Problem: Background: Hakeem Olajuwon was born to Salim and Abike Olajuwon, working class Yoruba owners of a cement business in Lagos. He was the third of eight children. He credits his parents with instilling virtues of hard work and discipline into him and his siblings; "They taught us to be honest, work hard, respect our elders, and believe in ourselves". Olajuwon has expressed displeasure at his childhood in Nigeria being characterized as backward. "
Context: "The best footwork I've ever seen from a big man"  --Pete Newell  Olajuwon established himself as an unusually skilled offensive player for a big man, perfecting a set of fakes and spin moves that became known as his trademark Dream Shake. Executed with uncanny speed and power, they are still regarded as the pinnacle of "big man" footwork. Shaquille O'Neal stated: "Hakeem has five moves, then four countermoves - that gives him 20 moves." Olajuwon himself traced the move back to the soccer-playing days of his youth. "The Dream Shake was actually one of my soccer moves which I translated to basketball. It would accomplish one of three things: one, to misdirect the opponent and make him go the opposite way; two, to freeze the opponent and leave him devastated in his tracks; three, to shake off the opponent and giving him no chance to contest the shot." The Dream Shake was very difficult to defend, much like Kareem Abdul-Jabbar's sky-hook.  One notable Dream Shake happened in Game 2 of the 1995 Western Conference Finals against the Spurs. With David Robinson guarding him, Olajuwon performed a cross-over, drove to the basket and faked a layup. Robinson, an excellent defender, kept up with Olajuwon and remained planted. Olajuwon spun counterclockwise and faked a jump shot. Robinson, who was voted the 1995 NBA MVP, fell for the fake and jumped to block the shot. With Robinson in the air, Olajuwon performed an up-and-under move and made an easy layup.  Olajuwon has referred to basketball as a science, and described his signature move in vivid detail: "When the point guard throws me the ball, I jump to get the ball. But this jump is the set-up for the second move, the baseline move. I call it the 'touch landing.' The defender is waiting for me to come down because I jumped but I'm gone before I land. Defenders say 'Wow, he's quick,' but they don't know that where I'm going is predetermined. He's basing it on quickness, but the jump is to set him up. Before I come down, I make my move. When you jump, you turn as you land. Boom! The defender can't react because he's waiting for you to come down to defend you. Now, the first time when you showed that quickness, he has to react to that quickness, so you can fake baseline and go the other way with your jump hook. All this is part of the Dream Shake. The Dream Shake is you dribble and then you jump; now you don't have a pivot foot. When I dribble I move it so when I come here, I jump. By jumping, I don't have a pivot foot now. I dribble so now I can use either foot. I can go this way or this way. So he's frozen, he doesn't know which way I'm going to go. That is the shake. You put him in the mix and you jump stop and now you have choice of pivot foot. He doesn't know where you're gonna turn and when."
Question: Has anyone else used the Dream Shake?
Answer: 

Problem: Background: O'Neill was born in a hotel, the Barrett House, at Broadway and 43rd Street, on what was then Longacre Square (now Times Square). A commemorative plaque was first dedicated there in 1957. The site is now occupied by 1500 Broadway, which houses offices, retail, and ABC Studios. He was the son of Irish immigrant actor James O'Neill and Mary Ellen Quinlan, who was also of Irish descent.
Context: After suffering from multiple health problems (including depression and alcoholism) over many years, O'Neill ultimately faced a severe Parkinsons-like tremor in his hands which made it impossible for him to write during the last 10 years of his life; he had tried using dictation but found himself unable to compose in that way. While at Tao House, O'Neill had intended to write a cycle of 11 plays chronicling an American family since the 1800s. Only two of these, A Touch of the Poet and More Stately Mansions, were ever completed. As his health worsened, O'Neill lost inspiration for the project and wrote three largely autobiographical plays, The Iceman Cometh, Long Day's Journey into Night, and A Moon for the Misbegotten. He managed to complete Moon for the Misbegotten in 1943, just before leaving Tao House and losing his ability to write. Drafts of many other uncompleted plays were destroyed by Carlotta at Eugene's request.  O'Neill died in Room 401 of the Sheraton Hotel (now Boston University's Shelton Hall) on Bay State Road in Boston, on November 27, 1953, at the age of 65. As he was dying, he whispered his last words: "I knew it. I knew it. Born in a hotel room and died in a hotel room." Dr. Harry Kozol, the lead prosecuting expert of the Patty Hearst trial, treated O'Neill during these last years of illness. He also was present for O'Neill's death and announced the fact to the public.  O'Neill is interred in the Forest Hills Cemetery in Boston's Jamaica Plain neighborhood.  In 1956 Carlotta arranged for his autobiographical play Long Day's Journey into Night to be published, although his written instructions had stipulated that it not be made public until 25 years after his death. It was produced on stage to tremendous critical acclaim and won the Pulitzer Prize in 1957. This last play is widely considered to be his finest. Other posthumously-published works include A Touch of the Poet (1958) and More Stately Mansions (1967).  The United States Postal Service honored O'Neill with a Prominent Americans series (1965-1978) $1 postage stamp.
Question: Was his death caused by health problems or suicide?
Answer:
O'Neill ultimately faced a severe Parkinsons-like tremor in his hands