Question:
Namie Amuro (An Shi Nai Mei Hui , Amuro Namie, born September 20, 1977) is a Japanese recording artist, dancer, model, actress and entrepreneur. A leading figure of the Japanese entertainment industry since the early 90s, Amuro is known for breaking the youthful idol stereotype with her experimentation with different music styles in Japan and throughout the Western world, as well as visual imagery in music videos and on stage. Due to her longevity and resilience within the industry, she is referred to as the "Queen of Japanese Pop" and has constantly been recognized as the Japanese equivalent to leading Western artists such as Madonna and Janet Jackson. Born in Naha, Okinawa, Amuro debuted at age 14 as an idol singer in the band Super Monkey's.
After signing with Avex Trax in 1995, the corresponding record company Avex Group enlisted Japanese musician Tetsuya Komuro to work with Amuro on her then-upcoming album. Amuro made her solo debut with Avex, releasing the single "Body Feels Exit" on October 25, 1995. It became a huge success in Japan, peaking at number three on the Oricon Singles Chart and sold over 881,000 units in that region. Amuro's second single with Komuro, "Chase the Chance", became her first number single on the Oricon Singles Chart, and became her first single to sell over one million units there. For Amuro's success with those singles, she won the Golden Arrow Award in 1995. After a brief hiatus, Amuro released two more singles in 1996: "Don't Wanna Cry" and "You're My Sunshine". Both singles were successful in Japan, bringing her second and third consecutive number one singles, and both sold over one million units there. Amuro achieved huge success after the release of her first solo studio album, Sweet 19 Blues (1996). Released on July 22, it reached number one on the Oricon Albums Chart in Japan, and has sold over 3.6 million units. She released the album's final single, the title track, on August 21, 1996; it achieved success by peaking at number two on the Oricon Singles Chart, and shifted over 400,000 units in Japan.  On November 27, 1996, she started work on her second solo studio album with Komuro, and released its lead single "A Walk in the Park". It gave Amuro her fourth number one single on the Oricon Singles Chart, and her fourth single to sell over one million units there. At the end of 1996, she was awarded the Grand Prix Award for her song "Don't Wanna Cry", the highest honor at the Japan Record Awards, making her the youngest artist to have won the award. On February 19, 1997, she released her single "Can You Celebrate?", which became her fifth number one single. The single became a huge success in Japan, eventually selling 2.29 million units there, making it the best-selling single by a solo female artist in Japan. After releasing her sixth consecutive number one single "How to Be a Girl" in May 21, 1997. Amuro released her second album Concentration 20 in July of that year. It became her third number one album in Japan, and sold over 1.9 million units there. For additional promotion, she embarked her Concentration 20 Dome Tour in Japan, which achieved commercial success. By early August 1997, the sales of Amuro's records reached 20 million.  During a press conference on October 22 of that year, Amuro confirmed her marriage to Japanese musician and TRF band member Masaharu "Sam" Maruyama. During the conference, she announced that she was three months pregnant with their first child. At the end of the year, she won the Grand Prix Award at the Japan Record Awards again for "Can You Celebrate?" and made her final appearance on the annual Japanese television music show Kohaku Uta Gassen before beginning her one-year hiatus from the music industry. She legally changed her name to Namie Maruyama, but has continued to use her maiden name as her professional name.
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Did they have kids?

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Question:
Johan August Strindberg (; Swedish: [2strInd,baerj] ( listen); 22 January 1849 - 14 May 1912) was a Swedish playwright, novelist, poet, essayist and painter. A prolific writer who often drew directly on his personal experience, Strindberg's career spanned four decades, during which time he wrote over sixty plays and more than thirty works of fiction, autobiography, history, cultural analysis, and politics.
Influenced by the history of the Paris Commune, during 1871, young Strindberg embraced the view, that politics is a conflict between the upper and lower classes. He was admired by many as a far-left writer. He was a socialist (or perhaps more of an anarchist, meaning a libertarian socialist, which he himself claimed on at least one occasion). Strindberg's political opinions nevertheless changed considerably within this category over the years, and he was never primarily a political writer. Nor did he often campaign for any one issue, preferring instead to scorn his enemies manifesto-style - the military, the church, the monarchy, the politicians, the stingy publishers, the incompetent reviewers, the narrow-minded, the idiots - and he was not loyal to any party or ideology. Many of his works, however, had at least some politics and sometimes an abundance of it. They often displayed that life and the prevailing system were profoundly unjust and injurious to ordinary citizens.  The changing nature of his political positions shows in his changing stance on the women's rights issue. Early on, Strindberg was sympathetic to women of 19th-century Sweden, calling for women's suffrage as early as 1884. However, during other periods he had strongly misogynistic opinions, calling for lawmakers to reconsider the emancipation of these "half-apes ... mad ... criminal, instinctively evil animals." This is controversial in contemporary assessments of Strindberg, as have his antisemitic descriptions of Jews (and, in particular, Jewish enemies of his in Swedish cultural life) in some works (e.g., Det nya riket), particularly during the early 1880s. Strindberg's antisemitic pronouncements, just like his opinions of women, have been debated, and also seem to have varied considerably. Many of these attitudes, passions and behaviours may have been developed for literary reasons and ended as soon as he had exploited them in books.  In satirizing Swedish society - in particular the upper classes, the cultural and political establishment, and his many personal and professional foes - he could be very confrontational, with scarcely concealed caricatures of political opponents. This could take the form of brutal character disparagement or mockery, and while the presentation was generally skilful, it was not necessarily subtle.  His daughter Karin Strindberg married a Russian Bolshevik of partially Swedish ancestry, Vladimir Smirnov ("Paulsson"). Because of his political views, Strindberg was promoted strongly in socialist countries in Central and Eastern Europe, as well as in the Soviet Union and Cuba.
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What other information is there about his literary exploits?

Answer:
They often displayed that life and the prevailing system were profoundly unjust and injurious to ordinary citizens.