Some context: Robert Matthew Van Winkle was born in Dallas, Texas, on October 31, 1967. Van Winkle has never known his biological father; he was given the family name of the Dutch man his mother was married to at the time of his birth. When Van Winkle was four, his mother divorced. Afterward, he grew up moving between Dallas and Miami, where his new stepfather worked at a car dealership.
In 1985, he was focusing all of his energy on motocross, winning three championships. After breaking his ankle during a race, Ice was not interested in racing professionally for some time, using his spare time to perfect his dance moves and creating his own while his ankle was healing. Ice used his beatboxing and breakdancing skills as a street performer with his friends at local malls during this time. One evening he visited City Lights, a South Dallas nightclub, where he was dared to go on stage by his friend Squirrel during an open-mic. He won the crowd over and was asked by City Lights manager John Bush if he wanted to perform regularly, which he accepted. Ice would be joined on stage with his disc jockey D-Shay and Zero as well as Earthquake, the local disc jockey at City Lights. The Vanilla Ice Posse or The V.I.P. would also perform with Ice on stage. As a performer for City Lights, Ice opened up for N.W.A, Public Enemy, The D.O.C., Tone Loc, 2 Live Crew, Paula Abdul, Sinbad and MC Hammer.  In January 1987, Ice was stabbed five times during a scuffle outside of City Lights. After spending ten days at the hospital, Ice signed a contract with the owner of City Lights, Tommy Quon and his management company, Ultrax. Two years later, Ice would open for EPMD, Ice-T, Stetsasonic, and Sir Mix-A-Lot on the Stop the Violence Tour. Quon saw commercial potential in Ice's rapping and dancing skills. Buying studio time with Quon's earnings from City Lights, they recorded songs that had been perfected on stage by Ice and his acquaintances with various producers, including Khayree. The two year production was distributed by an independent record company called Ichiban Records in 1989. "Play That Funky Music" was released as the album's first single, with "Ice Ice Baby" appearing as the B-side. Tommy Quon personally sent out the single to various radio stations around the US, but the single was seldom played and when it was, it did not get the reaction Quon was hoping for. When disc jockey Darrell Jaye in Georgia played "Ice Ice Baby" instead of the single's A-side, the song gained a quick fanbase and other radio stations followed suit. Quon financed $8,000 for the production of a music video for "Ice Ice Baby", which received heavy airplay by The Box, increasing public interest in the song.  Following the success of "Ice Ice Baby", record producer Suge Knight and two bodyguards arrived at The Palm in West Hollywood, where Ice was eating. After shoving Ice's bodyguards aside, Knight and his own bodyguards sat down in front of Ice, staring at him before finally asking "How you doin'?" Similar incidents were repeated on several occasions. Eventually, Knight showed up at Ice's hotel suite on the fifteenth floor of the Bel Age Hotel, accompanied by a member of the Los Angeles Raiders football team. According to Ice, Knight took him out on the balcony by himself, and implied that he would throw him off the balcony unless he signed the publishing rights to the song over to Knight; Knight used Ice's money to help fund Death Row Records.
what is his career based on
A: his dance moves

Some context: Cooper was born on May 7, 1901, in Helena, Montana to Alice (nee Brazier, 1873-1967) and Charles Henry Cooper (1865-1946). His father had emigrated from Houghton Regis, Bedfordshire and was a prominent lawyer, rancher, and (later) a Montana Supreme Court justice. His mother had emigrated from Gillingham, Kent and married Charles in Montana. In 1906, Charles purchased the 600-acre (240 ha) Seven-Bar-Nine cattle ranch about fifty miles (eighty kilometers) north of Helena near the town of Craig on the Missouri River.
In early 1925, Cooper began his film career in silent pictures such as The Thundering Herd and Wild Horse Mesa with Jack Holt, Riders of the Purple Sage and The Lucky Horseshoe with Tom Mix, and The Trail Rider with Buck Jones. He worked for several Poverty Row studios, including Famous Players-Lasky and Fox Film Corporation. While his skilled horsemanship led to steady work in Westerns, Cooper found the stunt work--which sometimes injured horses and riders--"tough and cruel". Hoping to move beyond the risky stunt work and obtain acting roles, Cooper paid for a screen test and hired casting director Nan Collins to work as his agent. Knowing that other actors were using the name "Frank Cooper", Collins suggested he change his first name to "Gary" after her hometown of Gary, Indiana. Cooper immediately liked the name.  Cooper also found work in a variety of non-Western films, appearing, for example, as a masked Cossack in The Eagle (1925), as a Roman guard in Ben-Hur (1925), and as a flood survivor in The Johnstown Flood (1926). Gradually, he began to land credited roles that offered him more screen time, in films such as Tricks (1925), in which he played the film's antagonist, and the short film Lightnin' Wins (1926). As a featured player, he began to attract the attention of major film studios. On June 1, 1926, Cooper signed a contract with Samuel Goldwyn Productions for fifty dollars a week.  Cooper's first important film role was in The Winning of Barbara Worth (1926) with Ronald Colman and Vilma Banky, in which he plays a young engineer who helps a rival suitor save the woman he loves and her town from an impending dam disaster. Cooper's experience living among the Montana cowboys gave his performance an "instinctive authenticity", according to biographer Jeffrey Meyers. The film was a major success. Critics singled out Cooper as a "dynamic new personality" and future star. Goldwyn rushed to offer Cooper a long-term contract, but he held out for a better deal--finally signing a five-year contract with Jesse L. Lasky at Paramount Pictures for $175 a week. In 1927, with help from Clara Bow, Cooper landed high-profile roles in Children of Divorce and Wings, the latter being the first film to win an Academy Award for Best Picture. That year, Cooper also appeared in his first starring roles in Arizona Bound and Nevada--both films directed by John Waters.  In 1928, Paramount paired Cooper with a youthful Fay Wray in The Legion of the Condemned and The First Kiss--advertising them as the studio's "glorious young lovers". Their on-screen chemistry failed to generate much excitement with audiences. With each new film, Cooper's acting skills improved and his popularity continued to grow, especially among female movie-goers. During this time, he was earning as much as $2,750 per film and receiving a thousand fan letters a week. Looking to exploit Cooper's growing audience appeal, the studio placed him opposite popular leading ladies such as Evelyn Brent in Beau Sabreur, Florence Vidor in Doomsday, and Esther Ralston in Half a Bride. That year, Cooper also made Lilac Time with Colleen Moore for First National Pictures, his first movie with synchronized music and sound effects. It became one of the most commercially successful films of 1928.
Are there any other interesting aspects about this article?
A:
Cooper also found work in a variety of non-Western films,