, ORCID Inc., offers registered users to maintain "a constantly updated ‘digital curriculum vitae’ providing a picture of his or her contributions to science going far beyond the simple publication list," hosted by ORCID, edited by the user.


title: ORCID

text: ORCID was first announced in 2009 as a collaborative effort by publishers of scholarly research "to resolve the author name ambiguity problem in scholarly communication". The "Open Researcher Contributor Identification Initiative" - hence the name ORCID - was created temporarily prior to incorporation.


title: ORCID

text: A prototype was developed on software adapted from that used by Thomson Reuters for its ResearcherID system. ORCID, Inc. was incorporated as an independent nonprofit organization in August 2010 in Delaware, United States of America, with an international board of directors. Its executive Director, Chris Shillum, was appointed in September 2020; he succeeded the founding ED, Laurel Haak, who was appointed in April 2012. From 2016, the board is chaired by Veronique Kiermer of PLOS (the former chair was Ed Pentz of Crossref). ORCID is freely usable and interoperable with other ID systems. On 16 October 2012, ORCID launched its registry services and started issuing user identifiers.


title: ORCID

text: To encourage others to join them in supporting the adoption of ORCID, an open letter dated 1 January 2016 was crafted with "publishers that signed this open letter committed to requiring ORCID iDs following specific implementation standards."


title: ORCID

text: Formally, ORCID IDs are specified as URIs, for example, the ORCID ID for Josiah S. Carberry (a fictitious professor whose iD is used in examples and testing) is <nowiki>https://orcid.org/0000-0002-1825-0097</nowiki> (both https:// and http:// forms are supported; the former became canonical in November 2017). However, some publishers use the short form, e.g. "ORCID: 0000-0002-1825-0097" (as a URN).


title: ORCID

text: ORCID IDs are a subset of the International Standard Name Identifier (ISNI), under the auspices of the International Organization for Standardization (as ISO 27729), and the two organizations are cooperating. ISNI will uniquely identify contributors to books, television programmes, and newspapers, and has reserved a block of identifiers for use by ORCID, in the range 0000-0001-5000-0007 to 0000-0003-5000-0001. It is therefore possible for a person to legitimately have both an ISNI and an ORCID ID – effectively, two ISNIs.


title: ORCID

text: Both ORCID and ISNI use 16-character identifiers, using the digits 0–9, and separated into groups of four by hyphens. The final character, which may also be a letter "X" representing the value "10" (for example, Stephen Hawking's ORCID ID is <nowiki>https://orcid.org/0000-0002-9079-593X</nowiki>), is a MOD 11-2 check digit conforming to the ISO/IEC 7064:2003 standard.


title: ORCID

text: By the end of 2013 ORCID had 111 member organizations and over 460,000 registrants. On 15 November 2014, ORCID announced the one-millionth registration, and on 20 November 2020 the ten-millionth registration. , ORCID reported 1258 member organizations and 14,727,479 live accounts. The organizational members include many research institutions such as Caltech and Cornell University, and publishers such as Elsevier, Springer, Wiley and Nature Publishing Group. There are also commercial companies including Thomson Reuters, academic societies and funding bodies.


title: ORCID

text: Grant-making bodies such as the Wellcome Trust (a charitable foundation) have also begun to mandate that applicants for funding provide an ORCID identifier.


title: ORCID

text: In several countries, consortia, including government bodies as partners, are operating at a national level to implement ORCID. For example, in Italy, seventy universities and four research centres are collaborating under the auspices of the (CRUI) and the National Agency for the Evaluation of the University and Research Institutes (ANVUR), in a project implemented by Cineca, a not-for-profit consortium representing the universities, research institutions, and the Ministry of Education. In Australia, the government's National Health and Medical Research Council (NHMRC) and Australian Research Council (ARC) "encourage all researchers applying for funding to have an ORCID identifier". The French scientific article repository HAL is also inviting its users to enter their ORCID ID.


title: ORCID

text: As of 2014 in addition to members and sponsors, journals, publishers, and other services have or had included ORCID in their workflows or databases. 2014 to 2016 some online services created tools for exporting data to, or importing data from, ORCID.


title: ORCID

text: In October 2015, DataCite, Crossref and ORCID announced that the former organisations would update ORCID records, "when an ORCID identifier is found in newly registered DOI names".


title: ORCID

text: Some ORCID data may also be retrieved as RDF/XML, RDF Turtle, XML or JSON. ORCID uses GitHub as its code repository.


title: Mid front unrounded vowel

text: The mid front unrounded vowel is a type of vowel sound that is used in some spoken languages. There is no dedicated symbol in the International Phonetic Alphabet that represents the exact mid front unrounded vowel between close-mid and open-mid , but it is normally written . If precision is required, diacritics may be used, such as or (the former, indicating lowering, being more common). In Sinology and Koreanology, is sometimes used, for example in the Zhengzhang Shangfang reconstructions.


title: Mid front unrounded vowel

text: For many of the languages that have only one phonemic front unrounded vowel in the mid-vowel area (neither close nor open), the vowel is pronounced as a true mid vowel and is phonetically distinct from either a close-mid or open-mid vowel. Examples are Basque, Spanish, Romanian, Japanese, Turkish, Finnish, Greek, Hejazi Arabic, Serbo-Croatian and Korean (Seoul dialect). A number of dialects of English also have such a mid front vowel. However, there is no general predisposition. Igbo and Egyptian Arabic, for example, have a close-mid , and Bulgarian has an open-mid , but none of these languages have another phonemic mid front vowel.


title: Mid front unrounded vowel

text: Kensiu, spoken in Malaysia and Thailand, is claimed to be unique in having true-mid vowels that are phonemically distinct from both close-mid and open-mid vowels, without differences in other parameters such as backness or roundedness.


title: The Ransom of Red Chief

text: "The Ransom of Red Chief" is a short story by O. Henry first published in the July 6, 1907, issue of "The Saturday Evening Post". It follows two men who kidnap and demand a ransom for a wealthy Alabamian's son. Eventually, the men are driven crazy by the boy's spoiled and hyperactive behavior, and they pay the boy's father to take him back.


title: The Ransom of Red Chief

text: The story and its main idea have become a part of popular culture, with many children's television programs depicting versions of the story as one of their episodes. It has also been often used as a classic example of two ultimate comic ironiesa supposed "hostage" actually liking his abductors and enjoying being captured, and his captors getting their just deserts by having the tables turned on them, and being compelled to pay to be rid of him.


title: The Ransom of Red Chief

text: Two small-time criminals, Bill and Sam Driskoll, kidnap a kid named Johnny, the 10-year-old red-haired son of Ebenezer Dorset, an important citizen, and hold him for ransom. But the moment that they arrive at their hideout with the boy, the plan begins to unravel, as the boy actually starts to enjoy his kidnappers. Calling himself "Red Chief", the boy proceeds to drive his captors to distraction with his unrelenting chatter, malicious pranks, and demands that they play wearying games with him, such as riding 90 miles on Bill's back pretending to be an Indian scout. The criminals write a ransom letter to the boy's father, lowering the ransom from $2,000 to $1,500, believing that the father won't pay much money for his return. The father, who knows his son well and realizes how intolerable he will be to his captors and how eager they will soon be to rid themselves of the delinquent child, rejects their demand and offers to take the boy off their hands if they pay him $250 (). The men hand over the money and the howling boywho had actually been happier being away from his strict fatherand flee while the father restrains his son from following them. The ironic situation lies in the fact that the kidnappers have to pay the father to get his son back (or in truth, to actually agree to even accept him back) instead of the father's paying the kidnappers for the return of his son.


title: The Ransom of Red Chief

text: "The Ransom of Red Chief" has been adapted many times, directly and indirectly. Direct adaptations include the 1952 movie "The Ransom of Red Chief" starring Fred Allen and Oscar Levant (part of "O. Henry's Full House"), the segment "The Ransom of Red Chief" in the 1962 Soviet black-and-white comedy film "Strictly Business" by Leonid Gaidai, the 1977 "The Ransom of Red Chief" episode of the "ABC Weekend Special" series, the 1984 opera "Ransom of Red Chief" (libretto, music, and orchestration by Brad Liebl), and the 1998 television film "The Ransom of Red Chief"; there is also "Le Grand Chef", a French direct adaptation made in 1959 by Henri Verneuil, with Fernandel and Gino Cervi.


title: The Ransom of Red Chief

text: Indirect adaptions include the 1929 Japanese silent comedy "Straightforward Boy" by Yasujirō Ozu, the British film "Don't Ever Leave Me" (1949) played with a girl instead, with Petula Clark in the role, the episode "The Ransom of Red Chimp" of the 1990s Disney animated series "TaleSpin", the 1985 Soviet animated short , the films "Too Many Crooks" (1959) and "Ruthless People" (1986) (which take the story a step further), and "The Ransom of Rusty Rex", a segment of the 2015 anthology film "Tales of Halloween". A 2015 episode of the radio comedy anthology "Stanley Baxter's Playhouse", titled "Two Desperate Men" after how the kidnappers sign their note, relocated the story to rural Scotland in the 1930s.


title: Dead Space: Downfall

text: Dead Space: Downfall is a 2008 American adult animated psychological science fiction horror film directed by Chuck Patton, written by Justin Gray and Jimmy Palmiotti and developed by Film Roman under the supervision of Electronic Arts; Electronic Arts also published the 2008 survival horror video game "Dead Space" upon which the film is based. It first released direct-to-video in October, before seeing a television showing the following month on Starz Encore.


title: Dead Space: Downfall

text: "Downfall" is a prequel to "Dead Space", taking place after the limited comic series. Set aboard the planet mining ship USG "Ishimura", it details the events following the transportation of an artifact called the Marker from the planet Aegis VII, leading to the deaths of nearly everyone on board at the hands of reanimated mutated corpses dubbed "Necromorphs".


title: Dead Space: Downfall

text: The film was produced as part of Electronic Art's multimedia expansion of the plot, referred to by staff as "IP cubed". Patton was given relative freedom with the narrative and visuals, wanting to create the goriest feature Film Roman had produced. Electronic Arts provided art assets to Film Roman, allowing an accurate representation of the game's universe. The DVD release earned over $1 million in sales. Reviews were mixed, with praise for its voice acting, writing and animation, but criticism for its short length and emphasis on graphic violence over horror and suspense. Electronic Arts and Film Roman would collaborate again on 2011's "", a prequel to "Dead Space 2".


title: Dead Space: Downfall

text: "Dead Space: Downfall" takes place in the year 2508, centuries after humanity narrowly avoided extinction due to resource depletion by "cracking" planets to extract their resources in a three-year process. The story begins during the second year of an illegal mining operation on the planet Aegis VII funded by the Church of Unitology. Colony geologist Jennifer Barrows discovers a monolith-like artifact identified as a Marker, an object sacred to the Unitologists' beliefs. In reality, the Marker is a human copy of an alien object that begins to have a fatal influence over the colony, eventually causing an outbreak of reanimated mutated corpses referred to outside the movie as "Necromorphs". "Downfall" details how the Marker's infection reached and overcame the "Ishimura", told through the eyes of a number of Aegis VII miners and "Ishimura" crew members.


title: Dead Space: Downfall

text: The film opens with a video message from security chief Alissa Vincent, saying the "Ishimura" is lost and both the ship and the Marker that caused its fall must be destroyed. The story goes back to Barrows's discovery of the Marker in an area showing signs of ancient human mining. By the time the "Ishimura" arrives, the Aegis VII colony has undergone a catastrophic breakdown, with dozens killed and many reports of violent behavior and psychosis. The Marker is brought on board on the authority of Captain Mathius and Dr Kyne, prompting many Unitologist crew to worship it, among them engineer Samuel Irons. Vincent grows increasingly angry about having the Marker on board, believing it was responsible for the colony's collapse.


title: Dead Space: Downfall

text: After planetcrack, all contact is lost with the colony, which is completely overrun by Necromorphs. The deranged Jennifer kills herself, and when her husband Colin escapes with her body to the "Ishimura", she is infected by a stowaway Necromorph Infector and then kills Colin, before crash landing and escaping onto the ship. Kyne, already questioning their real mission to bring the Marker back to the Church, briefly sees the converted Barrows. Vincent's six-person team—herself, Ramirez, Hanson, Shen, Pendleton and Dobbs, investigate a disturbance, finding growing numbers of Necromorphs killing the crew one by one and overtaking the ship. During their encounters, Dobbs and Pendleton are killed, and Hanson is only saved by Irons' intervention. Meanwhile Mathius grows increasingly paranoid and delusional and lashes out at Kyne, forcing the bridge crew to restrain him. Kyne attempts to sedate him but Mathius attacks Kyne, causing him to accidentally stab Mathius in the eye, killing him. Kyne then flees as all escape pods and shuttles are launched empty, trapping everyone on board.


title: Dead Space: Downfall

text: En route to the bridge, Hanson goes insane, kills Shen and attacks Vincent before Ramirez fatally shoots him. In an effort to save survivors, Irons sacrifices himself to hold off the Necromorphs. Vincent and Ramirez then go to stop Kyne deactivating the "Ishimura"s engines and crashing them into Aegis VII. Ramirez dies during the trek, and Kyne reveals the Marker's influence to Vincent before escaping again. With the "Ishimura" stable but in a decaying orbit, Vincent reaches the Marker, which the Necromorphs cannot approach as it kept them sealed on Aegis VII. Exhausted and beginning to suffer from hallucinations, Vincent makes her video message, then attempts to escape on a remaining shuttle. Trapped by Necromorphs, she opens the bay doors, sending herself and nearby Necromorphs into space after launching a distress beacon. The film ends with the UGS "Kellion" responding to the distress call.


title: Dead Space: Downfall

text: The survival horror video game "Dead Space" began production in 2006 at EA Redwood Shores, based on creator Glen Schofield's wish to create the most frightening horror game possible. Alongside the game, the universe of "Dead Space" was expanded into a multimedia narrative described by its publisher Electronic Arts as "IP cubed"; it extended across the game, the limited comic series "Dead Space", and the animated film "Downfall". The concept for a film was around from the beginning of the game's production. While each part of the media expansion was handled by different people, the game's development team acted as overall controller, ensuring continuity between each property.


title: Dead Space: Downfall

text: The film was produced by Film Roman, the animation unit of Starz Media known for their work on "The Simpsons" and "King of the Hill". "Downfall" was directed by Chuck Patton, known for his work on "Todd McFarlane's Spawn". From the outset, Patton wanted "Downfall" to be the goriest animated feature the studio had done up to this point. Producer Joe Goyette described this element as "creating another 400 ways to kill people". The team opted for traditional 2D animation both for time and budgetary reasons, and to craft more sympathetic characters. Due to the simultaneous production of the game and movie, there was a lot of collaboration between the two teams. The ""Downfall"" subtitle was a reference to the film's content. While the different media projects shared a dark and grim aesthetic, Electronic Arts did not try to keep the art design consistent between them.


title: Dead Space: Downfall

text: While the mythology and broad strokes of plot were in place, the plot details of "Downfall" were left up to Film Roman as long as they did not deviate from the established lore and timeline. So the film would be accurate to the game, the production team were given 3D assets from the game by Electronic Arts, along with reference material for the atmosphere and Necromorph transformations. The team got further reference material for themselves to portray the injuries and transformations. The film was co-written by Justin Gray and Jimmy Palmiotti in collaboration with the animation team. For Gray and Palmiotti, the film gave them a chance to let loose with the level of violence and vent their frustration at being told to hold back in their earlier work. While the events of the comic and the game were set, and one character had to survive the film, the writers were otherwise allowed to "write madness". According to the writers and director, the amount of content cut during production would have made a sequel. A notable cut section, which was seen as overly ambitious and requiring too much time, was a fight between Vincent and a unique Necromorph born from the fused bodies of her squad mates.


title: Dead Space: Downfall

text: "Downfall" was first announced in March 2008. It premiered in the United Kingdom at the 2008 Sci-Fi-London film festival. The movie was released direct-to-video on DVD and Blu-ray on October 28, roughly a week after the release of "Dead Space". The extras included an isolated soundtrack, a deleted scene, and cheat codes for the game. The Blu-ray edition also included a standard DVD edition and digital editions compatible with PlayStation Portable and Microsoft Windows. It was co-published by Anchor Bay Entertainment and Manga Entertainment. It later premiered on television through Starz Encore on November 2. Electronic Arts and Starz Media would collaborate again on "", released in 2011 as a prequel to "Dead Space 2".


title: Dead Space: Downfall

text: Upon its debut in the United States, the DVD release reached twenty-third place in sales charts, reaching over 26,500 units and earning over $397,000. Ultimately, "Downfall" earned over $1,655,000 in DVD sales.


title: Dead Space: Downfall

text: Christopher Monfette of "IGN" enjoyed the animation and staging of its scares and violence despite a limited color palette, but found the narrative was poorly paced with too many events happening in quick succession. He also faulted the dialogue and performances, and the Unitology subplot as unnecessary filler. "Joystiq"s Andrew Yoon felt that the movie was only for fans of the game, as its storyline was best understood by those who had already played "Dead Space". Alongside this, Yoon faulted the characters, lack of reference to in-game events, and overfast pacing; ultimately, he felt it was better than bigger-budget Hollywood game adaptations. Jim Sterling, writing for "Destructoid", said that the movie was enjoyable but relied too much on character cliches. They positively compared its tone and violence to a "a cartoony "Event Horizon"", and praised the animation quality despite it clashing with the parent game's realistic graphics.


title: Dead Space: Downfall

text: Peter Debruge of "Variety" noted its technical achievements given its scale and market, but noted that its tone and apparent revelry in the deaths of its cast made it unenjoyable outside the original game's context. "DVDTalk"s Adam Tyner felt that "Downfall" would have been better if it had focused on horror and suspence over violence and gore. He summarised that the film "captures the unflinchingly graphic violence of EA's survival horror video game, but it misses out on the suspense and intensity that leave it standing out as one of the year's best". Michael Thompson of "Ars Technica" again noted it as better than many larger-budget video game adaptations, citing "Max Payne" as an example of the latter. His biggest complaint was a lack of horror elements, with the focus on bloody violence undercuting any suspense. "Play", as part of an article on "Dead Space 3", called "Downfall" "Gory, quite silly, but good for fans and entertaining."


title: Saleem Malik

text: Saleem Malik (Urdu: ) (born 16 April 1963), is a Pakistani former cricketer. He played for the Pakistan national cricket team between 1981/82 and 1999, at one stage captaining the side. He was a right-handed wristy middle order batsman who was strong square of the wicket. His off break bowling was also quite effective. Despite playing more than 100 Tests he would go down in cricket history as the first of a number of international cricketers to be banned for match fixing around the start of the 21st century. Saleem is the brother-in-law of former teammate Ijaz Ahmed.


title: Saleem Malik

text: He captained Pakistan in 12 Tests, winning 7. In One-Day International cricket he led his country 34 times, winning 21 of matches.


title: Saleem Malik

text: Malik played his first Test match in March 1982, against Sri Lanka at Karachi. After making 12 in his first innings he made an unbeaten 100 in the second to set up a declaration. Aged 18 years and 323 days he was at the time the second youngest player to make a century on Test debut.


title: Saleem Malik

text: During the tour of England in 1987, Malik fell for 99 at Headingley and made 102 at The Oval. He would become familiar with English conditions, playing for Essex for a couple of years during the early 1990s. He had a good season in 1991, scoring 1972 runs, the 3rd most by a non-English player for Essex.


title: Saleem Malik

text: In Test cricket he performed better against England than any other of his opponents, appearing 19 times and making 1396 runs at 60.70.


title: Saleem Malik

text: One of his notable performances in One Day International cricket was an innings that he played against India in 1987. Chasing 238 in 40 overs, Pakistan were reduced to 5/161 when Saleem arrived at the crease. He scored 72 out of the remaining 77 runs required, making them from just 36 deliveries. He finished unbeaten and Pakistan won by 2 wickets with 3 balls still to spare in the match.


title: Saleem Malik

text: Malik captained Pakistan in tours of South Africa and Zimbabwe before being suspended from cricket having been accused of bribery. He was however found innocent and allowed to continue his career. Malik played his last Test match in January 1999 but ended his cricket career in disgrace, having been given a life ban as a result of Justice Qayyam's enquiry in May 2000.


title: Saleem Malik

text: A local court in Lahore lifted the life ban imposed by the Pakistan Cricket Board on 23 October 2008. Civil judge Malik Mohammad Altaf ruled in favour of Malik and quashed the ban imposed for alleged match fixing.


title: Saleem Malik

text: He claimed to have accepted an offer by the PCB to work as the Chief Coach for country's National Cricket Academy on 3 November 2008 just days after the ban was lifted, however, the PCB denied making any such offer.


title: Saleem Malik

text: In October 2012, Saleem Malik submitted his application to the Pakistan Cricket Board (PCB) for the position of batting coach. Earlier that month the PCB had placed an advertisement seeking a batting coach for the national side. He is now planning to establish a cricket academy for young cricketers in Lahore and has been doing his personal business with his long-term partner, Hamza Yusuf.


title: My Best Friend's Birthday

text: My Best Friend's Birthday is a 1987 amateur comedy film directed, edited, co-written, co-produced and starring Quentin Tarantino. The film was shot in black-and-white and was originally meant to have a runtime of 70 minutes, but only 36 minutes of the film are edited altogether, leaving the project unfinished.


title: My Best Friend's Birthday

text: It’s Mickey’s birthday, and his girlfriend just left him. His friend Clarence shows up to give him a birthday he'll never forget.


title: My Best Friend's Birthday

text: The film was made while Tarantino was working at the Video Archives, now closed, in Manhattan Beach, California. The project started in 1984, when Hamann wrote a short 30- to 40-page script.


title: My Best Friend's Birthday

text: Tarantino became attached to the project as co-writer and director, and he and Hamann expanded the script to 80 pages. On an estimated budget of $5,000, the film was originally planned in a Super 8mm format. However, when Tarantino was able to borrow a 16mm camera from film director Fred Olen Ray, the film was shot in 16mm over the course of the next four years. Hamann and Tarantino starred in the film, along with several video store and acting class buddies, and worked on the crew, which included fellow Video Archives employees Rand Vossler and Roger Avary. It is the most overtly comedic film that Tarantino has made. In an interview with Charlie Rose (available on the Region 1 Collector's Edition DVD of "Pulp Fiction"), he referred to it as a "Martin and Lewis kind of thing."


title: My Best Friend's Birthday

text: It was long alleged that the original cut was about 70 minutes long, but due to a film lab fire, only 36 minutes of the film still exist. In 2019, a book titled "My Best Friend's Birthday: The Making of a Quentin Tarantino Film", written by Andrew J. Rausch, was published by BearManor Media. The book features interviews with all of the film's principal personnel, including Quentin Tarantino, Craig Hamann, and Roger Avary. In the book, it is revealed the fire story was fabricated, with Tarantino choosing not to dismiss it as he thought it sounded interesting. In actuality, some rolls of film were simply discarded by mistake, and Tarantino, unsatisfied with the final product, edited together the scenes he liked, leaving the project unfinished. However, he has not dismissed the possibility of restoring and completing the film one day. The surviving footage has been edited together and shown at several film festivals.


title: Mayu Iwatani

text: Iwatani grew up in the countryside of Mine, Yamaguchi with her family, which includes two older brothers. In primary school, she practiced judo and high jump, but in high school, she began isolating herself from society, spending three years mostly indoors. After quitting high school, she fell in love with professional wrestling after seeing a Dragon Gate event. She contacted Fuka, the general manager of the World Wonder Ring Stardom promotion, who were looking for new wrestlers, and eventually moved to Tokyo in 2010 to pursue a career in professional wrestling.


title: Mayu Iwatani

text: Iwatani was part of Stardom's first class of trainees. She made her professional wrestling debut at the promotion's inaugural event on January 23, 2011, facing fellow debutante Arisa Hoshiki. Afterwards, Iwatani & Hoshiki formed a tag team named AMA, which became one of Stardom's most popular acts. Despite her popularity, Iwatani was the last of the class one trainees to obtain a win in a professional wrestling ring. In June, she was defeated by Eri Susa, the other winless Stardom trainee, and subsequently became known as Stardom's weakest wrestler. Iwatani was winless for the first eleven months of her career, before finally defeating Susa in a rematch on December 25, 2011. Afterwards, Iwatani & Hoshiki became part of Io Shirai's "Planet" stable, along with Natsumi Showzuki.


title: Mayu Iwatani

text: Following Hoshiki's retirement from professional wrestling in June 2012, Iwatani began teaming with Io Shirai under the team name "Thunder Rock". She also became part of a stable named Tawashis with Hiroyo Matsumoto & Miho Wakizawa. The three went on to win the Artist of Stardom Championship on December 29, 2013, by defeating Alpha Female, The Female Predator "Amazon" & Kyoko Kimura. On July 27, 2014, Iwatani won her first singles title, when she defeated her teammate Miho Wakizawa for the vacant Wonder of Stardom Championship. After a record-setting eight-month reign, Tawashis lost the Artist of Stardom Championship to Hatsuhinode Kamen, Kaori Yoneyama & Tsubasa Kuragaki on August 10, 2014. On January 18, 2015, Iwatani lost the Wonder of Stardom Championship to Act Yasukawa.


title: Mayu Iwatani

text: On April 23, 2015, Iwatani won the first annual Cinderella Tournament, defeating Koguma in the finals. As a result, Iwatani was granted a shot at Stardom's top title, the World of Stardom Championship, but was defeated by the defending champion, Kairi Hojo, on May 17. On May 6, Iwatani & Io Shirai, Thunder Rock, defeated Chelsea & Kairi Hojo to win the vacant Goddess of Stardom Championship. On October 11, Iwatani defeated Rosa Negra to also win the High Speed Championship. During their tag team title reign, Thunder Rock also won the 2015 Goddesses of Stardom Tag Tournament. On February 28, 2016, Iwatani became a triple champion, when she, Shirai & Kairi Hojo, billed together as "Threedom" (a combination of the words "Three" and "Stardom"), defeated Evie, Hiroyo Matsumoto & Kellie Skater for the Artist of Stardom Championship. In April, Iwatani, along with Hojo & Shirai, traveled to the United States to take part in events held by Lucha Underground and Vendetta Pro Wrestling. On April 29, Iwatani won her second Cinderella Tournament in a row, defeating Hiroyo Matsumoto in the finals. As a result, Iwatani received another shot at the World of Stardom Championship, but was defeated by Io Shirai on May 15. After setting records for both the longest reign and most successful title defenses, Iwatani & Shirai lost the Goddess of Stardom Championship to Kagetsu & Kyoko Kimura in their 11th title defense on June 16. On October 2, Threedom lost the Artist of Stardom Championship to Hana Kimura, Kagetsu & Kyoko Kimura in their third defense.


title: Mayu Iwatani

text: On November 11, both Thunder Rock and Threedom were dissolved, when Shirai turned on Iwatani, after the two had lost to Hojo & Yoko Bito in the finals of the 2016 Goddesses of Stardom Tag League. This led to Iwatani unsuccessfully challenging Shirai for the World of Stardom Championship at Stardom's year-end show on December 22. The following day, the match was named Stardom's 2016 Match of the Year. Reportedly, Iwatani was originally scheduled to win the match and the World of Stardom Championship, but the result was changed after she told Stardom that she wanted to retire from professional wrestling in 2017. After nine successful title defenses, Iwatani lost the High Speed Championship to Kris Wolf in a three-way match, also involving Kagetsu, on February 23, 2017. On April 30, Iwatani made it to the finals of her third Cinderella Tournament in a row, but was this time defeated by Toni Storm. With Storm going after the World of Stardom Championship, Iwatani chose to challenge for the Wonder of Stardom Championship. On May 14, Iwatani defeated Kairi Hojo to win the Wonder of Stardom Championship for the second time. Shortly afterwards, it was reported that Iwatani was no longer considering retirement and was being positioned as Stardom's top star in the wake of Io Shirai and Kairi Hojo's departures from the promotion.


title: Mayu Iwatani

text: On June 21, Iwatani defeated Shirai to win the World of Stardom Championship for the first time in her fifth challenge, becoming the first wrestler to simultaneously hold the World and Wonder of Stardom Championships. Afterwards, Iwatani started defending both the World and Wonder of Stardom Championships in separate title matches. On September 23, Iwatani lost the Wonder of Stardom Championship to Yoko Bito in her third defense. The following day, Iwatani lost the World of Stardom Championship to Storm, again in her third defense. The title change was unplanned as the match had to be stopped after only two minutes due to Iwatani legitimately dislocating her elbow, forcing referee Daichi Murayama to award the title to Storm. Iwatani returned to the ring on December 10 to take part in Yoko Bito's final match in Shin-Kiba 1st Ring.


title: Mayu Iwatani

text: Since her return, Iwatani became the leader of a new unit named "Stars" (initially Stardom's Army). On February 18, 2018, Iwatani & Tam Nakano challenged Oedo Tai (Hana Kimura & Kagetsu) for the Goddesses of Stardom Championship but were unsuccessful. On April 1, Iwatani tried to capture again the World of Stardom Championship from Toni Storm after Iwatani was injured in their last match, but was unsuccessful. On June 3, Iwatani, along with Saki Kashima, defeated Hana Kimura & Kagetsu to win the Goddesses of Stardom Championship. On September 24, Iwatani won the 5★Star GP after defeating Utami Hayashishita in the finals. On September 30, at the afternoon show of "5★Star Grand Champion Carnival", Iwatani won the Artist of Stardom Championship with Kashima & Nakano after defeating J.A.N. (Jungle Kyona, Kaori Yoneyama & Natsuko Tora), however, Iwatani & Kashima lost the Goddess of Stardom Championship to Kyona & Tora during the evening show.


title: Mayu Iwatani

text: On May 16, 2019, Stars (Iwatani, Tam Nakano & Saki Kashima) lost the Artist of Stardom Championship to Tokyo Cyber Squad (Hana Kimura, Jungle Kyona & Konami). Stars won the title for the second time on June 23, after defeating Tokyo Cyber Squad. Stars held the title until July 20, when they lost the championship to Andras Miyagi, Kagetsu & Sumire Natsu. On November 4, 2019, Iwatani defeated Bea Priestley to win the World of Stardom Championship for the second time.


title: Mayu Iwatani

text: At Stardom Cinderella Tournament 2020, Iwatani wrestled Hana Kimura into a time-limit draw during the first-round matches from March 24. At Stardom Yokohama Cinderella 2020 on October 3, 2020, she successfully defended the World of Stardom Championship against Syuri. On November 15, 2020, Iwatani lost the World Championship to Utami Hayashishita, ending her reign at 377 days. At Stardom Osaka Dream Cinderella 2020 on December 20, Iwatani teamed up with Stars stablemates Starlight Kid & Gokigen Death and unsuccessfully challenged the then sub-unit of Stars, Cosmic Angels (Mina Shirakawa, Tam Nakano & Unagi Sayaka) for the Artist of Stardom Championship. After they retained the title, Sayaka, Nakano & Shirakawa announced that they would split up from Stars to act as an independent unit.


title: Mayu Iwatani

text: At Stardom 10th Anniversary Show on January 17, 2021, Iwatani teamed up with Ruaka in a Four-Way Elimination Tag Team Match won by Queen's Quest (Momo Watanabe & Saya Kamitani) and also involving the teams of Donna Del Mondo (Syuri & Himeka) and Oedo Tai (Bea Priestley & Saki Kashima). At Stardom All Star Dream Cinderella on March 3, 2021, she defeated Yoshiko. The unit of Stars leaded by Iwatani began losing members in 2021, beginning with Ruaka who defected to Oedo Tai on February 20. At Stardom Yokohama Dream Cinderella 2021, she continued losing members, as she teamed up with Starlight Kid, Saya Iida, Hanan & Fukigen Death, falling short to Oedo Tai's Natsuko Tora, Konami, Saki Kashima, Ruaka & Rina in a Ten-Woman Elimination Tag Team Match. Since she was eliminated last, Death was forced to join the enemy unit. The stable's fall continued at the last night of the Stardom Cinderella Tournament 2021 from June 12, where Iwatani lost Starlight Kid to Oedo Tai the same way as with Gokigen Death. Iwatani had also compete in the main tournament, making it into the quarterfinals from May 14 where she fell short to Himeka. Koguma returned to professional wrestling after a long absence and joined Stars. Iwatani teamed up with her at Yokohama Dream Cinderella 2021 in Summer on July 4, 2021, where they unsuccessfully challenged Syuri & Giulia for the Goddess of Stardom Championship. At Stardom 5 Star Grand Prix 2021, Iwatani fought in the "Red Stars" block and scored a total of eleven points after competing against Momo Watanabe, Koguma, Starlight Kid, Himeka, Fukigen Death, Natsupoi, Giulia, Mina Shirakawa, and Saki Kashima. At Stardom 10th Anniversary Grand Final Osaka Dream Cinderella on October 9, 2021, she unsuccessfully challenged Tam Nakano for the Wonder of Stardom Championship as the match went into a time-limit draw. At the 2021 edition of the Goddesses of Stardom Tag League, Iwatani teamed up with Rin Kadokura as "Blue MaRine" and fought in the "Blue Goddess" block where thet scored a total of seven points after competing against the teams of MOMOAZ (Momo Watanabe & AZM), Kurotora Kaidou (Starlight Kid & Ruaka), Ponytail and Samurai Road (Syuri & Maika), Dream H (Tam Nakano & Mina Shirakawa) and C Moon (Lady C & Waka Tsukiyama). At "Kawasaki Super Wars", the first event of the Stardom Super Wars trilogy which took place on November 3, 2021, Iwatani teamed up with Koguma and went into a time-limit draw against Himeka & Natsupoi. At "Tokyo Super Wars" on November 27, she teamed up with Hazuki & Hanan to defeat Oedo Tai (Saki Kashima, Fukigen Death & Rina). At "Osaka Super Wars", the final event of the trilogy from December 18, Iwatani teamed up with Hazuki & Koguma and took part in a ¥10 Million Unit Tournament which was also contested for the Artist of Stardom Championship by first defeating Cosmic Angels (Tam Nakano, Mina Shirakawa & Unagi Sayaka) in the semi finals, and eventually falling short to the champions MaiHimePoi (Maika, Natsupoi & Himeka) in the finals on the same night as a result of a Six-Woman Tag Team ladder match. At Stardom Dream Queendom on December 29, 2021, Iwatani teamed up with Takumi Iroha to defeat Hazuki and Momo Watanabe.


title: Mayu Iwatani

text: At Stardom Nagoya Supreme Fight on January 29, 2022, Iwatani went into a time-limit draw against Giulia in a World of Stardom Championship #1 Contender's Match. At Stardom Cinderella Journey on February 23, 2022, she teamed up with Tam Nakano to defeat Fukigen Death & Saki Kashima. On the first night of the Stardom World Climax 2022 from March 26, Iwatani teamed up with Kairi to defeat Tam Nakano & Unagi Sayaka. On the second night from March 27, she unsuccessfully challenged Syuri for the World of Stardom Championship. At the Stardom Cinderella Tournament 2022, she made it to the second round matches from April 10 where she fell short to Saki Kashima. At Stardom Golden Week Fight Tour on May 5, 2022, Iwatani defeated Thekla to win the SWA World Championship. She officially became the second woman to win all the eligible titles in Stardom after Io Shirai, thus becoming the second ever "grand slam champion". At Stardom Flashing Champions on May 28, 2022, she successfully defended the SWA title against Fukigen Death. At Stardom Fight in the Top on June 26, 2022, Iwatani teamed up with Hazuki & Koguma and defeated Queen's Quest's Utami Hayashishita, Saya Kamitani & AZM in a Six-Woman Tag Team Steel Cage Match. At "Mid Summer Champions in Tokyo", the first event of the Stardom Mid Summer Champions series which took place on July 9, 2022, Iwatani teamed up with Hazuki, Koguma & Saya Iida in a losing effort against Saki Kashima, Ruaka, Rina & Fukigen Death. At "Mid Summer Champions in Nagoya" on July 24, she teamed up with Momo Kohgo and defeated Ruaka & Fukigen Death. At the Stardom 5 Star Grand Prix 2022, Iwatani fought in the "Blue Stars" block where she scored a total of fifteen points after competing against Giulia, Mirai, Suzu Suzuki, Hazuki, Saya Kamitani, Starlight Kid, Natsupoi, Momo Watanabe, Ami Sourei, Mina Shirakawa, Saya Iida, and Hanan. At Stardom in Showcase vol.1, Iwatani competed in a Nagoya Rumble Match won by Kaori Yoneyama who appeared with her old Stars gimmick of "Gokigen Death". At on August 21, 2022, she teamed up with Saya Iida & Momo Kohgo in a losing effort against Utami Hayashishita, AZM & Lady C. At Stardom in Showcase vol.2 on September 25, 2022, she competed in a four-way match won by AZM and also involving Ram Kaicho and Maika. Iwatani became a participant in a tournament to become the inaugural IWGP Women's Champion. In the first round of the tournament, she defeated Odeo Tai's Momo Watanabe on October 22. At Goddesses of Stardom Tag League 2022 Night 1 on October 23, 2022, Iwatani defeated Utami Hayashishita in a semi-final match of the tournament. After the match, Iwatani stare down at her opponent whom she will be facing in the finals at Historic X-Over, Kairi as both women got a hold of the IWGP Women's Championship belt in the middle of the ring. At Hiroshima Goddess Festival on November 3, 2022, she defeated Alpha Female to retain the SWA World Championship. After the match, Iwatani relinquished the title to concentrate on the IWGP Women's Championship match from Historic X-Over on November 20, 2022. Iwatani failed to win the championship at Historic X-Over after losing to Kairi.


title: Mayu Iwatani

text: On January 4, 2020, Mayu along with Arisa Hoshiki, Giulia and Hana Kimura made their debut in New Japan Pro-Wrestling at Wrestle Kingdom 14 in Tokyo Dome in a special Stardom tag team exhibition match. Iwatani continued to work in these kinds of matches, making her next appearance at Wrestle Kingdom 15 on January 5, 2021, where she teamed up with Tam Nakano and fell short to Donna Del Mondo's Syuri and Giulia. At Wrestle Kingdom 16 on January 5, 2022, she teamed up with Starlight Kid and fell short to Tam Nakano and Saya Kamitani.


title: Mayu Iwatani

text: On December 15, Iwatani made her debut for American promotion Ring of Honor (ROH), when she was announced as part of a tournament to crown the inaugural Women of Honor Champion. At Bound By Honor, Iwatani challenged champion Kelly Klein to a title match, in which she defeated Klein for the title. Iwatani successfully defended the title twice before losing the title back to Klein at the G1 Supercard on April 6, 2019.


title: Sub-orbital spaceflight

text: A sub-orbital spaceflight is a spaceflight in which the spacecraft reaches outer space, but its trajectory intersects the atmosphere or surface of the gravitating body from which it was launched, so that it will not complete one orbital revolution (it does not become an artificial satellite) or reach escape velocity.


title: Sub-orbital spaceflight

text: For example, the path of an object launched from Earth that reaches the Kármán line (at ) above sea level), and then falls back to Earth, is considered a sub-orbital spaceflight. Some sub-orbital flights have been undertaken to test spacecraft and launch vehicles later intended for orbital spaceflight. Other vehicles are specifically designed only for sub-orbital flight; examples include crewed vehicles, such as the X-15 and SpaceShipOne, and uncrewed ones, such as ICBMs and sounding rockets.


title: Sub-orbital spaceflight

text: Flights which attain sufficient velocity to go into low Earth orbit, and then de-orbit before completing their first full orbit, are not considered sub-orbital. Examples of this include Yuri Gagarin's Vostok 1, and flights of the Fractional Orbital Bombardment System.


title: Sub-orbital spaceflight

text: A flight that does not reach space is still sometimes called suborbital, but is not a 'suborbital spaceflight'. Usually a rocket is used, but experimental sub-orbital spaceflight has also been achieved with a space gun.


title: Sub-orbital spaceflight

text: By one definition a sub-orbital spaceflight reaches an altitude higher than above sea level. This altitude, known as the Kármán line, was chosen by the Fédération Aéronautique Internationale because it is roughly the point where a vehicle flying fast enough to support itself with aerodynamic lift from the Earth's atmosphere would be flying faster than orbital speed. The US military and NASA award astronaut wings to those flying above , although the U.S. State Department appears not to support a distinct boundary between atmospheric flight and spaceflight.


title: Sub-orbital spaceflight

text: During freefall the trajectory is part of an elliptic orbit as given by the orbit equation. The perigee distance is less than the radius of the Earth "R" including atmosphere, hence the ellipse intersects the Earth, and hence the spacecraft will fail to complete an orbit. The major axis is vertical, the semi-major axis "a" is more than "R"/2. The specific orbital energy formula_1 is given by:


title: Sub-orbital spaceflight

text: Almost always "a" < "R", corresponding to a lower formula_1 than the minimum for a full orbit, which is formula_5


title: Sub-orbital spaceflight

text: Thus the net extra specific energy needed compared to just raising the spacecraft into space is between 0 and formula_6.


title: Sub-orbital spaceflight

text: To minimize the required delta-v (an astrodynamical measure which strongly determines the required fuel), the high-altitude part of the flight is made with the rockets off (this is technically called free-fall even for the upward part of the trajectory). (Compare with Oberth effect.) The maximum speed in a flight is attained at the lowest altitude of this free-fall trajectory, both at the start and at the end of it.


title: Sub-orbital spaceflight

text: If one's goal is simply to "reach space", for example in competing for the Ansari X Prize, horizontal motion is not needed. In this case the lowest required delta-v, to reach 100 km altitude, is about 1.4 km/s. Moving slower, with less free-fall, would require more delta-v.


title: Sub-orbital spaceflight

text: Compare this with orbital spaceflights: a low Earth orbit (LEO), with an altitude of about 300 km, needs a speed around 7.7 km/s, requiring a delta-v of about 9.2 km/s. (If there were no atmospheric drag the theoretical minimum delta-v would be 8.1 km/s to put a craft into a 300-km high orbit starting from a stationary point like the South Pole. The theoretical minimum can be up to 0.46 km/s less if launching eastward from near the equator.)


title: Sub-orbital spaceflight

text: For sub-orbital spaceflights covering a horizontal distance the maximum speed and required delta-v are in between those of a vertical flight and a LEO. The maximum speed at the lower ends of the trajectory are now composed of a horizontal and a vertical component. The higher the horizontal distance covered, the greater the horizontal speed will be. (The vertical velocity will increase with distance for short distances but will decrease with distance at longer distances.) For the V-2 rocket, just reaching space but with a range of about 330 km, the maximum speed was 1.6 km/s. Scaled Composites SpaceShipTwo which is under development will have a similar free-fall orbit but the announced maximum speed is 1.1 km/s (perhaps because of engine shut-off at a higher altitude).


title: Sub-orbital spaceflight

text: For larger ranges, due to the elliptic orbit the maximum altitude can be much more than for a LEO. On a 10,000-km intercontinental flight, such as that of an intercontinental ballistic missile or possible future commercial spaceflight, the maximum speed is about 7 km/s, and the maximum altitude may be more than 1300 km.


title: Sub-orbital spaceflight

text: Any spaceflight that returns to the surface, including sub-orbital ones, will undergo atmospheric reentry. The speed at the start of the reentry is basically the maximum speed of the flight. The aerodynamic heating caused will vary accordingly: it is much less for a flight with a maximum speed of only 1 km/s than for one with a maximum speed of 7 or 8 km/s.


title: Sub-orbital spaceflight

text: The minimum delta-v and the corresponding maximum altitude for a given range can be calculated, "d", assuming a spherical Earth of circumference and neglecting the Earth's rotation and atmosphere. Let θ be half the angle that the projectile is to go around the Earth, so in degrees it is 45°×"d"/. The minimum-delta-v trajectory corresponds to an ellipse with one focus at the centre of the Earth and the other at the point halfway between the launch point and the destination point (somewhere inside the Earth). (This is the orbit that minimizes the semi-major axis, which is equal to the sum of the distances from a point on the orbit to the two foci. Minimizing the semi-major axis minimizes the specific orbital energy and thus the delta-v, which is the speed of launch.) Geometrical arguments lead then to the following (with "R" being the radius of the Earth, about 6370 km):


title: Sub-orbital spaceflight

text: Note that the altitude of apogee is maximized (at about 1320 km) for a trajectory going one quarter of the way around the Earth (). Longer ranges will have lower apogees in the minimal-delta-v solution.


title: Sub-orbital spaceflight

text: (where "g" is the acceleration of gravity at the Earth's surface). The Δ"v" increases with range, leveling off at 7.9 km/s as the range approaches (halfway around the world). The minimum-delta-v trajectory for going halfway around the world corresponds to a circular orbit just above the surface (of course in reality it would have to be above the atmosphere). See lower for the time of flight.


title: Sub-orbital spaceflight

text: An intercontinental ballistic missile is defined as a missile that can hit a target at least 5500 km away, and according to the above formula this requires an initial speed of 6.1 km/s. Increasing the speed to 7.9 km/s to attain any point on Earth requires a considerably larger missile because the amount of fuel needed goes up exponentially with delta-v (see Rocket equation).


title: Sub-orbital spaceflight

text: The initial direction of a minimum-delta-v trajectory points halfway between straight up and straight toward the destination point (which is below the horizon). Again, this is the case if the Earth's rotation is ignored. It is not exactly true for a rotating planet unless the launch takes place at a pole.


title: Sub-orbital spaceflight

text: In a vertical flight of not too high altitudes, the time of the free-fall is both for the upward and for the downward part the maximum speed divided by the acceleration of gravity, so with a maximum speed of 1 km/s together 3 minutes and 20 seconds. The duration of the flight phases before and after the free-fall can vary.


title: Sub-orbital spaceflight

text: For an intercontinental flight the boost phase takes 3 to 5 minutes, the free-fall (midcourse phase) about 25 minutes. For an ICBM the atmospheric reentry phase takes about 2 minutes; this will be longer for any soft landing, such as for a possible future commercial flight.


title: Sub-orbital spaceflight

text: Sub-orbital flights can last from just seconds to days. Pioneer 1 was NASA's first space probe, intended to reach the Moon. A partial failure caused it to instead follow a sub-orbital trajectory, reentering the Earth's atmosphere 43 hours after launch.


title: Sub-orbital spaceflight

text: To calculate the time of flight for a minimum-delta-v trajectory, according to Kepler's third law, the period for the entire orbit (if it didn't go through the Earth) would be:


title: Sub-orbital spaceflight

text: Using Kepler's second law, we multiply this by the portion of the area of the ellipse swept by the line from the centre of the Earth to the projectile:


title: Sub-orbital spaceflight

text: This gives about 32 minutes for going a quarter of the way around the Earth, and 42 minutes for going halfway around. For short distances, this expression is asymptotic to formula_16.


title: Sub-orbital spaceflight

text: From the form involving arccosine, the derivative of the time of flight with respect to "d" (or θ) goes to zero as "d" approaches (halfway around the world). The derivative of Δ"v" also goes to zero here. So if "d" = , the length of the minimum-delta-v trajectory will be about , but it will take only a few seconds less time than the trajectory for "d" = (for which the trajectory is long).


title: Sub-orbital spaceflight

text: While there are a great many possible sub-orbital flight profiles, it is expected that some will be more common than others.


title: Sub-orbital spaceflight

text: The first sub-orbital vehicles which reached space were ballistic missiles. The very first ballistic missile to reach space was the German V-2, the work of the scientists at Peenemünde, on October 3, 1942 which reached an altitude of . Then in the late 1940s the US and USSR concurrently developed missiles all of which were based on the V-2 Rocket, and then much longer range Intercontinental Ballistic Missiles (ICBMs). There are now many countries who possess ICBMs and even more with shorter range Intermediate Range Ballistic Missiles (IRBMs).


title: Sub-orbital spaceflight

text: Sub-orbital tourist flights will initially focus on attaining the altitude required to qualify as reaching space. The flight path will be either vertical or very steep, with the spacecraft landing back at its take-off site.


title: Sub-orbital spaceflight

text: The spacecraft will shut off its engines well before reaching maximum altitude, and then coast up to its highest point. During a few minutes, from the point when the engines are shut off to the point where the atmosphere begins to slow down the downward acceleration, the passengers will experience weightlessness.


title: Sub-orbital spaceflight

text: Megaroc had been planned for sub-orbital spaceflight by the British Interplanetary Society in the 1940s.


title: Sub-orbital spaceflight

text: In the autumn of 1945, the group M. Tikhonravov K. and N. G. Chernysheva at NII-4 rocket artillery Academy of Sciences technology on its own initiative the first stratospheric rocket project was developed by VR-190 for vertical flight two pilots to an altitude of 200 km based on captured German ballistic rocket V-2.


title: Sub-orbital spaceflight

text: In 2004, a number of companies worked on vehicles in this class as entrants to the Ansari X Prize competition. The Scaled Composites SpaceShipOne was officially declared by Rick Searfoss to have won the competition on October 4, 2004 after completing two flights within a two-week period.


title: Sub-orbital spaceflight

text: In 2005, Sir Richard Branson of the Virgin Group announced the creation of Virgin Galactic and his plans for a 9-seat capacity SpaceShipTwo named VSS "Enterprise". It has since been completed with eight seats (one pilot, one co-pilot and six passengers) and has taken part in captive-carry tests and with the first mother-ship WhiteKnightTwo, or VMS "Eve". It has also completed solitary glides, with the movable tail sections in both fixed and "feathered" configurations. The hybrid rocket motor has been fired multiple times in ground-based test stands, and was fired in a powered flight for the second time on 5 September 2013. Four additional SpaceShipTwos have been ordered and will operate from the new Spaceport America. Commercial flights carrying passengers were expected in 2014, but became cancelled due to the disaster during SS2 PF04 flight. Branson stated, "[w]e are going to learn from what went wrong, discover how we can improve safety and performance and then move forwards together."


title: Sub-orbital spaceflight

text: A major use of sub-orbital vehicles today is as scientific sounding rockets. Scientific sub-orbital flights began in the 1920s when Robert H. Goddard launched the first liquid fueled rockets, however they did not reach space altitude. In the late 1940s, captured German V-2 ballistic missiles were converted into V-2 sounding rockets which helped lay the foundation for modern sounding rockets. Today there are dozens of different sounding rockets on the market, from a variety of suppliers in various countries. Typically, researchers wish to conduct experiments in microgravity or above the atmosphere.


title: Sub-orbital spaceflight

text: Research, such as that done for the X-20 Dyna-Soar project suggests that a semi-ballistic sub-orbital flight could travel from Europe to North America in less than an hour.


title: Sub-orbital spaceflight

text: However, the size of rocket, relative to the payload, necessary to achieve this, is similar to an ICBM. ICBMs have delta-v's somewhat less than orbital; and therefore would be somewhat cheaper than the costs for reaching orbit, but the difference is not large.


title: Sub-orbital spaceflight

text: Thus due to the high cost, this is likely to be initially limited to high value, very high urgency cargo such as courier flights, or as the ultimate business jet; or possibly as an extreme sport, or for military fast-response.


title: Sub-orbital spaceflight

text: The SpaceLiner is a hypersonic suborbital spaceplane concept that could transport 50 passengers from Australia to Europe in 90 minutes or 100 passengers from Europe to California in 60 minutes. The main challenge lies in increasing the reliability of the different components, particularly the engines, in order to make their use for passenger transportation on a daily basis possible.


title: Sub-orbital spaceflight

text: Private companies such as Virgin Galactic, Armadillo Aerospace (reinvented as Exos Aerospace), Airbus, Blue Origin and Masten Space Systems are taking an interest in sub-orbital spaceflight, due in part to ventures like the Ansari X Prize. NASA and others are experimenting with scramjet based hypersonic aircraft which may well be used with flight profiles that qualify as sub-orbital spaceflight. Non-profit entities like ARCASPACE and Copenhagen Suborbitals also attempt rocket-based launches.


title: The Incredible Hulk Returns

text: The Incredible Hulk Returns is a 1988 American television superhero film based on the Marvel Comics character the Hulk which serves as a continuation of the 1978–1982 television series "The Incredible Hulk".


title: The Incredible Hulk Returns

text: In "The Incredible Hulk Returns", Dr. David Banner, a scientist who transforms into a green-skinned superhuman monster when enraged, believes that he has found a potential cure for his condition, but he is sabotaged by the inexplicable arrival of the arrogant warrior-god Thor, who has been banished from Valhalla. The two then team-up to battle a rising criminal organization. Bill Bixby returns as Banner and Lou Ferrigno reprises his role of the Hulk. Eric Kramer makes his first and only appearance as Thor and Steve Levitt stars as Donald Blake. This was also Jack Colvin's last appearance as Jack McGee.


title: The Incredible Hulk Returns

text: Dr. David Banner has been gainfully employed at the Joshua-Lambert Research Institute (as David Bannion) where he and a team of scientists are putting the final touches on a Gamma Transponder, which he intends to use to cure him of his ability to turn into the Hulk. He has not changed into the Hulk for two years since he met a young widow, Maggie Shaw, with whom he is romantically involved. By chance, he is recognized by a former student of his, Donald Blake. Blake reveals that, on an expedition in Norway, he was bound into possession of an enchanted hammer containing the soul of Thor, an arrogant Viking warrior banished by the god Odin to Earth. Thor is reluctantly compelled to serve Blake, who is unnerved by this. Thor is summoned and damages lab equipment, which angers Banner until he turns into the Hulk, who brawls with Thor and leaves.


title: The Incredible Hulk Returns

text: In the morning, Banner scolds Blake for setting back his experiment and demands that he make amends. Journalist Jack McGee hears of sighting of the Hulk and attempts to track him down. Thor laments his banishment from Valhalla and bonds with Blake at a bar, briefly entertaining the possibility of Thor using his powers to fight crime. A criminal organization outside the Joshua-Lambert Institute seek to kidnap Banner and the Transponder, but the Hulk effortlessly dispatches them. The mob leader Jack LeBeau targets Dr. Shaw instead of Banner. Mob members disguised as police officers ambush Banner and Shaw and kidnap Shaw despite the combined efforts of the Hulk and Thor.


title: The Incredible Hulk Returns

text: LeBeau blackmails Banner into handing over the Transponder in return for Shaw's life. Banner sabotages the Transponder so it cannot be used as a weapon, removing his chance of a cure. Hulk, Blake, and Thor ambush the gang's hideout and fight off a legion of gunmen to rescue Shaw. McGee is once again the subject of ridicule for his obsession with the Hulk and Thor. Blake and Banner both agree that Shaw has likely figured out that Banner and the Hulk are one and the same. Thor and Blake, now at peace with each other, say their goodbyes to Banner. Banner is forced to end his relationship with Shaw and once again leaves to find a cure.


title: The Incredible Hulk Returns

text: Unlike the preceding series which was produced by MCA/Universal, this film and the following two sequels were produced by New World Television (New World was Marvel's owner at the time) and Bill Bixby's production outfit, which, in association with NBC, took over the "Hulk" television franchise from former broadcaster CBS.


title: The Incredible Hulk Returns

text: Bill Bixby recruited Nicholas Corea, who wrote and/or directed many episodes of the "Incredible Hulk" TV series, to write and direct "The Incredible Hulk Returns". Stan Lee was a consultant on the film. Kenneth Johnson, the creator/executive producer (and sometimes writer/director) of the TV series, was not invited to contribute to the film.


title: The Incredible Hulk Returns

text: This television movie acted as a backdoor pilot for an unproduced television series featuring Thor, another Marvel Comics character created by Stan Lee and Jack Kirby based on the Norse mythological deity of the same name. Much like the television treatment of the Hulk, Thor's backstory has been altered from his original comic book appearance: while in the comics Donald Blake and Thor shared the same body and could transform by use of an enchanted cane, Thor is here depicted as being a servant of Blake and they are two separate entities, though he is still depicted as having been banished on Earth by Odin for being an arrogant and irresponsible warrior. His status as the "god of thunder" is ambiguous (though he does once claim to be the "son of Odin"), his powers are heavily limited and his hammer is not restricted by the "worthiness enchantment".


title: The Incredible Hulk Returns

text: This film is the first time another character from the Marvel Universe or any genuinely supernatural or otherworldly elements appeared in the universe of the "Incredible Hulk" TV series. Thor and the Hulk next appeared on-screen together in 2012's "The Avengers", played by Chris Hemsworth and Mark Ruffalo respectively.


title: The Incredible Hulk Returns

text: "The Incredible Hulk Returns" was a major ratings success, outdoing even the high expectations directed to it as a reunion of the "Incredible Hulk" TV series.


title: The Incredible Hulk Returns

text: This television film was released by Anchor Bay Entertainment on May 13, 2008 along with "The Trial of the Incredible Hulk" as a DVD double feature to coincide with the release of "The Incredible Hulk". They were re-released by Image Entertainment on October 11, 2011.


title: Out of the Cellar

text: Out of the Cellar is the debut studio album by American glam metal band Ratt. Released in 1984, it was an immediate success, with wide airplay on radio and heavy rotation on MTV of its singles, especially the hit "Round and Round". The album is certified as triple platinum by the RIAA. The album brought Ratt to the top of the glam metal scene in Los Angeles. Ratt's later work would never surpass the success of "Out of the Cellar".


title: Out of the Cellar

text: According to interviews with Beau Hill that were shot for the film "Hair I Go Again", Tom Allom was originally slated to produce the record, before the novice Hill was brought in.


title: Out of the Cellar

text: Produced by Beau Hill, "Out of the Cellar" features Ratt's best-known hit, "Round and Round". It also contains other popular songs such as "Wanted Man", "Lack of Communication" and a re-recorded version of "Back for More". The latter song originally appeared on the EP "Ratt". "In Your Direction" was a song that Pearcy wrote when the band was still called Mickey Ratt; "I'm Insane" and "Scene of the Crime" were songs Crosby had co-written and performed with his pre-Ratt band, Mac Meda, featuring future Riverdogs vocalist Rob Lamothe. In 2008, "Round and Round" and "I'm Insane" were featured in "The Wrestler".


title: Out of the Cellar

text: "Wanted Man" was co-written by bassist Joey Cristofanilli, who had briefly substituted for Juan Croucier. There are original lyrics on Juan Croucier's website, for "She Wants Money" and "Lack Of Communication."


title: Out of the Cellar

text: The model on the album cover is Tawny Kitaen, better known for her appearances in Whitesnake music videos, and the same year's teen-aimed film "Bachelor Party". The long-time girlfriend of Ratt guitarist Robbin Crosby at the time, Kitaen also appeared in the "Back for More" music video.


title: Freak on a Leash

text: "Freak on a Leash" is a song by the American nu metal band Korn, featured on the group's 1998 studio album, "Follow the Leader". After "Follow the Leader"s release, the song was released as a single on February 25, 1999, and since then, it has been re-released over ten times. The song uses dissonance, distortion, various guitar effects, and a heavy, aggressive style.


title: Freak on a Leash

text: The "Freak on a Leash" music video was released on February 5, 1999. Directed by Todd McFarlane in Los Angeles, California, the video explores both animations and live performances mixed together. As a result, the band released a music video that won three awards and was retired from "Total Request Live". The single peaked at number six on the Alternative Songs chart, 10 on the Mainstream Rock Songs chart, and 24 on the UK Singles Chart.


title: Freak on a Leash

text: Following the release of "Follow the Leader", Korn promoted the studio album by headlining the Family Values Tour in 1998. The tour ran from September 22 until October 31. "Freak on a Leash" was the first song played on their first tour date. The original composition had a "noisy guitar break in the middle," but, after the group found out that radio stations are not fond of "noisy guitar breaks," they voted 4–1 to remove the break, with Jonathan Davis being the lone holdout. The band described the break as "the Biohazard part."


title: Freak on a Leash

text: "Freak on a Leash" was written in 1997 and recorded in May 1998 at NRG Recording Studios in North Hollywood, California. It was released as their second single, on May 25, 1999, and is considered to be one of their most successful singles. Since its first release in the United Kingdom, it has been released over ten times. It was released in the United Kingdom three times, twice in Mexico and Australia, once in Germany, once in France, once in the United States, and once in Switzerland. Guitarist Brian "Head" Welch said that the song "was about Jonathan Davis being a freak on a leash—sort of a kinky dominatrix thing." Leah Furman said that the song "revolved around the mixed blessings of fame".


title: Freak on a Leash

text: "Freak on a Leash" is four minutes and 15 seconds long. The song uses dissonance, distortion, and various effects to bring the song "to life." David Lloyd from the University of Alberta said that the song was an example of a "nonsense-utterance" technique used by lead vocalist Jonathan Davis. Lloyd also noted that the song contained "fragments of English-language words," and said that they "can be perceived in the midst of Davis' gibberish". Lloyd went on to say that "Davis is giving voice to his inner basic feelings which are trying to resist being shaped or conditioned by utterances of others."


title: Freak on a Leash

text: Elias Pampalk said that the song was "rather aggressive" and said it was heavy metal/death metal. Pampalk proclaimed that "melodic elements do not play an important role in 'Freak on a Leash' and the specific loudness sensation is a rather complex pattern". There are reoccurring elements throughout "Freak on a Leash". The song contains vocals, guitars, bass and percussion. It expresses moods such as anger, drama, and sarcasm.


title: Freak on a Leash

text: An acoustic rendition of the song was recorded with Jonathan Davis singing a duet with Amy Lee of Evanescence, at MTV studios in Times Square, New York City for Korn's on December 9, 2006.


title: Freak on a Leash

text: A music video for "Freak on a Leash" was released on February 5, 1999, and debuted on "Total Request Live". It was directed by Todd McFarlane who was assisted by Jonathan Dayton and Valerie Faris. The music video contains a mixture of animation and live performance footage. Although it was expected to be released in January 1999, it was pushed back to February 1999. The video starts with an animated segment directed by McFarlane, where the children (including a cameo appearance of Korn as some of the children) playing hopscotch on a cliff the artist drew for the "Follow the Leader" cover are interrupted by a policeman. An accidentally-fired bullet from the policeman's gun breaks out of the animated world into the real world and wreaks much property damage while narrowly avoiding hitting people. The bullet then enters a Korn poster exactly at the break in the middle of the song and flies around the band members before Jonathan Davis shouts "go!", signaling the end of the break, to send the bullet back the way it came until it returns to the animated world. Once back in the animated world, the girl in red (also from the album cover) catches the bullet and gives it to the policeman. The policeman stares at his hands bewildered as the camera then focuses on the loose "No Trespassing" sign; which then leads up to the follow-up video for "Falling Away from Me" featured on the band's then next album "Issues". The directory work was described as combining "special effects and clever camera moves in the live action portion of the video."


title: Freak on a Leash

text: The video won awards for Best Editing and Best Rock Video at the 1999 MTV Video Music Awards, and later received the Grammy Award for Best Short Form Music Video in 2000. It became the ninth video that was retired from "Total Request Live" on May 11, 1999. The music video was also featured on "Deuce".


title: Freak on a Leash

text: David Lloyd said it was Korn's most popular song, and on July 8, 1999, the song was the ninth most-infringed song on the Internet. iTunes said that "Wright and Thompson bring a brighter, sharper sheen to Korn's sound, which helped make huge hits out of 'Freak on a Leash'."


title: Freak on a Leash

text: Allmusic editor highlighted the song. David Fricke described: "caged-animal babble (the Busta Rhymes-in-Bellevue outburst in "Freak on a Leash")..." Yahoo Music! concluded that Davis delves into his own personal demons, in this song present.


title: Freak on a Leash

text: It was rated the sixth-top single of 1999 by "Spin". It reached number six on the "Billboard" Modern Rock Tracks chart and number ten on the Mainstream Rock Tracks chart, and was successful on the Hot 100 charting number 89. It was also immensely popular in Australia where the single was certified Gold for shipments in excess of 35,000 units. The song appeared on VH1's list of the "40 Greatest Metal Songs" at number twenty-three.


title: Freak on a Leash

text: The music video debuted at number eight on MTV's "Total Request Live" on February 9, 1999, and peaking at number 1 on its thirteenth day, February 25. and spent ten non-consecutive days at the top position until its "retirement", on May 11, 1999. It won the Grammy Award for Best Short Form Music Video and the 1999 Metal Edge Readers' Choice Award for "Music Video of the Year". It was also nominated for nine 1999 MTV Video Music Awards, including Best Direction. It won two, Best Rock Video and Best Editing.


title: Freak on a Leash

text: The song made VH1's "100 Greatest Songs of the 90s" list at number sixty-nine, and VH1's "100 Greatest Hard Rock Songs" at number forty-eight. In 2017, "Spin" ranked it as number one on their list of the 30 greatest nu metal songs of all time. In 2019, "Loudwire" ranked the song number one on their list of the 50 greatest Korn songs, and in 2021, "Kerrang" ranked the song number four on their list of the 20 greatest Korn songs.


title: Freak on a Leash

text: Freak on a Leash won five awards and was nominated fifteen times. The song won two MTV Music Awards, one Billboard Music Award, one Grammy Award, and one Metals' Edge Readers Choice Award. The song also debuted in 13 countries worldwide, and topped three Modern Rock Radio Station charts, and one Mainstream Rock Radio Station chart in 1999.


title: Freak on a Leash

text: In early February 1999, "Freak on a Leash" was used in a Puma television advertisement that debuted during the Super Bowl pre-game show, featuring Korn's live performance interspersed with Serena Williams and Vince Carter competing in their respective sports.


title: Freak on a Leash

text: The song was briefly played in a 2007 episode of "The Simpsons" titled "Stop! Or My Dog Will Shoot", while the family pet Santa's Little Helper is looking for Homer Simpson in a corn maze.


title: Askold and Dir

text: Askold and Dir ("Haskuldr" or "Hǫskuldr" and "Dyr" or "Djur" in Old Norse; died in 882), mentioned in both the Primary Chronicle and the Nikon Chronicle, were the earliest known "purportedly Norse" rulers of Kiev.


title: Askold and Dir

text: The "Primary Chronicle" relates that Askold and Dir were sanctioned by Rurik to go to Constantinople (Norse "Miklagård", Slavic "Tsargrad"). When travelling on the Dnieper, they settled in Kiev seizing power over the Polans who had been paying tribute to the Khazars. The chronicle also states that they were killed by Oleg the Seer in 882. According to the Primary Chronicle,Oleg came to the foot of the Hungarian hill using trickery,as after concealing his troops in a boat, he sent messengers to Askold and Dir, representing himself as a stranger on his way to Greece on an errand for Oleg and for Igor', the prince's son, and requesting that they should come forth to greet them as members of their race, and killed them with soldiers hidden in the boats popping out,saying Askold and Dir is not worthy of ruling the city since they are not of princely birth. Vasily Tatishchev, Boris Rybakov and some other Russian and Ukrainian historians interpreted the 882 coup d'état in Kiev as the reaction of the pagan Varangians to Askold's baptism. Tatishchev went so far as to style Askold "the first Rus' martyr".


title: Askold and Dir

text: The only foreign source to mention one of the co-rulers is the Arab historian Al-Masudi. According to him, "king al-Dir [Dayr] was the first among the kings of the "Slavs"." Although some scholars have tried to prove that "al-Dir" refers to a Slavic ruler and Dir's contemporary, this speculation is questionable and it is at least equally probable that "al-Dir" and Dir were the same person.


title: Askold and Dir

text: The Rus' attack on Constantinople in June 860 took the Greeks by surprise, "like a thunderbolt from heaven," as it was put by Patriarch Photios in his famous oration written for the occasion. Although the Slavonic chronicles tend to associate this expedition with the names of Askold and Dir (and to date it to 866), the connection remains tenuous. Despite Photius' own assertion that he sent a bishop to the land of Rus' which became Christianized and friendly to Byzantium, most historians discard the idea of Askold's subsequent conversion as apocryphal.


title: Askold and Dir

text: A Kievan legend identifies Askold's burial mound with Uhorska Hill, where Olga of Kiev later built two churches, devoted to Saint Nicholas and to Saint Irene. Today this place on the steep bank of the Dnieper is marked by a monument called Askold's Grave.


title: Serialism

text: In music, serialism is a method of composition using series of pitches, rhythms, dynamics, timbres or other musical elements. Serialism began primarily with Arnold Schoenberg's twelve-tone technique, though some of his contemporaries were also working to establish serialism as a form of post-tonal thinking. Twelve-tone technique orders the twelve notes of the chromatic scale, forming a row or series and providing a unifying basis for a composition's melody, harmony, structural progressions, and variations. Other types of serialism also work with sets, collections of objects, but not necessarily with fixed-order series, and extend the technique to other musical dimensions (often called "parameters"), such as duration, dynamics, and timbre.


title: Serialism

text: The idea of serialism is also applied in various ways in the visual arts, design, and architecture, and the musical concept has also been adapted in literature.


title: Serialism

text: Integral serialism or total serialism is the use of series for aspects such as duration, dynamics, and register as well as pitch. Other terms, used especially in Europe to distinguish post-World War II serial music from twelve-tone music and its American extensions, are general serialism and multiple serialism.


title: Serialism

text: Composers such as Arnold Schoenberg, Anton Webern, Alban Berg, Karlheinz Stockhausen, Pierre Boulez, Luigi Nono, Milton Babbitt, Elisabeth Lutyens, Henri Pousseur, Charles Wuorinen and Jean Barraqué used serial techniques of one sort or another in most of their music. Other composers such as Tadeusz Baird, Béla Bartók, Luciano Berio, Benjamin Britten, John Cage, Aaron Copland, Ernst Krenek, György Ligeti, Olivier Messiaen, Arvo Pärt, Walter Piston, Ned Rorem, Alfred Schnittke, Ruth Crawford Seeger, Dmitri Shostakovich, and Igor Stravinsky used serialism only in some of their compositions or only in some sections of pieces, as did some jazz composers, such as Bill Evans, Yusef Lateef, and Bill Smith.


title: Serialism

text: Serialism is a method, "highly specialized technique", or "way" of composition. It may also be considered "a philosophy of life ("Weltanschauung"), a way of relating the human mind to the world and creating a completeness when dealing with a subject".


title: Serialism

text: Serialism is not by itself a system of composition or a style. Neither is pitch serialism necessarily incompatible with tonality, though it is most often used as a means of composing atonal music.


title: Serialism

text: "Serial music" is a problematic term because it is used differently in different languages and especially because, shortly after its coinage in French, it underwent essential alterations during its transmission to German. The term's use in connection with music was first introduced in French by René Leibowitz in 1947, and immediately afterward by Humphrey Searle in English, as an alternative translation of the German (twelve-tone technique) or (row music); it was independently introduced by Stockhausen and Herbert Eimert into German in 1955 as , with a different meaning, but also translated as "serial music".


title: Serialism

text: Serialism of the first type is most specifically defined as a structural principle according to which a recurring series of ordered elements (normally a set—or row—of pitches or pitch classes) is used in order or manipulated in particular ways to give a piece unity. "Serial" is often broadly used to describe all music written in what Schoenberg called "The Method of Composing with Twelve Notes related only to one another", or dodecaphony, and methods that evolved from his methods. It is sometimes used more specifically to apply only to music in which at least one element other than pitch is treated as a row or series. Such methods are often called "post-Webernian serialism". Other terms used to make the distinction are "twelve-note serialism" for the former and "integral serialism" for the latter.


title: Serialism

text: A row may be assembled pre-compositionally (perhaps to embody particular intervallic or symmetrical properties), or derived from a spontaneously invented thematic or motivic idea. The row's structure does not in itself define the structure of a composition, which requires development of a comprehensive strategy. The choice of strategy often depends on the relationships contained in a row class, and rows may be constructed with an eye to producing the relationships needed to form desired strategies.


title: Serialism

text: The basic set may have additional restrictions, such as the requirement that it use each interval only once.


title: Serialism

text: "The series is not an order of succession, but indeed a hierarchy—which may be independent of this order of succession".


title: Serialism

text: Rules of analysis derived from twelve-tone theory do not apply to serialism of the second type: "in particular the ideas, one, that the series is an intervallic sequence, and two, that the rules are consistent". For example, Stockhausen's early serial works, such as "Kreuzspiel" and "Formel", "advance in unit sections within which a preordained set of pitches is repeatedly reconfigured ... The composer's model for the distributive serial process corresponds to a development of the Zwölftonspiel of Josef Matthias Hauer". Goeyvaerts's "Nummer 4" provides a classic illustration of the distributive function of seriality: 4 times an equal number of elements of equal duration within an equal global time is distributed in the most equable way, unequally with regard to one another, over the temporal space: from the greatest possible coïncidence to the greatest possible dispersion. This provides an exemplary demonstration of that logical principle of seriality: "every situation must occur once and only once".


title: Serialism

text: Henri Pousseur, after initially working with twelve-tone technique in works like "Sept Versets" (1950) and "Trois Chants sacrés" (1951),evolved away from this bond in "Symphonies pour quinze Solistes" [1954–55] and in the "Quintette" ["à la mémoire d’Anton Webern", 1955], and from around the time of "Impromptu" [1955] encounters whole new dimensions of application and new functions.