Question:
Fliehr was born on February 25, 1949 in Memphis, Tennessee. His birth name is widely perceived to be Fred Phillips, although on different documents, he is also credited as Fred Demaree or Stewart, while his biological parents were Luther and Olive Phillips (the latter of which was also credited under the Demaree and Stewart surnames). He was adopted, and at the time of his adoption (arranged by the Tennessee Children's Home Society), his father, a physician, was completing a residency in Detroit. Shortly afterward, the family settled in Edina, Minnesota, where the young Fliehr lived throughout his childhood and after ninth grade he attended Wayland Academy, a coeducational boarding school in Beaver Dam, Wisconsin, for four years (five years total in high school), during which time he participated in interscholastic wrestling, football and track.
Once again as a top fan favorite, Flair played a major role in the New World Order (nWo) invasion storyline in late 1996 and throughout 1997. He and the other Horsemen often took the lead in the war against Scott Hall, Kevin Nash, and Hollywood Hulk Hogan, whom Flair immediately challenged for the WCW World Heavyweight Championship at the Clash of the Champions XXXIII, but won only by disqualification. In September 1996, Flair and Anderson teamed with their bitter rivals, Sting and Lex Luger, to lose to the nWo (Hogan, Kevin Nash, Scott Hall, and an impostor Sting) in the WarGames match at Fall Brawl when Luger submitted to the impostor Sting's Scorpion Deathlock.  In October 1996, two developments occurred that affected the Four Horsemen when Jeff Jarrett came over to WCW from the WWF, and expressed his desire to join the Horsemen as he immediately gained a fan in Ric Flair, much to the chagrin of the other Horsemen. Flair finally let Jarrett join the group in February 1997, but the others did not want him, and in July 1997 was ultimately kicked out of the group by Flair himself, who had enough of the instability Jarrett's presence caused the Horsemen. Flair also feuded with Roddy Piper, Syxx, and his old nemesis Curt Hennig in 1997, after Hennig was offered a spot in The Four Horsemen only to turn on Flair and The Four Horsemen at Fall Brawl in September 1997, in which Hennig punctuated the act by slamming the cage door onto Flair's head.  In April 1998, Flair disappeared from WCW television, due to a lawsuit filed by Eric Bischoff for no-showing a live episode of Thunder on April 16, 1998 in Tallahassee, Florida. After the case was settled, Flair made a surprise return on September 14, 1998 to ceremoniously reform the Four Horsemen (along with Steve McMichael, Dean Malenko, and Chris Benoit). Flair feuded with Bischoff for several months afterward. Flair repeatedly raked Eric Bischoff's eyes during this feud. This culminated in a match at Starrcade between Bischoff and Flair in December 1998, which Bischoff won after interference from Curt Hennig, a former member of the Four Horsemen. The following night in Baltimore on Nitro, Flair returned and threatened to leave WCW, demanding a match against Bischoff for the presidency of the company. The match was made, and despite the nWo interfering on Bischoff's behalf Flair won and was granted the position of president of WCW. This resulted in a match at Superbrawl between Flair and Hollywood Hogan for the WCW Championship, which Flair lost after being betrayed by his own son David Flair.
Answer this question using a quote from the text above:

Are there any other interesting aspects about this article?

Answer:
In October 1996, two developments occurred that affected the Four Horsemen when Jeff Jarrett came over to WCW from the WWF,

Answer the question at the end by quoting:

Toru Takemitsu (Wu Man  Che , Takemitsu Toru, October 8, 1930 - February 20, 1996) pronounced [takemitsW to:rW] was a Japanese composer and writer on aesthetics and music theory. Largely self-taught, Takemitsu possessed consummate skill in the subtle manipulation of instrumental and orchestral timbre. He is famed for combining elements of oriental and occidental philosophy to create a sound uniquely his own, and for fusing opposites together such as sound with silence and tradition with innovation. He composed several hundred independent works of music, scored more than ninety films and published twenty books.
In 1948, Takemitsu conceived the idea of electronic music technology, or in his own words, to "bring noise into tempered musical tones inside a busy small tube." During the 1950s, Takemitsu had learned that in 1948 "a French [engineer] Pierre Schaeffer invented the method(s) of musique concrete based on the same idea as mine. I was pleased with this coincidence."  In 1951, Takemitsu was a founding member of the anti-academic Jikken Kobo (Shi Yan Gong Fang , "experimental workshop"): an artistic group established for multidisciplinary collaboration on mixed-media projects, who sought to avoid Japanese artistic tradition. The performances and works undertaken by the group introduced several contemporary Western composers to Japanese audiences. During this period he wrote Saegirarenai Kyusoku I ("Uninterrupted Rest I", 1952: a piano work, without a regular rhythmic pulse or barlines); and by 1955 Takemitsu had begun to use electronic tape-recording techniques in such works as Relief Statique (1955) and Vocalism A*I (1956). Takemitsu also studied in the early 1950s with the composer Fumio Hayasaka, perhaps best known for the scores he wrote for films by Kenji Mizoguchi and Akira Kurosawa, the latter of whom Takemitsu would collaborate with decades later.  In the late 1950s chance brought Takemitsu international attention: his Requiem for string orchestra (1957  listen ), written as an homage to Hayasaka, was heard by Igor Stravinsky in 1958 during his visit to Japan. (The NHK had organised opportunities for Stravinsky to listen to some of the latest Japanese music; when Takemitsu's work was put on by mistake, Stravinsky insisted on hearing it to the end.) At a press conference later, Stravinsky expressed his admiration for the work, praising its "sincerity" and "passionate" writing. Stravinsky subsequently invited Takemitsu to lunch; and for Takemitsu this was an "unforgettable" experience. After Stravinsky returned to the U.S., Takemitsu soon received a commission for a new work from the Koussevitsky Foundation which, he assumed, had come as a suggestion from Stravinsky to Aaron Copland. For this he composed Dorian Horizon, (1966), which was premiered by the San Francisco Symphony Orchestra, conducted by Copland.

what was Takemitsu personal life like?