title: Halt and Catch Fire (TV series)

text: In its critical assessment of 2010s television, "Vulture" included "Halt and Catch Fire" in its section of "Indisputable Classics" and said, "Observant, replete with unexpected and great soundtrack choices, and blessed with four lead actors... who made every scene sing, "Halt and Catch Fire" was never flashy, and that made it a rare, special creation." The show was ranked 14th on "IndieWire"s list of the best TV shows of the 2010s; Libby Hill said that it dissected how "friends, lovers, and partners find ways to build things and, too often, tear them apart". "Rolling Stone" placed the series 18th on its list of the decade's 50 best TV shows; Alan Sepinwall said that ""Halt" quickly left the knockoff accusations behind and transformed into its own incredibly moving story" after it emphasized the Donna and Cameron characters and made "their partnership the series' emotional centerpiece". "USA Today" ranked it the 24th-best series of the decade, saying, "No TV show earns the most-improved award more than 'Halt'", while opining that it "found its voice" once it focused on the friendship between Cameron and Donna. "The A.V. Club" ranked the series 29th on its list of the 100 best shows of the decade, saying that it was in "the pantheon of great but underseen series that'll hopefully find greater appreciation years after the fact". "Halt and Catch Fire" also appeared on end-of-decade lists of the best TV shows published by "Uproxx", "Collider", and "Paste".


title: Halt and Catch Fire (TV series)

text: In 2021, BBC Culture ranked "Halt and Catch Fire" 50th on its list of the 100 greatest TV series of the 21st century; the list was based on a poll of 206 TV experts, comprising critics, journalists, and industry figures, from 43 countries. In 2022, "Rolling Stone" placed the series 55th on its revised list of "The 100 Greatest TV Shows of All Time"; the list was compiled from 46 ballots submitted by actors, writers, producers, and critics. "The Guardian" ranked "Halt and Catch Fire" 79th on its list of the 100 best TV shows of the 21st century. For "The New York Times" list of "The 20 Best Dramas Since "The Sopranos", the series was included in a section of "The Toughest Omissions"; James Poniewozik called it "one of TV's best stories about work, the medium through which its characters communicate, fall apart and come together again".


title: Halt and Catch Fire (TV series)

text: Two fourth-season episodes were ranked among the best TV episodes of the 2010s; "BuzzFeed News" included "Goodwill" on its list of the top 25 episodes, and "Film School Rejects" ranked "Ten of Swords" 23rd on its list of the top 50.


title: 11.22.63

text: 11.22.63 is an American science fiction thriller miniseries based on the 2011 novel "11/22/63" by Stephen King, and consisting of eight episodes, in which a time traveler attempts to stop the assassination of John F. Kennedy. The series is executive-produced by J. J. Abrams, King, Bridget Carpenter, and Bryan Burk, and produced by James Franco, who also starred in the main role. It premiered on Hulu on February 15, 2016, and was received positively by critics.


title: 11.22.63

text: Jake Epping (James Franco), a recently divorced English teacher from Lisbon, Maine, is presented with the chance to travel back in time to 1960 by his long-time friend Al Templeton (Chris Cooper). He is persuaded into going in an attempt to prevent the assassination of United States President John F. Kennedy on November 22, 1963; however, he becomes attached to the life he makes in the past, which could be the mission's undoing. He must find a way to secretly gather information about people and events leading up to the assassination while also creating and maintaining a new life to avoid suspicion.


title: 11.22.63

text: In August 2011, before the novel's release, it was announced that Jonathan Demme had attached himself to write, produce, and direct a film adaptation of "11/22/63" with King serving as executive producer. However, in December 2012, Demme announced that he had withdrawn from the project, after disagreeing with King over what to include in the script.


title: 11.22.63

text: On April 26, 2013, it was reported that Warner Bros. Television and J. J. Abrams' Bad Robot Productions were in negotiations for the rights to adapt the novel as a TV series or miniseries. On September 22, 2014, it was announced that a TV series based on the novel was picked up by Hulu. Carol Spier would be a production designer. The first trailer for the series was released on November 19, 2015.


title: 11.22.63

text: When asked about developing a sequel series, King stated, "I'd love to revisit Jake and Sadie, and also revisit the rabbit hole that dumps people into the past, but sometimes it's best not to go back for a second helping."


title: 11.22.63

text: James Franco was chosen to star as the character of Jake Epping. After reading the novel, Franco contacted King about the rights to adapt it to film only to be told that Abrams had already acquired them. Franco wrote an essay about the book for "Vice", which was noticed by Abrams, and tweeted about his disappointment at not getting the film rights, which was noticed by Bridget Carpenter. Soon after, they offered him the lead role. He accepted the role under the condition that he would be able to direct part of the series. Sarah Gadon was cast for the role of Sadie Dunhill. She was interested in the role in part because it gave her the opportunity to work with Abrams.


title: 11.22.63

text: Filming began on June 9, 2015, in Hespeler, Ontario. Filming during June 2015 also took place in Guelph, Ontario, as well as in Ayr, Ontario, at the Queen's Tavern, Hamilton, Ontario, and in Knowles Restaurant in Dunnville, Ontario during September 2015. In early October, the production moved to Dallas to film exterior locations at Dealey Plaza. During this time, the filming of various scenes during rush hour caused bumper to bumper traffic in the surrounding streets.


title: 11.22.63

text: The show has garnered positive reviews from most critics. Based on 64 reviews, the show carries an 83% "certified fresh" rating, with an average percentage of 7.19/10, on review aggregator website Rotten Tomatoes where the consensus states: "Though the execution feels almost as dated as the period it represents, "11.22.63" gradually reveals a compelling, well-performed series of events." On Metacritic, the show has a rating of 69 out of 100, based on 35 reviews, signifying "generally positive reviews".


title: 11.22.63

text: Jack Moore of "GQ" commented that "the show is moody and supernatural, while somehow also remaining grounded and full of heart", and lauded Franco as the show's standout, saying "what Franco gives is a vanity-free, indulgence-free performance that feels like the work of an Old Hollywood legend. It's earnest and full-hearted." Alan Sepinwall also acclaimed Franco, stating "Franco's a revelation as Jake. He's an immensely talented actor and he's got the star quality you need to carry something this crazy, and this long." Vicki Hyman of the "Newark Star-Ledger" praised the performances of Franco and Gadon, writing: "Their stirring romance carries with it the same whiff of doom as Epping's visits to Dealey Plaza, and gives what could be merely an interesting and handsomely-made take on the conspiracy thriller genre more texture and depth, resonating across the ages." Hank Stuever of "The Washington Post" wrote that "King's work doesn't always happily travel through the portal connecting the page to the TV screen, but Hulu scores with an impressively stout-hearted, eight-part adaptation of "11/22/63"."


title: 11.22.63

text: On the other hand, Jeff Jensen of "Entertainment Weekly" had a more mixed reaction and criticized Franco's performance, calling it "low-watt" and "disinterested". He wrote ""11.22.63" reaches some thoughtful, moving conclusions, but oh, what could have been with a more engaged star. If only there were a time machine to fix that mistake." Caroline Framke of "Vox" describes Franco's performance as inconsistent from scene to scene, but also that the show itself creates even more ambiguity with his character. She wrote "While he's "technically" old enough to portray 37-year-old Jake, Franco certainly doesn't read as anywhere close to 37, or the world-weariness Jake's supposed to exhibit" "Slate" author Willa Paskin believes though Franco is well known and well accomplished, he can't seem to get the "average guy" act right for this series.


title: 11.22.63

text: "11.22.63" was released on DVD and Blu-ray on August 9, 2016 in Region 1. The release includes all eight episodes, as well as a special feature titled "When the Future Fights Back", where King, Abrams, Carpenter and Franco talk about elements of the production that turned King's novel into an event series.


title: Michelle Forbes

text: Michelle Renee Forbes Guajardo (born January 8, 1965) is an American actress who has appeared on television and in independent films. Forbes gained attention for her dual role in daytime soap opera "Guiding Light", for which she received a Daytime Emmy Award nomination. She is also a Saturn Award winner with three nominations.


title: Michelle Forbes

text: Forbes is known for her recurring appearances on genre and drama shows such as Ensign Ro Laren in "" and her regular role as medical examiner Julianna Cox on "" during the 1990s, while building her career with recurring roles throughout the 2000s in "Battlestar Galactica", "24", "In Treatment", "Durham County", "Prison Break" and her series regular role as Maryann Forrester on "True Blood". She has appeared in significant roles in movies such as "Escape from L.A.", "Kalifornia", "Swimming with Sharks" and "Columbus".


title: Michelle Forbes

text: She starred in the 2011–2012 AMC television series "The Killing", for which she received a Primetime Emmy Award nomination. On June 18, 2019 it was announced that Forbes would join USA Network's action drama series "Treadstone", a prequel/sequel to the Bourne franchise.


title: Michelle Forbes

text: Forbes hoped to become a ballet dancer. She began receiving formal acting training at the High School for the Performing and Visual Arts in Houston. While on vacation in New York City at the age of 16, she found herself auditioning for a film; although she was not selected, she signed with the William Morris Agency and began her professional acting career.


title: Michelle Forbes

text: In 1987, at age 22, Forbes landed the dual roles of Solita Carrera and Sonni Carrera Lewis on the daytime soap opera "Guiding Light". She performed on the show for two years, receiving a Daytime Emmy Award nomination for her performance in 1990. After this role, she continued in theater, which was an early love of hers, and began appearing in small guest roles on television to raise her profile. She went on to make guest appearances on a few other TV shows (including "" and "Father Dowling Mysteries") before landing the recurring role of Ensign Ro Laren, a fiery, yet reserved Bajoran, in "Star Trek: The Next Generation".


title: Michelle Forbes

text: The producers of "Star Trek" invited Forbes to reprise Ro in the spin-off series "", but Forbes declined the offer and decided to focus on a career in films.


title: Michelle Forbes

text: She received praise, as well as a Saturn Award nomination from the Academy of Science Fiction, Fantasy & Horror Films, for her performance as photographer Carrie Laughlin in the 1993 thriller "Kalifornia". This was followed with the lead female role in the 1994 black comedy "Swimming with Sharks", as well as supporting roles in such films as "The Road Killers", "Just Looking" and John Carpenter's 1996 science fiction/action sequel "Escape from L.A."


title: Michelle Forbes

text: She continued performing on television during this period, with guest spots on "Seinfeld", "The Outer Limits", and "Star Trek: The Next Generation", to which she returned to tie up the Ro Laren storyline in the series' .


title: Michelle Forbes

text: In 1996, Forbes joined the cast of NBC's popular police drama "", playing chief medical examiner Julianna Cox. She remained with the show for two years, then was let go as part of a major cast overhaul (the series would be canceled after one more season). However, she would reprise her role in the 2000 TV special "Homicide: The Movie".


title: Michelle Forbes

text: That same year, Forbes became a regular on "Wonderland", an ABC series, but it was pulled from the air after only two episodes. Forbes was next seen in a recurring role on the police drama "The District".


title: Michelle Forbes

text: She was subsequently given roles in films such as 2001's "Perfume" and 2002's "American Girl", as well as the 2001 British TV movie "Messiah" (for which she studied British sign language for a week) and its sequel installments: "Messiah 2: Vengeance is Mine" in 2002 and "Messiah III" in 2003. During the 2002–2003 TV season, Forbes played the recurring character of presidential aide Lynne Kresge on the second season of the action series "24".


title: Michelle Forbes

text: She followed her role on "24" with a guest spot on "Alias", then went on to play Admiral Helena Cain in three episodes of the re-imagining of the classic sci-fi series "Battlestar Galactica", as well as appearing in the TV movie "". She followed this up with a recurring role as Agent Samantha Brinker on the drama "Prison Break" and guest starred on "Boston Legal" and "Lost".


title: Michelle Forbes

text: Forbes starred as the lead in the adaptation of the comic-book "Global Frequency", the single produced episode of which infamously leaked online the following year, eight months after the series failed to be picked up by Warner Bros. networks.


title: Michelle Forbes

text: Forbes returned to British television screens with guest roles in both "Holby City" and as a Mossad agent in "Waking the Dead". In 2008, Forbes starred in two HBO drama series; "In Treatment", portraying the wife of the central character, and in "True Blood" as a Maenad named Maryann Forrester.


title: Michelle Forbes

text: She reprised her semi-regular roles in both series in their respective second seasons in 2009, as well as joining the cast of the Canadian psychological drama series "Durham County" for its second season as Dr. Penelope Verity.


title: Michelle Forbes

text: Forbes played the role of Mitch Larsen in the US television series "The Killing", a 2011 remake of the Danish crime series "Forbrydelsen". Forbes appeared as Retro Girl in the TV series "Powers". She also landed a prominent supporting role in "".


title: Michelle Forbes

text: Forbes subsequently played Valerie Edwards in the TV series "Berlin Station" that aired on Epix from 2016 to 2019. Her character was a no-nonsense administrator who serves as a Berlin Station Internal Branch Chief.


title: Michelle Forbes

text: In January 2021, it was announced that she would join the cast of the ABC drama "Big Sky" as matriarch Margaret Kleinsasser.


title: Weapons of the Vietnam War

text: This article is about the weapons used in the Vietnam War, which involved the People's Army of Vietnam (PAVN) or North Vietnamese Army (NVA), National Liberation Front for South Vietnam (NLF) or Viet Cong (VC), and the armed forces of the China (PLA), Army of the Republic of Vietnam (ARVN), United States, Republic of Korea, Philippines, Thailand, and the Australian, New Zealand defence forces, and a variety of irregular troops.


title: Weapons of the Vietnam War

text: Nearly all United States-allied forces were armed with U.S. weapons including the M1 Garand, M1 carbine, M14 and M16. The Australian and New Zealand forces employed the 7.62 mm L1A1 Self-Loading Rifle as their service rifle, with the occasional US M16.


title: Weapons of the Vietnam War

text: The PAVN, although having inherited a variety of American, French, and Japanese weapons from World War II and the First Indochina War (aka French Indochina War), were largely armed and supplied by the People's Republic of China, the Soviet Union, and its Warsaw Pact allies. Further, some weapons—notably anti-personnel explosives, the K-50M (a PPSh-41 copy), and "home-made" versions of the RPG-2—were manufactured in North Vietnam. By 1969 the US Army had identified 40 rifle/carbine types, 22 machine gun types, 17 types of mortar, 20 recoilless rifle or rocket launcher types, nine types of antitank weapons, and 14 anti-aircraft artillery weapons used by ground troops on all sides. Also in use, mostly by anti-communist forces, were the 24 types of armored vehicles and self-propelled artillery, and 26 types of field artillery and rocket launchers.


title: Weapons of the Vietnam War

text: During the early stages of their insurgency, the Viet Cong mainly sustained itself with captured arms (often of American manufacture) or crude, self-made weapons (e.g. copies of the US Thompson submachine gun and shotguns made of galvanized pipes). Most arms were captured from poorly defended ARVN militia outposts.


title: Weapons of the Vietnam War

text: Communist forces were principally armed with Chinese and Soviet weaponry though some VC guerrilla units were equipped with Western infantry weapons either captured from French stocks during the first Indochina war, such as the MAT-49, or from ARVN units or requisitioned through illicit purchase.


title: Weapons of the Vietnam War

text: In the summer and fall of 1967, all Viet Cong battalions were reequipped with arms of Soviet design such as the AK-47 assault rifle and the RPG-2 anti-tank weapon. Their weapons were principally of Chinese or Soviet manufacture. The period up to the conventional phase in the 1970, the Viet Cong and NVA were mostly limited to mortars, recoilless rifles, and small-arms and had significantly lighter equipment and firepower relative to the US arsenal, relying on ambushes, with superior stealth, planning, marksmanship, and small-unit tactics to face the disproportionate US technological advantage.


title: Weapons of the Vietnam War

text: Many divisions within the NVA would incorporate armoured and mechanised battalions including the Type 59 tank., BTR-60, Type 60 artillery and rapidly altered and integrated new war doctrines following the Tet Offensive into a mobile combined-arms force. The North Vietnamese had both amphibious tanks (such as the PT-76) and light tanks (such the Type 62) used during the conventional phase. Experimental Soviet equipment started being used against ARVN forces at the same time, including Man-portable air-defense system SA-7 "Grail" and anti-tank missiles including the AT-3 "Sagger". By 1975 they had fully transformed from the strategy of mobile light-infantry and using the people's war concept used against the United States.


title: Weapons of the Vietnam War

text: The American M16 rifle and XM177 carbine, which both replaced the M14, were lighter and considered more accurate than the AK-47 but in Vietnam was prone to "failure to extract", in which the spent cartridge case remained stuck in the chamber after a round was fired, preventing the next round from feeding and jamming the gun. This was ultimately traced to an inadequately tested switch in propellants from DuPont's proprietary IMR 4475 to Olin's WC 846, that Army Ordnance had ordered out of concern for standardization and mass production capacity.


title: Weapons of the Vietnam War

text: The heavily armored, 90 mm gun M48A3 'Patton' tank saw extensive action during the Vietnam War and over 600 were deployed with U.S. forces. They played an important role in infantry support though there were a few tank versus tank battles. The M67A1 flamethrower tank (nicknamed the Zippo) was an M48 variant used in Vietnam. Artillery was used extensively by both sides but the Americans were able to ferry the lightweight 105 mm M102 howitzer by helicopter to remote locations on quick notice. With its range, the Soviet 130 mm M-46 towed field gun was a highly regarded weapon and used to good effect by the PAVN. It was countered by the long-range, American 175 mm M107 Self-Propelled Gun (nicknamed Miller).


title: Weapons of the Vietnam War

text: The United States had air superiority, though many aircraft were lost to surface-to-air missiles and anti-aircraft artillery. U.S. airpower was credited with breaking the siege of Khe Sanh and blunting the 1972 Easter Offensive against South Vietnam. At sea, the U.S. Navy had the run of the coastline, using aircraft carriers as platforms for offshore strikes and other naval vessels for offshore artillery support. Offshore naval fire played a pivotal role in the Battle of Huế in February 1968, providing accurate fire in support of the U.S. counter-offensive to retake the city.


title: Weapons of the Vietnam War

text: The Vietnam War was the first conflict that saw wide scale tactical deployment of helicopters. The Bell UH-1 Iroquois nicknamed "Huey" was used extensively in counter-guerilla operations both as a troop carrier and a gunship. In the latter role it was outfitted with a variety of armaments including M60 machine guns, multi-barrelled 7.62 mm Miniguns and unguided air-to-surface rockets. The Hueys were also successfully used in MEDEVAC and search and rescue roles. Two aircraft which were prominent in the war were the AC-130 "Spectre" Gunship and the UH-1 "Huey" gunship. The AC-130 was a heavily armed ground-attack aircraft variant of the C-130 Hercules transport plane; it was used to provide close air support, air interdiction and force protection. The AC-130H "Spectre" was armed with two 20 mm M61 Vulcan cannons, one Bofors 40mm autocannon, and one 105 mm M102 howitzer. The Huey is a military helicopter powered by one turboshaft engine, and about 7,000 UH-1 aircraft saw service in Vietnam. At their disposal ground forces had access to B-52 and F-4 Phantom II and others to launch napalm, white phosphorus, tear gas and chemical weapons as well. The aircraft ordnance used during the war included precision-guided munition, cluster bombs, a thickening–gelling agent generally mixed with petroleum or a similar fuel for use in an incendiary device, initially against buildings and later mostly as an anti-personnel weapon that sticks to skin and can burn down to the bone.


title: Weapons of the Vietnam War

text: The Claymore M18A1, an anti-personnel mine was widely used, and is command-detonated and directional shooting 700 steel pellets in the kill zone.


title: Weapons of the Vietnam War

text: Shotguns were used as an individual weapon during jungle patrol; infantry units were authorized a shotgun by TO&E (Table of Organization & Equipment). Shotguns were not general issue to all infantrymen, but were select issue weapons, such as one per squad, etc.


title: Weapons of the Vietnam War

text: In addition to cargo-carrying and troop transport roles, many of these vehicles were also equipped with weapons and sometimes armor, serving as "gun trucks" for convoy escort duties.


title: Weapons of the Vietnam War

text: The geographically dispersed nature of the war challenged existing military communications. From 1965 to the final redeployment of tactical units, numerous communications-electronics systems were introduced in Vietnam to upgrade the quality and quantity of tactical communications and replace obsolete gear:


title: Weapons of the Vietnam War

text: The PAVN and the Southern communist guerrillas, the Viet Cong (VC) as they were commonly referred to during the war, largely used standard Warsaw Pact weapons. Weapons used by the PAVN also included Chinese Communist variants, which were referred to as CHICOM's by the US military. Captured weapons were also widely used; almost every small arm used by SEATO may have seen limited enemy use. During the early 1950s, US equipment captured in Korea was also sent to the Viet Minh.


title: Weapons of the Vietnam War

text: Field artillery rockets were often fired from improvised launchers, sometimes a tube fixed with bamboo.


title: Mark Mothersbaugh

text: Mark Allen Mothersbaugh (; born May 18, 1950) is an American composer, singer, and multi-instrumentalist. He came to prominence in the late 1970s as co-founder, lead singer and keyboardist of the new wave band Devo, whose "Whip It" was a top 20 single in the US in 1980, peaking at No. 14, and which has since maintained a cult following. Mothersbaugh is one of the main composers of Devo's music.


title: Mark Mothersbaugh

text: In addition to his work with Devo, Mothersbaugh has made music for television series, films and video games via his production company, Mutato Muzika. He composed the music for the 13-year run of the animated series "Rugrats" and its three related theatrical films. As a solo musician, Mothersbaugh has released four studio albums: "Muzik for Insomniaks", "Muzik for the Gallery", "Joyeux Mutato" and "The Most Powerful Healing Muzik in the Entire World".


title: Mark Mothersbaugh

text: In 2004, he received the Richard Kirk award at the BMI Film and TV Awards for his contributions to film and television music. In 2008, Mothersbaugh received an honorary doctorate of humane letters from Kent State University, his alma mater.


title: Mark Mothersbaugh

text: His lifelong interest in creating multimedia art pieces has resulted in gallery exhibitions of items such as his "Beautiful Mutants" photograph series, postcard diaries, art rugs, sculptures and musical instruments created from salvaged organ pipes and bird vocalizations. He has married twice and is the father of two adopted children.


title: Mark Mothersbaugh

text: Mark Allen Mothersbaugh was born on May 18, 1950, in Akron, Ohio. His parents are Mary Margaret ("Mig") and Robert Mothersbaugh, Sr. He grew up with two younger brothers, Bob and Jim, who are both musicians, and two sisters, Amy and Susan, and graduated from Woodridge High School in Peninsula, Ohio.


title: Mark Mothersbaugh

text: His father appeared in early Devo films and fan events as the character General Boy and his brothers participated in the band, although Jim's tenure was brief, appearing only on several early demos.


title: Mark Mothersbaugh

text: Mothersbaugh attended Kent State University as an art student, where he met Devo co-founders Gerald Casale and Bob Lewis. In early 1970, Lewis and Casale formed the idea of the "devolution" of the human race after Casale's friend Jeffrey Miller was killed by Ohio National Guardsmen on university grounds during what came to be known as the Kent State shootings. Intrigued by the concept, Mothersbaugh joined them, building upon it with elements of early post-structuralist ideas and oddball arcana, most notably unearthing the infamous "Jocko-Homo Heavenbound" pamphlet (the basis for the song "Jocko Homo"). This association culminated in 1973, when the trio started to play music as Devo.


title: Mark Mothersbaugh

text: Following the commercial failure of their sixth studio album "Shout", Warner Bros. dropped Devo. Shortly after, claiming to feel creatively unfulfilled, drummer Alan Myers left the band, causing the remaining band members to abandon the plans for a "Shout" video LP, as well as a tour.


title: Mark Mothersbaugh

text: In 1987, Devo reformed with new drummer David Kendrick, formerly of Sparks, to replace Myers. Their first project was a soundtrack for the flop horror film "Slaughterhouse Rock", starring Toni Basil and they released the albums "Total Devo" (1988) and "Smooth Noodle Maps" (1990), on Enigma.


title: Mark Mothersbaugh

text: Devo had a falling-out and played two shows in 1991 before breaking up. Around this time, members of Devo appeared in the film "The Spirit of '76", except for Bob Mothersbaugh. In 1989, Mark Mothersbaugh established Mutato Muzika, a commercial music production studio, hiring Ryan Moore and Bob Casale; Bob Mothersbaugh was also involved.


title: Mark Mothersbaugh

text: In 2006, Devo worked with Disney on the Devo 2.0 project: a band of child performers was assembled to re-record Devo songs. The "Akron Beacon Journal" wrote, "Devo recently finished a new project in cahoots with Disney called Devo 2.0, which features the band playing old songs and two new ones with vocals provided by children. Their debut album, a two disc CD/DVD combo entitled "DEV2.0", was released on March 14, 2006. The lyrics of some of the songs were changed for family-friendly airplay, which has been claimed by the band to be a play on irony of the messages of their classic hits. Mothersbaugh doesn't rule out the idea of the band gathering in the studio, eventually, to record a new Devo album." The album, "Something for Everybody" was eventually released in June 2010, preceded by a 12" single of "Fresh"/"What We Do".


title: Mark Mothersbaugh

text: Devo was awarded the first Moog Innovator Award on October 29, 2010, during Moogfest 2010 in Asheville, North Carolina. The award aims to celebrate "pioneering artists whose genre-defying work exemplifies the bold, innovative spirit of Bob Moog". Devo was scheduled to perform at Moogfest, but canceled three days beforehand after Mothersbaugh injured his hand. He and Gerald Casale collaborated with Austin, Texas, band The Octopus Project to perform "Girl U Want" and "Beautiful World" at the event instead.


title: Mark Mothersbaugh

text: In 1989, Mothersbaugh and other members of Devo were involved in the project Visiting Kids, releasing a self-titled EP on the New Rose label in 1990. The group featured his then-wife Nancye Ferguson, as well as David Kendrick, Bob Mothersbaugh, and Bob's daughter Alex Mothersbaugh. Mothersbaugh co-wrote some of the songs, and produced the album with Bob Casale. A promotional video was filmed for the song "Trilobites". Visiting Kids appeared on the soundtrack to the film "Rockula", as well as on the "Late Show with David Letterman".


title: Mark Mothersbaugh

text: Since Devo, Mothersbaugh has developed a successful career writing musical scores for film and television. In film, he has worked frequently with filmmaker Wes Anderson, scoring four of his feature films ("Bottle Rocket", "Rushmore", "The Royal Tenenbaums," and "The Life Aquatic with Steve Zissou"). He composed for "The Lego Movie" and "Thor Ragnarok".


title: Mark Mothersbaugh

text: His music has been a staple of the children's television shows "Rugrats", "Beakman's World", "Santo Bugito" and "Clifford the Big Red Dog". He wrote the new theme song for the original "Felix the Cat" show when it was sold to Broadway Video, some music for "Pee-wee's Playhouse" in 1990 and the theme song for the "Super Mario World" TV series for DIC Entertainment in 1991. The character design for Chuckie Finster on "Rugrats" was based on him. Along with Bob Casale, he produced "Heroes & Villains" (2000), a soundtrack album with music inspired by "The Powerpuff Girls". Mothersbaugh originally intended to be the show's main composer, but his demo was rejected by creator Craig McCracken, who despite being a Devo fan, had concerns about his cartoon being pushed aside if a big feature film came to Mothersbaugh's production company.


title: Mark Mothersbaugh

text: Mothersbaugh produces music for video games, including Sony's "Crash Bandicoot" and "Jak and Daxter" series (both music scores were created by Josh Mancell), and for EA Games' "The Sims 2". This work is often performed with Mutato Muzika, the music production company he formed with several other former members of Devo including his brother, Bob Mothersbaugh. Mothersbaugh composed the original score for "".


title: Mark Mothersbaugh

text: In 2013, Mothersbaugh appeared on an episode of "The Aquabats! Super Show!", an action-comedy series by the creators of "Yo Gabba Gabba!" starring the Devo-influenced band The Aquabats, playing the eccentric scientist father of one of the main characters, Jimmy the Robot.


title: Mark Mothersbaugh

text: Mothersbaugh has also been successful as a visual artist. In November 2014, Mothersbaugh said, "I've done over 150 art gallery shows in the last 20 years."


title: Mark Mothersbaugh

text: On February 6, 2014, the Museum of Contemporary Art Denver (MCA Denver) announced a retrospective exhibition to bring together the first comprehensive presentation of Mothersbaugh's art and music. This nationally touring exhibition was accompanied by a publication, "Mark Mothersbaugh: Myopia", published by Princeton Architectural Press. 50 selections of postcard art from "Myopia" were published as a postcard book titled "Mark Mothersbaugh: Collected Facts & Lies" in 2015.


title: Mark Mothersbaugh

text: Mothersbaugh hosted a drawing segment on the Nick Jr. television series "Yo Gabba Gabba!" called Mark's Magic Pictures, teaching children how to draw simple pictures. The pictures often come alive at the end of the segment through animation.


title: Mark Mothersbaugh

text: At the age of seven, Mothersbaugh began wearing glasses to correct his severe myopia and astigmatism, before which he was legally blind. Over the years, he took an interest in designing his own distinctive eyewear for use in Devo shows. He favored a set of stainless steel frames for regular use made by a Los Angeles shop called LA Eyeworks and says he purchased as many pairs as he could find because they tended to break or get stolen by fans. In a joint venture with eyewear manufacturer Shane Baum, Mothersbaugh has designed his own branded frames for sale, made of beryllium with a stainless steel chrome finish, in three different styles as of 2015. The Baumvision press release states that the unisex model "Francesca" is named for one of Mothersbaugh's pug dogs which is a simultaneous hermaphrodite that is also called Frank.


title: Mark Mothersbaugh

text: He has been married twice. His first wife was actress Nancye Ferguson, who can be seen briefly performing with him in the 1999 superhero comedy film "Mystery Men". His current wife is Anita Greenspan, who runs the film music managing company Greenspan Kohan Management with Neil Kohan. The couple has two daughters from China, adopted after Greenspan learned of the practice in that country of female children being abandoned because of their gender.


title: Mark Mothersbaugh

text: Mothersbaugh is a collector and connoisseur of song poems and unusual or vintage musical devices. He is the owner of Raymond Scott's Electronium (although it is currently not functional).


title: Mark Mothersbaugh

text: Mothersbaugh contracted COVID‑19 in May 2020, and was placed on a ventilator in an intensive care unit at Cedars-Sinai Medical Center for 18 days. In August 2020, Mothersbaugh recounted that he "nearly died" of the disease, and was in a delusional state while infected; he came to believe that he had been hospitalized after being hit by a brick in Little Tokyo, and repeatedly urged his family members to search for his attackers. He described having lasting neuropathic pain as a result of the illness.


title: Mark Mothersbaugh

text: Mothersbaugh was honored with the Richard Kirk award at the 2004 BMI Film and TV Awards. The award is given annually to a composer of film and television music.


title: Mark Mothersbaugh

text: On May 10, 2008, Mothersbaugh was awarded an honorary doctorate of humane letters from Kent State University.


title: Mark Mothersbaugh

text: On May 28, 2016, Mothersbaugh was awarded the key to the city of Akron during a ceremony at the Akron-Summit County Public Library.


title: Michigan Stadium

text: Michigan Stadium, nicknamed "The Big House," is the football stadium for the University of Michigan in Ann Arbor, Michigan. It is the largest stadium in the United States and the Western Hemisphere, the third largest stadium in the world, and the 34th largest sports venue in the world. Its official capacity is 109,901, but has hosted crowds in excess of 115,000.


title: Michigan Stadium

text: Michigan Stadium was built in 1927 at a cost of $950,000 (equivalent to $ in ) and had an original capacity of 72,000. Prior to the stadium's construction, the Wolverines played football at Ferry Field. Every home game since November 8, 1975 has drawn a crowd in excess of 100,000, an active streak of more than 300 contests. On September 7, 2013, the game between Michigan and the Notre Dame Fighting Irish attracted a crowd of 115,109, a record attendance for a college football game since 1948, and an NCAA single-game attendance record at the time, overtaking the previous record of 114,804 set two years previously for the same matchup.


title: Michigan Stadium

text: Michigan Stadium was designed with footings to allow the stadium's capacity to be expanded beyond 100,000. Fielding Yost envisioned a day where 150,000 seats would be needed. To keep construction costs low at the time, the decision was made to build a smaller stadium than Yost envisioned but to include the footings for future expansion.


title: Michigan Stadium

text: Michigan Stadium is used for the University of Michigan's main graduation ceremonies; President Lyndon B. Johnson outlined his Great Society program at the 1964 commencement ceremonies in the stadium. It has also hosted hockey games including the 2014 NHL Winter Classic, a regular season NHL game between the Toronto Maple Leafs and the Detroit Red Wings with an official attendance of 105,491, a record for a hockey game. Additionally, a 2014 International Champions Cup soccer match between Real Madrid and Manchester United had an attendance of 109,318, a record crowd for a soccer match in the United States.


title: Michigan Stadium

text: Prior to playing at Michigan Stadium, Michigan played its games at Ferry Field, which at its peak could seat 40,000 people. Fielding Yost recognized the need for a larger stadium after original expansions to Ferry Field proved to be too small, and persuaded the regents to build a permanent stadium in 1926. Fashioned after the Yale Bowl, the original stadium was built with a capacity of 72,000. However, at Yost's urging, temporary bleachers were added at the top of the stadium, increasing capacity to 82,000.


title: Michigan Stadium

text: On October 1, 1927, Michigan played Ohio Wesleyan in the first game at Michigan Stadium, prevailing easily, 33–0. The new stadium was then formally dedicated three weeks later in a contest against Ohio State on October 22. Michigan had spoiled the formal dedication of Ohio Stadium in Columbus five years earlier and was victorious again, besting the Buckeyes 21–0 before a standing-room-only crowd of 84,401. In 1930, electronic scoreboards were installed, making the stadium the first in the United States to use them to keep the official game time.


title: Michigan Stadium

text: In 1956, the addition of a press box raised the stadium's official capacity to 101,001. The one "extra seat" in Michigan Stadium is said to be reserved for Fritz Crisler, athletic director at the time. Since then, all official Michigan Stadium capacity figures have ended in "-01", although the extra seat's location is not specified.


title: Michigan Stadium

text: Before 1968, Michigan Stadium maintained a policy of "No women or children allowed on the field". Sara Krulwich, now a photojournalist for "The New York Times", was the first woman on the field. Longtime radio announcer Bob Ufer dubbed Michigan Stadium "The hole that Yost dug, Crisler paid for, Canham carpeted, and Schembechler fills every cotton-pickin' Saturday afternoon". Since November 8, 1975, the stadium has held over 100,000 fans for every home game (the Indiana University contest on October 25, 1975 attracted "only" 93,857 fans).—and 24 of the 25 most attended NCAA games are at the stadium. Michigan Stadium's size is not wholly apparent from the outside as most of the seats are below ground level.


title: Michigan Stadium

text: By the mid-1980s, Michigan Stadium had become known by the nickname "The Big House". Michigan's game versus Ball State University on November 4, 2006, was the 200th consecutive crowd of over 100,000 fans. Traditionally, when the game's attendance is announced, the public address announcer (historically Howard King) thanks the fans for "being part of the largest crowd watching a football game anywhere in America today".


title: Michigan Stadium

text: On September 9, 2006, attendees of Michigan's football game against the Central Michigan Chippewas endured the first weather delay in the stadium's history after lightning struck nearby during the first quarter and play was suspended for approximately one hour. On September 3, 2011, Michigan and Western Michigan mutually agreed to end their game with 1:27 left in the third quarter because of an ongoing lightning delay. It was the first time Michigan had a football game called because of lightning. The stadium was evacuated at 6:38 p.m. and the game was called shortly after 7:00.


title: Michigan Stadium

text: On June 21, 2007, the University's Board of Regents approved a $226 million renovation (equivalent to $ in ) and expansion project for Michigan Stadium. The project included replacement of some bleachers, widening of aisles and individual seats, installing hand rails, and the addition of a new press box, 83 luxury boxes, and 3,200 club seats. The renovation plan garnered opposition from a small number of students, alumni, and fans around the country, which waned as the renovation neared external completion.


title: Michigan Stadium

text: A disabled-veterans group filed a federal lawsuit against the university on April 17, 2007, alleging that the design of the project did not meet federal standards for wheelchair-accessible seating. On March 11, 2008, as part of the settlement terms of a lawsuit filed against the university pursuant to the Americans with Disabilities Act, the university announced that the official capacity of the stadium would be reduced to accommodate additional wheelchair-accessible seating beginning with the 2009 season. The project was completed before the 2010 season.


title: Michigan Stadium

text: Renovations in April 2008 caused that year's University of Michigan graduation ceremony to be moved to the Diag.


title: Michigan Stadium

text: In August 2011, the University completed a six-month scoreboard replacement project; the new boards measure each with a resolution of 900 x 1632.


title: Michigan Stadium

text: Michigan Stadium was rededicated on September 4, 2010, before Michigan's first home football game of the 2010 season against the University of Connecticut, with a listed capacity of 109,901. After the renovation, the stadium lacked permanent lights, although platforms for temporary lights were included in the design. In September 2010, a few days after the rededication, the University of Michigan's Board of Regents approved a plan to add permanent lights, at a cost of $1.8 million (equivalent to $ in ). The lights were first used at the men's hockey game on December 11, 2010. The following season saw the stadium's first night football game on September 10, 2011. The Wolverines defeated the Notre Dame Fighting Irish 35–31.


title: Michigan Stadium

text: The Michigan lacrosse program was elevated to NCAA varsity status in spring 2011, effective in the 2011–12 academic year. The team played most of its 2012 games in Michigan Stadium, including a match against Ohio State on April 14, 2012, after the annual Wolverine football spring game.


title: Michigan Stadium

text: The stadium's original capacity was 72,000, but Fielding Yost made certain to install footings that could allow for expansion up to 200,000 seats. Initially, all seating consisted of wooden bleachers. These were replaced with permanent metal seating in 1949 by Fritz Crisler, athletic director at the time. From 1927 to 1968, the stadium's field was natural grass. This was replaced with 3M TartanTurf in 1969 to give players better traction. However, this surface was thought to be unforgiving on players' joints, and the stadium returned to natural grass in 1991. This too became problematic, as the field's below-surface location near the water table made it difficult for grass to permanently take root. The field was converted to FieldTurf, an artificial surface designed to give grass-like playing characteristics, in 2003. In 2010, it was upgraded with a newer version of FieldTurf called Duraspine.


title: Michigan Stadium

text: Michigan Stadium holds the NCAA single-season average home attendance record, set in 2012 at 112,252 fans per game. This represents 98.5% of the 2010 population of Ann Arbor (113,934).


title: Michigan Stadium

text: On September 7, 2013, Michigan Stadium drew a crowd of 115,109 to see Michigan defeat Notre Dame 41–30, which at the time represented a post-1948 NCAA collegiate football attendance record. Previously, and prior to NCAA record keeping for attendance, a 1927 Notre Dame–USC game at Soldier Field in Chicago drew an estimated 117,000–123,000. Both of these records fell in 2016 when Tennessee and Virginia Tech drew 156,990 for a game held at Bristol Motor Speedway, a NASCAR track with a capacity of over 150,000.


title: Michigan Stadium

text: "The Big House" also holds the record for the largest attendance for an NCAA Division II football game, one involving Slippery Rock University of Pennsylvania. Back in 1959, stadium announcer Steve Filipiak thought it would be amusing to include Slippery Rock with the other football scores he read to the crowd, due to the school's unusual name. Soon, it was a tradition, and Slippery Rock became so popular with U of M fans that on September 29, 1979, "The Rock" played in-state rival Shippensburg at Michigan Stadium, in front of 61,143 fans (Shippensburg won, 45-14). Slippery Rock made repeat trips to Ann Arbor in 1981 and 2014.


title: Michigan Stadium

text: With an attendance of 104,173, "The Big Chill at the Big House" set the record attendance for a hockey game. The record was broken on January 1, 2014 for the NHL's 2014 Winter Classic, where a crowd of 105,491 saw the host Detroit Red Wings fall to the Toronto Maple Leafs in a shootout.


title: Michigan Stadium

text: On Saturday August 2, 2014, a sell-out crowd of 109,318 watched Manchester United defeat Real Madrid 3-1 in an International Champions Cup match. The official attendance figure was the largest for a soccer game in the United States to date, overtaking the previous record set by the 1984 Olympics Gold Medal match, when 101,799 saw France defeat Brazil 2-0 at the Rose Bowl in Pasadena, California. Michigan Stadium also holds three of the top four U.S. Soccer attendances as a crowd of 105,826 watched a 2016 International Champions Cup match on July 30, 2016 where Real Madrid defeated Chelsea 3-2 and a crowd of 101,254 watched a 2018 International Champions Cup match on July 28, 2018 where Liverpool defeated Manchester United 4-1.


title: Striptease

text: A striptease is an erotic or exotic dance in which the performer gradually undresses, either partly or completely, in a seductive and sexually suggestive manner. The person who performs a striptease is commonly known as a "stripper" or an "exotic dancer".


title: Striptease

text: In Western countries, the venues where stripteases are performed on a regular basis are now usually called strip clubs, though they may be performed in venues such as pubs (especially in the United Kingdom), theaters and music halls. At times, a stripper may be hired to perform at a bachelor or bachelorette party. In addition to providing adult entertainment, stripping can be a form of sexual play between partners. This can be done as an impromptu event or – perhaps for a special occasion – with elaborate planning involving fantasy wear, music, special lighting, practiced dance moves, or unrehearsed dance moves.


title: Striptease

text: Striptease involves a slow, sensuous undressing. The stripper may prolong the undressing with delaying tactics such as the wearing of additional clothes or putting clothes or hands in front of just undressed body parts such as the breasts or genitalia. The emphasis is on the act of undressing along with sexually suggestive movement, rather than the state of being undressed. In the past, the performance often finished as soon as the undressing was finished, though today's strippers usually continue dancing in the nude. The costume the stripper wears before disrobing can form part of the act. In some cases, audience interaction can form part of the act, with the audience urging the stripper to remove more clothing, or the stripper approaching the audience to interact with them.


title: Striptease

text: Striptease and public nudity have been subject to legal and cultural prohibitions and other aesthetic considerations and taboos. Restrictions on venues may be through venue licensing requirements and constraints and a wide variety of national and local laws. These laws vary considerably around the world, and even between different parts of the same country.


title: Striptease

text: H. L. Mencken is credited with coining the word "ecdysiast" – from "ecdysis", meaning "to molt" – in response to a request from striptease artist Georgia Sothern, for a "more dignified" way to refer to her profession. Gypsy Rose Lee, one of the most famous striptease artists of all time, approved of the term.


title: Striptease

text: The origins of striptease as a performance art are disputed and various dates and occasions have been given from ancient Babylonia to 20th century America. The term "striptease" was first recorded in 1932.


title: Striptease

text: There is a stripping aspect in the ancient Sumerian myth of the descent of the goddess Inanna into the Underworld (or Kur). At each of the seven gates, she removed an article of clothing or a piece of jewelry. As long as she remained in hell, the earth was barren. When she returned, fecundity abounded. Some believe this myth was embodied in the dance of the seven veils of Salome, who danced for King Herod, as mentioned in the New Testament in Matthew 14:6 and Mark 6:21-22. However, although the Bible records Salome's dance, the first mention of her removing seven veils occurs in Oscar Wilde's play "Salome", in 1893.


title: Striptease

text: In ancient Greece, the lawgiver Solon established several classes of prostitutes in the late 6th century BC. Among these classes of prostitutes were the "auletrides": female dancers, acrobats, and musicians, noted for dancing naked in an alluring fashion in front of audiences of men. In ancient Rome, dance featuring stripping was part of the entertainments "(ludi)" at the Floralia, an April festival in honor of the goddess Flora. Empress Theodora, wife of 6th-century Byzantine emperor Justinian is reported by several ancient sources to have started in life as a courtesan and actress who performed in acts inspired from mythological themes and in which she disrobed "as far as the laws of the day allowed". She was famous for her striptease performance of Leda and the Swan. From these accounts, it appears that the practice was hardly exceptional nor new. It was, however, actively opposed by the Christian Church, which succeeded in obtaining statutes banning it in the following century. The degree to which these statutes were subsequently enforced is, of course, opened to question. What is certain is that no practice of the sort is reported in texts of the European Middle Ages.


title: Striptease

text: An early version of striptease became popular in England at the time of the Restoration. A striptease was incorporated into the Restoration comedy "The Rover", written by Aphra Behn in 1677. The stripper is a man; an English country gentleman who sensually undresses and goes to bed in a love scene. (However, the scene is played for laughs; the prostitute he thinks is going to bed with him robs him, and he ends up having to crawl out of the sewer.) The concept of striptease was also widely known, as can be seen in the reference to it in Thomas Otway's comedy "The Soldier's Fortune" (1681), where a character says: "Be sure they be lewd, drunken, "stripping" whores".


title: Striptease

text: Striptease became standard fare in the brothels of 18th century London, where the women, called "posture girls", would strip naked on tables for popular entertainment.


title: Striptease

text: Striptease was also combined with music, as in the 1720 German translation of the French "La Guerre D'Espagne" (Cologne: Pierre Marteau, 1707), where a galant party of high aristocrats and opera singers entertain themselves with hunting, play and music in a three-day turn at a small château:


title: Striptease

text: The dancers, to please their lovers the more, dropped their clothes and danced totally naked the nicest entrées and ballets; one of the princes directed the delightful music, and only the lovers were allowed to watch the performances.


title: Striptease

text: An Arabic custom, first noted by French colonialists and described by the French novelist Gustave Flaubert may have influenced the French striptease. The dances of the Ghawazee in North Africa and Egypt consisted of the erotic dance of the bee performed by a woman known as Kuchuk Hanem. In this dance, the performer disrobes as she searches for an imaginary bee trapped within her garments. It is likely that the women performing these dances did not do so in an indigenous context, but rather, in response to the demand for this type of entertainment. Middle Eastern belly dance, also known as oriental dancing, was popularized in the United States after its introduction on the Midway at the 1893 World's Fair in Chicago by a dancer known as Little Egypt.


title: Striptease

text: Some claim the origin of the modern striptease lies in Oscar Wilde's play "Salome (play)", in 1893. In the Dance of the Seven Veils, the female protagonist dances for King Herod and slowly removes her veils until she lies naked. After Wilde's play and Richard Strauss's operatic version of the same, first performed in 1905, the erotic "dance of the seven veils" became a standard routine for dancers in opera, vaudeville, film and burlesque. A famous early practitioner was Maud Allan, who in 1907 gave a private performance for King Edward VII.


title: Striptease

text: In the 1880s and 1890s, Parisian shows such as the Moulin Rouge and Folies Bergère were featuring attractive scantily clad women dancing and "tableaux vivants". In this environment, an act in the 1890s featured a woman who slowly removed her clothes in a vain search for a flea crawling on her body. "The People's Almanac" credits the act as the origin of modern striptease.


title: Striptease

text: In 1905, the notorious Dutch dancer Mata Hari, later shot as a spy by the French authorities during World War I, was an overnight success from the debut of her act at the Musée Guimet. The most celebrated segment of her act was her progressive shedding of clothing until she wore just a jeweled bra and some ornaments over her arms and head. Another landmark performance was the appearance at the Moulin Rouge in 1907 of an actress called Germaine Aymos, who entered dressed only in three very small shells. In the 1920s and 1930s, Josephine Baker danced topless in the "danse sauvage" at the Folies, and other such performances were provided at the Tabarin. These shows were notable for their sophisticated choreography and often featuring the women in glitzy sequins and feathers. In his 1957 book "Mythologies", semiotician Roland Barthes interpreted this Parisian striptease as a "mystifying spectacle", a "reassuring ritual" where "evil is advertised the better to impede and exorcise it". By the 1960s "fully nude" shows were provided at such places as Le Crazy Horse Saloon.


title: Striptease

text: In the United States, striptease started in traveling carnivals and burlesque theatres, and featured famous strippers such as Gypsy Rose Lee and Sally Rand. The vaudeville trapeze artist Charmion performed a "disrobing" act onstage as early as 1896, which was captured in the 1901 Edison film "Trapeze Disrobing Act". Another milestone for modern American striptease is the possibly legendary show at Minsky's Burlesque in April 1925 that inspired the novel and film "The Night They Raided Minsky's". Another performer, Hinda Wassau, claimed to have inadvertently invented the striptease in 1928 when her costume was shaken loose during a shimmy dance. Burlesque theatres in New York were prohibited from staging striptease performances in a legal ruling of 1937, leading to the decline of these "grindhouses" (named after the bump 'n grind entertainment on offer). However many striptease stars were able to work in other cities and, eventually, nightclubs.


title: Striptease

text: The 1960s saw a revival of striptease in the form of topless go-go dancing. This eventually merged with the older tradition of burlesque dancing. Carol Doda of the Condor Night Club in the North Beach section of San Francisco is given the credit of being the first topless go-go dancer. The club opened in 1964 and Doda's première topless dance occurred on the evening of June 19 of that year. The large lit sign in front of the club featured a picture of her with red lights on her breasts. The club went "bottomless" on September 3, 1969 and began the trend of explicit "full nudity" in American striptease dancing. which was picked up by other establishments such as Apartment A Go Go. San Francisco is also the location of the notorious Mitchell Brothers O'Farrell Theatre. Originally an X-rated movie theater this striptease club pioneered lap dancing in 1980, and was a major force in popularizing it in strip clubs on a nationwide and eventually worldwide basis.


title: Striptease

text: In Britain in the 1930s, when Laura Henderson began presenting nude shows at the Windmill Theatre, London, censorship regulations prohibited naked girls from moving while appearing on-stage. To get around the prohibition, the models appeared in stationary "tableaux vivants". The Windmill girls also toured other London and provincial theatres, sometimes using ingenious devices such as rotating ropes to move their bodies round, though strictly speaking, staying within the letter of the law by not moving of their own volition. Another example of the way the shows stayed within the law was the fan dance, in which a naked dancer's body was concealed by her fans and those of her attendants, until the end of her act in when she posed nude for a brief interval whilst standing still.


title: Striptease

text: In 1942, Phyllis Dixey formed her own company of girls and rented the Whitehall Theatre in London to put on a review called The Whitehall Follies.


title: Striptease

text: By the 1950s, touring striptease acts were used to attract audiences to the dying music halls. Arthur Fox started his touring shows in 1948 and Paul Raymond started his in 1951. Paul Raymond later leased the Doric Ballroom in Soho and opened his private members club, the Raymond Revuebar, in 1958. This was one of the first of the private striptease members clubs in Britain.


title: Striptease

text: In the 1960s, changes in the law brought about a boom of strip clubs in Soho with "fully nude" dancing and audience participation. Pubs were also used as a venue, most particularly in the East End with a concentration of such venues in the district of Shoreditch. This pub striptease seems in the main to have evolved from topless go-go dancing. Though often a target of local authority harassment, some of these pubs survive to the present day. An interesting custom in these pubs is that the strippers walk round and collect money from the customers in a beer jug before each individual performance. This custom appears to have originated in the late 1970s when topless go-go dancers first started collecting money from the audience as the fee for going "fully nude". Private dances of a more raunchy nature are sometimes available in a separate area of the pub.


title: Striptease

text: Striptease became popular in Japan after the end of World War II. When entrepreneur Shigeo Ozaki saw Gypsy Rose Lee perform, he started his own striptease revue in Tokyo's Shinjuku neighborhood. During the 1950s, Japanese "strip shows" became more sexually explicit and less dance-oriented, until they were eventually simply live sex shows.


title: Striptease

text: Recently pole dancing has come to dominate the world of striptease. In the late 20th century, pole dancing was practised in exotic dance clubs in Canada. These clubs grew up to become a thriving sector of the economy. Canadian style pole dancing, table dancing and lap dancing, organized by multi-national corporations such as Spearmint Rhino, was exported from North America to (among other countries) the United Kingdom, the nations of central Europe, Russia and Australia. In London, England a raft of such so-called "lap dancing clubs" grew up in the 1990s, featuring pole dancing on stage and private table dancing, though, despite media misrepresentation, lap-dancing in the sense of bodily contact was forbidden by law.


title: Striptease

text: "Feature shows" are used to generate interest from potential customers who otherwise would not visit the establishment but know the performer from other outlets. A headlining star of a striptease show is referred to as a "feature dancer", and is often a performer with credits such as contest titles or appearances in adult films or magazines. The decades-old practice continued through the late 2000s (decade) to the present day with high-profile adult film performers such as Jenna Haze and Teagan Presley scheduling feature shows through the USA.


title: Striptease

text: In December 2006, a Norwegian court ruled that striptease is an art form and made strip clubs exempt from value added tax.


title: Striptease

text: In the latter 1990s, a number of solo performers and dance groups emerged to create Neo-burlesque, a revival of the classic American burlesque striptease of the early half of the 20th century. New Burlesque focuses on dancing, costumes and entertainment (which may include comedy and singing) and generally eschews full nudity or toplessness. Some burlesquers of the past have become instructors and mentors to New Burlesque performers such as and The World Famous Pontani Sisters. The pop group Pussycat Dolls began as a New Burlesque troupe.


title: Striptease

text: Until the 1970s, strippers in Western cultures were almost invariably female, performing to male audiences. Since then, male strippers have also become common. Before the 1970s, dancers of both sexes appeared largely in underground clubs or as part of a theatre experience, but the practice eventually became common enough on its own. Well-known troupes of male strippers include Dreamboys in the UK and Chippendales in the US. Male strippers have become a popular option to have at a bachelorette party.


title: Striptease

text: A variation on striptease is private dancing, which often involves lap dancing or contact dancing. Here the performers, in addition to stripping for tips, also offer "private dances" which involve more attention for individual audience members. Variations include private dances like table dancing where the performer dances on or by customer's table rather than the customer being seated in a couch.


title: Striptease

text: From ancient times to the present day, striptease was considered a form of public nudity and subject to legal and cultural prohibitions on moral and decency grounds. Such restrictions have been embodied in venue licensing regulations, and national and local laws, including liquor licensing restrictions.


title: Striptease

text: Numerous U.S. jurisdictions have enacted laws regulating the striptease. One of the more notorious local ordinances is San Diego Municipal Code 33.3610, specific and strict in response to allegations of corruption among local officials which included contacts in the nude entertainment industry. Among its provisions is the "six-foot rule", copied by other municipalities, that requires that dancers maintain a distance while performing.


title: Striptease

text: Other rules forbid "full nudity". In some parts of the U.S., laws forbid the exposure of female (though not male) nipples, which must be covered by pasties. In early 2010, the city of Detroit banned fully exposed breasts in its strip clubs, following the example of Houston, where a similar ordinance was implemented in 2008. The city council has since softened the rules, eliminating the requirement for pasties but keeping other restrictions. Both cities were reputed to have rampant occurrences of illicit activity linked to striptease establishments. For some jurisdictions, even certain postures can be considered "indecent" (such as spreading the legs).


title: Striptease

text: In Britain in the 1930s, when the Windmill Theatre, London, began to present nude shows, British law prohibited performers moving whilst in a state of nudity. To get around that rule, models appeared naked in stationary tableaux vivants. To keep within the law, sometimes devices were used which rotated the models without them moving themselves. Fan dances were another device used to keep performances within the law. These allowed a naked dancer's body to be concealed by her fans or those of her attendants, until the end of an act, when she posed naked for a brief interval whilst standing stock still, and the lights went out or the curtain dropped to allow her to leave the stage. Changes in the law in the 1960s brought about a boom of strip clubs in Soho, with "fully nude" dancing and audience participation. Following the introduction of the Policing and Crime Act 2009, a local authority licence is required for venues in England and Wales (and later Scotland) where live nude entertainment takes place more than 11 times a year.


title: Striptease

text: The legal status of striptease in Iceland was changed in 2010, when Iceland outlawed striptease. Jóhanna Sigurðardóttir, Iceland's prime minister said: "The Nordic countries are leading the way on women's equality, recognizing women as equal citizens rather than commodities for sale." The politician behind the bill, Kolbrún Halldórsdóttir, said: "It is not acceptable that women or people in general are a product to be sold."


title: Striptease

text: Mary Martin reprised her famous fur coat striptease of "My Heart Belongs to Daddy" in the 1940 movie "Love Thy Neighbor" and the 1946 Cole Porter biopic "Night and Day".


title: Striptease

text: "Lady of Burlesque" (known in the UK as "Striptease Lady") (1943) based on the novel "The G-String Murders" (1941), by famous striptease artist Gypsy Rose Lee, stars Barbara Stanwyck as a stripper who gets involved in the investigation of murders at a burlesque house. A play by Gypsy Rose Lee entitled "The Naked Genius" (1943) was the inspiration for "Doll Face" (1945), a musical about a burlesque star (Vivian Blaine) who wants to become a legitimate actress.


title: Striptease

text: "Gilda" (1946), showcases one of the most famous stripteases in cinematic history, performed by Rita Hayworth to "Put the Blame on Mame", though in the event she removes just her gloves, before the act is terminated by a jealous admirer. "Murder at the Windmill" (1949) (US title: "Mystery at the Burlesque"), directed by Val Guest is set at the Windmill Theatre, London and features Diana Decker, Jon Pertwee and Jimmy Edwards. "Salome" (1953) once again features Rita Hayworth doing a striptease act; this time as the famous biblical stripper Salome, performing the Dance of the Seven Veils. According to Hayworth's biographers this erotic dance routine was "the most demanding of her entire career", necessitating "endless takes and retakes". "Expresso Bongo" (1959) is a British film which features striptease at a club in Soho, London.


title: Striptease

text: In 1960, the film "Beat Girl" cast Christopher Lee as a sleazy Soho strip club owner who gets stabbed to death by a stripper. "Gypsy" (1962), features Natalie Wood as the famous burlesque queen Gypsy Rose Lee in her memorable rendition of "Let Me Entertain You". It was re-made for TV in 1993 Starring Bette Midler as Mama Rose and Cynthia Gibb as Gypsy Rose Lee. "The Stripper" (1963) featured Gypsy Rose Lee, herself, giving a trademark performance in the title role. A documentary film, "Dawn in Piccadilly", was produced in 1962 at the Windmill Theatre. In 1964, "We Never Closed" (British Movietone) depicted the last night of the Windmill Theatre. In 1965, the feature film "Viva Maria!" starred Brigitte Bardot and Jeanne Moreau as two girls who perform a striptease act and get involved in revolutionary politics in South America.


title: Striptease

text: Also produced in 1965 was "Carousella", a documentary about Soho striptease artistes, directed by John Irvin. Another documentary film, which looked at the unglamorous side of striptease, is the 1966 film called,"Strip", filmed at the Phoenix Club in Soho.


title: Striptease

text: "Secrets of a Windmill Girl" (1966) featured Pauline Collins and April Wilding and was directed by Arnold L. Miller. The film has some fan dancing scenes danced by an ex-Windmill Theatre artiste. "The Night They Raided Minsky's" (1968) gives a possibly legendary account of the birth of striptease at Minsky's Burlesque theatre in New York. In 1968, the sci-fi film "Barbarella" depicted Jane Fonda stripping in zero-gravity conditions whilst wearing her spacesuit. "Marlowe" (1969) stars Rita Moreno playing a stripper, in the finale of the movie simultaneously delivering dialogue with the title character and performing a vigorous dance on stage. The Beatles movie "Magical Mystery Tour" has a scene where all the men on the tour bus go to a gentleman's club and watch a woman strip on stage.


title: Striptease

text: "Ichijo's Wet Lust" (1972), Japanese director Tatsumi Kumashiro's award-winning "Roman porno" film featured the country's most famous stripper, Sayuri Ichijō, starring as herself. A British film production of 1976 is the film "Get 'Em Off", produced by Harold Baim. Alain Bernardin the owner of the Crazy Horse in Paris directed the film,"Crazy Horse de Paris" [1977]. "Paul Raymond's Erotica" (1981) stars Brigitte Lahaie and Diana Cochran and was directed by Brian Smedley-Aston. The Dance routines were filmed at the Raymond Revuebar Theatre.


title: Striptease

text: In addition to lesser-known videos such as "A Night at the Revuebar" (1983), the 1980s also featured mainstream films involving stripping. These included "Flashdance" (1983), which told the story of blue-collar worker Alexandra (Alex) Owens (Jennifer Beals), who works as an exotic dancer in a Pittsburgh, Pennsylvania bar at night and at a steel mill as a welder during the day. Stripping also was part of "genre" films, such as horror thriller "Fear City" (1984), by Abel Ferrara, about a mass-murderer who terrorizes dancers working at a seedy strip club in Times Square, New York City. The erotic drama "9½ Weeks" (1986) depicted Kim Basinger stripping to the tune of "You Can Leave Your Hat On" by Joe Cocker. "Stripped to Kill" (1987) was an exploitation film from Roger Corman about a lady cop who poses as a stripper to catch a murderer; which was followed by a sequel of the same name. "Ladykillers" (1988), was a 'whodunnit' murder mystery involving the murders of male strippers by an unknown female assailant. "Blaze" (1989) features Lolita Davidovitch as notorious stripper Blaze Starr. Starr herself appears in the film in a cameo role.


title: Striptease

text: "Massive Attack : Eleven Promos. "Be Thankful For What You've Got"" (1992), directed by Baillie Walsh, includes one dance routine by Ritzy Sparkle at the Raymond Revuebar Theatre. "Exotica" (1994), directed by Atom Egoyan, is set in a Canadian lap-dance club, and portrays a man's (Bruce Greenwood) obsession with a schoolgirl stripper named Christina (Mia Kirshner). "Showgirls" (1995) was directed by Paul Verhoeven and starred Elizabeth Berkley and Gina Gershon. "Striptease" (1996), was an adaptation of the novel starring Demi Moore." Barb Wire" (1996), starred Pamela Anderson (of "Baywatch" fame), who performs a wet striptease. "The Full Monty" (1997) is a story of British ex-steel workers who form a Chippendales-style dance revue and decide to strip naked to make an extra buck. It featured songs including an updated version of David Rose's big hit The Stripper and Tom Jones's version of "You Can Leave Your Hat On". "The Players Club" (1998) starred LisaRaye as a girl who becomes a stripper to earn enough money to enter college and study journalism.


title: Striptease

text: "Dancing at the Blue Iguana" (2000) is a feature film starring Daryl Hannah. The female cast of the film researched the film by dancing at strip clubs and created their parts and their storylines to be as realistic as possible. "The Raymond Revuebar the Art of Striptease" (2002) is a documentary, directed by Simon Weitzman. "Los Debutantes" (2003) is a Chilean film set in a strip-club in Santiago. In the "Cradle 2 the Grave" a 2003 action film a woman named Daria, played by Gabrielle Union performs a striptease to distract a man named Odion, played by Michael Jace from the infiltration of a night club owned by a crime lord named Jump Chambers, played by Chi McBride. "Portraits of a Naked Lady Dancer" (2004) is a documentary, directed by Deborah Rowe. In "Closer" (2004), Natalie Portman plays Alice, a young stripper just arrived in London from America. "Crazy Horse Le Show" (2004) features dance routines from the Crazy Horse, Paris. "Mrs Henderson Presents" (2005) portrays the erotic dance routines and nude tableau-vivants which featured at the Windmill Theatre before and during World War II. The film "Factotum" (2005) (by Norwegian director Bent Hamer) concludes with Matt Dillon (in the role of Henry Chinaski - an alter ego of Charles Bukowski, who wrote the novel on which the film is based) having an artistic epiphany whilst watching a stripper in a strip club. "I Know Who Killed Me" (2007) stars Lindsay Lohan as Dakota Moss, an alluring stripper involved in the machinations of a serial killer, and features a long striptease sequence at a strip club. "Planet Terror" (2007) stars Rose McGowan as Cherry Darling, a beautiful go-go dancer who aspires to quit her job. In 2009 a DVD called, "Crazy Horse Paris" featuring Dita Von Teese was released. "Magic Mike" (2012) features a male stripper Mike Lane (Channing Tatum) guiding a younger male stripper in his first steps into stripping in clubs.


title: Nip/Tuck

text: Nip/Tuck is an American medical drama television series created by Ryan Murphy that aired on FX in the United States from July 22, 2003, to March 3, 2010. The series, which also incorporates elements of crime drama, black comedy, family drama, satire, and psychological thriller, focuses on "McNamara/Troy", a cutting-edge, controversial plastic surgery center, and follows the personal and professional lives of its founders Dr. Sean McNamara and Dr. Christian Troy (portrayed by Dylan Walsh and Julian McMahon, respectively). Each episode features graphic, partial depictions of the plastic surgeries on one or more patients, as well as developments in the doctors' personal lives. Focus is also given to McNamara/Troy's anesthesiologist Dr. Liz Cruz, Christian's many sexual partners, and Sean's family. With the exception of the pilot, each episode of the series is named after one of the patients scheduled to receive plastic surgery.


title: Nip/Tuck

text: Unlike most medical dramas, "Nip/Tuck" used serial storytelling and often had story arcs spanning multiple seasons; for example, seasons two and three focused on a serial rapist known as The Carver, who often mutilates his victims' faces, leading McNamara/Troy to provide "pro bono" surgery to the victims.


title: Nip/Tuck

text: The show premiered on July 22, 2003, and concluded on March 3, 2010, with the 100th episode. Despite being initially set in Miami, at the end of the fourth season, it was relocated to Los Angeles, and many of the characters followed along. The show earned 45 award nominations, winning one Golden Globe and one Emmy Award. Series creator Ryan Murphy said that the medical cases on the show are "100 percent based on fact".


title: Nip/Tuck

text: The drama is set in a plastic-surgery center, McNamara/Troy, centering on the two doctors who own it. Sean McNamara (Dylan Walsh) is often found having problems at home due to being seduced by beautiful women on a daily basis, and thus tries to keep his family together by patching up the rocky road in which his family and himself are living. Partner Christian Troy (Julian McMahon), though, uses his charm to bring in potential female candidates and conducts vain business deals, almost never failing and ending up with dozens of women in bed. Sean takes his job seriously and often must fix Christian's mistakes.


title: Nip/Tuck

text: In its debut season, "Nip/Tuck" was the highest-rated new series on American basic cable, and the highest-rated basic cable series of all time for the 18–49 and 25–54 age demographics.


title: Nip/Tuck

text: The fifth season premiered on October 30, 2007, though production was affected by the 2007 Writers Strike. Accordingly, the second half of the fifth season was not screened until January 6, 2009, in the U.S. Another 19 episodes were picked up by FX; airing on October 14, 2009. Following a three-week hiatus for the Christmas holidays, the show resumed in January 2010, and concluded on March 3, 2010, with its 100th episode.


title: Nip/Tuck

text: "Nip/Tuck" filmed its 100th and final episode on June 12, 2009, without creator Ryan Murphy, who was, at the time, in India scouting locations for his film version of the memoir "Eat, Pray, Love".


title: Nip/Tuck

text: For its third season, FX aired "Nip/Tuck" solely in the fall of 2005, instead of during the summer season, like the two years prior. John Landgraf, president of FX, stated that such a move was a "huge risk", since it stacked up "against the full barrage of fall network competition". Despite some criticism on its third season, the story arc involving The Carver attracted even more of an audience to the series than any of the seasons before, reaching its climax in a December 20, 2005, two-hour season finale, entitled "Cherry Peck / Quentin Costa", which became the most-watched scripted program in the history of the FX network.


title: Nip/Tuck

text: Including "Cherry Peck / Quentin Costa", three episodes of "Nip/Tuck" rank as the three most-watched scripted programs ever on FX. The second-season finale, entitled "Joan Rivers", which aired on October 5, 2004, drew 5.2 million viewers. It was then eclipsed on September 20, 2005, when the third-season premiere, entitled "Momma Boone", drew roughly 5.3 million viewers. Three months later on December 20, 2005, the aforementioned third-season finale, entitled "Cherry Peck / Quentin Costa", drew 5.7 million viewers. Of those 5.7 million viewers, 3.9 million were in the 18–49 age group demographic, "making the finale the number-one episode among the key advertising demographic of any cable series in 2005. It's also the largest demographic number for any single telecast in the network's history," according to Zap2It.


title: Nip/Tuck

text: According to the September 8, 2006, Mediaweek column "The Programming Insider", "the fourth-season premiere on Tuesday, September 5, 2006, averaged 4.8 million total viewers and 3.4 million adults 18–49, building over its season-three average by 25% and 26%, respectively. "Nip/Tuck"s performance among adults 18–49 ranks as basic cable’s top-rated season premiere in the demographic for 2006, as of September 8, 2006."


title: Nip/Tuck

text: In Australia, the series aired on Showcase and Nine Network; in Canada on CTV and Series+; in France on M6; in Ireland on TG4; in New Zealand on TV One and Canterbury Television; and in the United Kingdom on Fox, Sky Living, Sky1 and Channel 4. In the United Kingdom the showed only commenced airing on January 13, 2004. In South Africa the show aired, after the actual running time, on SABC 3.


title: Nip/Tuck

text: In 2013, the Colombian network Caracol TV produced the Spanish language adaptation of the series, titled "Mentiras perfectas" ("Perfect Lies").


title: Mad Max Beyond Thunderdome

text: Mad Max Beyond Thunderdome is a 1985 Australian post-apocalyptic dystopian action film directed by George Miller and George Ogilvie and written by Miller and Terry Hayes. It stars Mel Gibson and Tina Turner in a story of a lone roving warrior who is exiled into the desert and there encounters an isolated child cargo cult centred on a crashed Boeing 747 and its deceased captain.


title: Mad Max Beyond Thunderdome

text: Preceded by "Mad Max" in 1979 and "Mad Max 2" in 1981, the film is the third installment in the "Mad Max" franchise, and it is the third and last film to feature Gibson as Max Rockatansky. Miller revived the series in 2015 with the release of the fourth installment, "", which stars Tom Hardy in the title role.


title: Mad Max Beyond Thunderdome

text: In post-apocalyptic Australia, Max Rockatansky is crossing the desert in a motor vehicle pulled by camels. The airborne bandit Jedediah and his young son attack him and steal his vehicle, and Max follows Jedediah's trail to a trading post called Bartertown. Initially refused entry because he has nothing to trade, he impresses the local officials with his toughness, and the founder and ruler of the town, Aunty Entity, offers to resupply him if he completes a task.


title: Mad Max Beyond Thunderdome

text: Aunty explains that Bartertown's precious energy comes from a subterranean refinery, called Underworld, that turns pig feces into methane. The refinery is run by a resourceful dwarf called Master, who rides around on Blaster, his giant bodyguard. "Master Blaster" has begun to challenge Aunty for control of Bartertown, and she wants Max to kill Blaster so she can more easily subvert Master to her will.


title: Mad Max Beyond Thunderdome

text: Max inflitrates Underworld to size up Master Blaster and befriends Pig Killer, a convict sentenced to work there for slaughtering a pig to feed his children. When Master Blaster learns his newly-acquired vehicle belonged to Max, he forces Max to disarm a booby-trap. In doing so, Max sets off his alarm and discovers that Blaster is hypersensitive to high-pitched noises.


title: Mad Max Beyond Thunderdome

text: Back on the surface, Aunty tells Max that, by law, conflicts in Bartertown are resolved by a fight to the death in a gladiatorial arena called Thunderdome. Max publicly accuses Master of stealing his vehicle, which a mechanic has converted to run on methane, and a battle is scheduled against Blaster. The giant dominates until Max blows a bosun's whistle, which makes Blaster grab his head in pain. Max knocks Blaster's helmet off and prepares to kill him, but relents upon seeing that Blaster has an intellectual disability. Max reveals Aunty's plot and Master threatens to shut down the refinery, so Aunty has Blaster killed. She is then able to terrorize Master into keeping the refinery running.


title: Mad Max Beyond Thunderdome

text: For breaking a deal, Max is bound, placed on a horse, and sent into the Wasteland, his punishment determined by the spin of a wheel. When the horse collapses from exhaustion, Max frees himself and continues on foot until he also collapses.


title: Mad Max Beyond Thunderdome

text: Savannah Nix finds Max near death and hauls him back to her home, an oasis populated by a primitive tribe of children and teenagers. The children are descended from survivors of a crashed Boeing 747, some of whom left to seek help and never returned. They believe Max is the pilot, Captain Walker, come to fix the aeroplane and fly them to the fabled "Tomorrow-morrow Land". Max denies he is Walker and insists there is no longer any civilisation like that in their stories. Disillusioned, a group of children led by Savannah wants to attempt the journey to Bartertown, but Max stops them and has them tied up, saying everyone should go on living in the oasis.


title: Mad Max Beyond Thunderdome

text: During the night, the separatists escape. Max agrees to bring them back, taking a few children along, but both parties are in bad shape by the time he catches up. Out of supplies, Max is forced to lead the children back to Bartertown.


title: Mad Max Beyond Thunderdome

text: The combined group sneaks into Underworld and, with Pig Killer's help, frees Master and escapes in a modified truck down some train tracks, destroying the refinery and most of Bartertown in the process. Aunty orders her forces to pursue and retrieve Master, and Max and his group do their best to fight off the attackers. They come across Jedediah and his son, who Max coerces into providing a ride in their aeroplane. With the approach of Aunty's army shortening the runway, Max gets in his vehicle, which a child stole from one of Aunty's men, and crashes an opening so the plane can take off. Injured and alone, Max is spared by an impressed Aunty, who leaves to rebuild Bartertown.


title: Mad Max Beyond Thunderdome

text: Jedediah flies Master, Pig Killer, and the children to the ruins of Sydney. Years later, they have established a small community with other wanderers. While they attempt to rediscover the knowledge of the pre-apocalyptic world, each night Savannah recites the story of their journey and they light up the city as a beacon to lead Max, or anyone else still out there, home.


title: Mad Max Beyond Thunderdome

text: "Beyond Thunderdome" was the first "Mad Max" film made without producer Byron Kennedy, who was killed in a helicopter crash in 1983 while scouting locations for the film. Director George Miller was hesitant to continue without his producing partner, saying later: "I was reluctant to go ahead. And then there was a sort of need to – let's do something just to get over the shock and grief of all of that." There is a title card at the end of film before the credits roll that reads: "...for Byron".


title: Mad Max Beyond Thunderdome

text: Miller co-directed the film with George Ogilvie, with whom he had worked on the 1983 television miniseries "The Dismissal". About this decision, he said: "I had a lot on my plate. I asked my friend George Ogilvie, who was working on the mini-series, 'Could you come and help me?' But I don't remember the experience because I was doing it to just... You know, I was grieving." For the film, Miller and Ogilvie employed a group workshopping rehearsal technique that they had developed.


title: Mad Max Beyond Thunderdome

text: Exterior location filming took place primarily in the mining town of Coober Pedy, though the set for Bartertown was built at an old brickworks (the Brickpit) at Homebush Bay in Sydney's western suburbs, and the children's camp was in the Blue Mountains. According to cinematographer Dean Semler, ""Mad Max Beyond Thunderdome" proved far more challenging than "The Road Warrior". We were dealing with more varied environments than before and it was essential that each of the worlds created for the film have a distinctly different look."


title: Mad Max Beyond Thunderdome

text: The musical score for "Beyond Thunderdome" was composed by Maurice Jarre, replacing Brian May, who composed the music for the first two films in the series. The film also contains two songs performed by Tina Turner: "One of the Living", which plays over the opening titles, and "We Don't Need Another Hero (Thunderdome)", which plays over the end credits.


title: Mad Max Beyond Thunderdome

text: "We Don't Need Another Hero (Thunderdome)" reached #1 in Canada, #2 in the US, and #3 on the British single charts. "One of the Living" was rerecorded for single release, and it reached #15 in both Canada and the US, but only #55 in Britain. At the 28th Annual Grammy Awards, "One of the Living" won the award for Best Female Rock Vocal Performance.


title: Mad Max Beyond Thunderdome

text: A soundtrack album was released by Capitol Records in 1985. It included Turner's songs alongside an instrumental version of "We Don't Need Another Hero (Thunderdome)" on Side 1, and some of Jarre's music on Side 2. A double CD containing only Jarre's original music was issued in 2010 on Tadlow Music/Silva Screen Records.


title: Mad Max Beyond Thunderdome

text: Although the film's budget was larger than that of its predecessors, its box office yield was only moderate in comparison. It grossed A$4,272,802 at the Australian box office, less than what "Mad Max" made and less than half of what "Mad Max 2" made.


title: Mad Max Beyond Thunderdome

text: In the United States and Canada, the film grossed $36 million, generating theatrical rentals of $18 million. Outside of the U.S. (including Australia), it earned a similar amount, giving it worldwide rentals of $36 million.


title: Mad Max Beyond Thunderdome

text: Critical reaction to the film was generally positive, though reviewers disagreed over whether they considered the film to be the highest or lowest point of the "Mad Max" trilogy. Most of the negative criticism focused on the children in the second half of the film, whom many found too similar to the Lost Boys from the story of Peter Pan. Robert C. Cumbow of "Slant Magazine" identified "whole ideas, themes and characterizations" adopted from "Riddley Walker", a 1980 post-apocalyptic novel by Russell Hoban. On the other hand, there was much praise for the scene in the Thunderdome, which Roger Ebert of the "Chicago Sun-Times" called "the first really original movie idea about how to stage a fight since we got the first karate movies" and "one of the great creative action scenes in the movies". Ebert awarded the film 4 stars out of 4 and later placed it on his list of the ten best films of 1985. "Variety" wrote that the film "opens strong" and has good acting from Gibson, Turner, and the children.


title: Mad Max Beyond Thunderdome

text: Some fans of the series have criticised the film for being "Hollywood-ized" and having a lighter tone than its predecessors.


title: Mad Max Beyond Thunderdome

text: On review aggregator website Rotten Tomatoes, the film holds an 81% approval rating based on 54 reviews, with an average score of 6.5/10; the website's "critics consensus" reads: ""Beyond Thunderdome" deepens the Mad Max character without sacrificing the amazing vehicle choreography and stunts that made the originals memorable".


title: Mad Max Beyond Thunderdome

text: As with the previous installments of the "Mad Max" series, "Beyond Thunderdome" has influenced popular culture in numerous ways. Of particular note is the widespread use of the term "thunderdome" to describe a contest in which the loser suffers a great hardship.


title: Dimash Kudaibergen

text: Dinmuhammed Kanatuly Kudaibergen (, "Dınmūhammed Qanatūly Qūdaibergen"), born 24 May 1994, known professionally as Dimash Kudaibergen, is a Kazakh singer, songwriter, and multi-instrumentalist. He is university-trained in classical as well as contemporary music, and is known for his exceptionally wide vocal range. He has performed songs in thirteen languages.


title: Dimash Kudaibergen

text: Although offered a position at the Astana Opera, he decided to carve out his career in contemporary music, mixing classical elements and traditional Kazakh music with pop music.


title: Dimash Kudaibergen

text: He gained significant popularity in Kazakhstan and other post-Soviet countries in 2015 upon becoming the Grand Prix winner of "Slavianski Bazaar" in Vitebsk, Belarus. He rose to fame in China with his participation as a "wildcard competitor" in Hunan TV's "Singer 2017" () finishing second overall.


title: Dimash Kudaibergen

text: Dinmuhammed ("Dimash") Kanatuly Kudaibergen was born on 24 May 1994 in Aktobe, to Qanat Qūdaibergenūly Aitbaev () and Svetlana Aitbaeva (). His father previously led the regional Cultural Development Board of Aktobe. His mother is a soprano singer at the Aktobe Philharmonic Society, a Member of the Standing Committee on Social and Cultural Development (Deputy of Maslihat of Aktobe region) and Artistic Director of the children's studio Saz in the Aktobe Region.


title: Dimash Kudaibergen

text: Dinmuhammed was brought up in a close-knit musical family, and his grandparents played a major role in his upbringing, which followed largely traditional Kazakh customs.


title: Dimash Kudaibergen

text: Dinmuhammed began performing at a young age, singing and playing the piano. His first appearance on stage was at the age of two in a minor role in a local theatre production. At home Dinmuhammed took an interest in musical instruments, and his parents and his music teacher noticed that he had absolute pitch. At the age of five, he began to take piano and vocal lessons at the children's studio of the local music college. Dinmuhammed first sang on stage the same year, at the age of five. At the age of six, in 2000, he won the national piano contest Aynalayin.


title: Dimash Kudaibergen

text: At the age of five, Dinmuhammed began to take piano and vocal lessons at the children's studio of Aktobe's Akhmet Zhubanov Music College. He later attended Gymnasium No. 32 in Aktobe. Dinmuhammed completed a Broadway Musical master class in 2009. In 2014, he graduated in Classical Music with Major in Vocal (Bel Canto) from the music institute of K. Zhubanov University in Aktobe and began his studies in Contemporary Music (Jazz, Pop) at Kazakh National University of Arts in Astana, where he graduated with Major in Vocal on 27 June 2018. On 18 June 2020, he graduated from the same university with a Master's Degree in Composition by defending his Master's thesis with a perfect score, and receiving a recommendation for admission to doctoral studies in music.


title: Dimash Kudaibergen

text: He speaks Kazakh and Russian, and is studying English and Mandarin. He has performed songs in 13 languages, Kazakh, Russian, English, Mandarin Chinese, Italian, French, Spanish, German, Serbian, Turkish, Ukrainian, Kyrgyz, and Japanese.


title: Dimash Kudaibergen

text: From 2010 to 2013 Dinmuhammed participated in and won four major singing competitions, in Kazakhstan (Sonorous Voices of Baikonur, 2010, and Zhas Kanat, 2012), Ukraine (Oriental Bazaar, 2012), and Kyrgyzstan (Meikin Asia, 2013).


title: Dimash Kudaibergen

text: With winning the prestigious National Zhas Kanat Contest in 2012, Dinmuhammed gained for the first time wide attention from the Kazakh national media. He won the three-day vocal competition with a full jury score of 180 out of 180 points; the first time in the history of the contest. That same year he released his first self-composed work "Körkemım" (). In 2013 he was invited to perform as a guest singer at the Türkçevizyon Gala Night in Denizli, Turkey.


title: Dimash Kudaibergen

text: Following his graduation, Dinmuhammed performed in various European and Asian countries. In 2015, he was invited to participate at the Slavic Bazaar in Vitebsk, Belarus, an annual international contest for prominent singers, after one of the organizers had seen him perform live in Kazakhstan. Dinmuhammed went on to win the Grand Prix on 13 July 2015, with a score of 175 points out of 180. During the three days of the contest, he was the clear favorite of both the jury and audience. With his original renditions of the Kazakh folk song "Daididau", the Russian singer Alla Pugacheva's "Blizzard Again" () and the French singer Daniel Balavoine's "SOS d'un terrien en détresse", he gained wide recognition from the jury and international media. Chairman of the jury, Polad Bülbüloğlu, stated that Dinmuhammed possessed three voices in one: a low and medium voice, and altino, a rare voice, and that he used all of them professionally.


title: Dimash Kudaibergen

text: Upon winning Slavianski Bazaar, Dinmuhammed regularly appeared in national TV shows and public events. His guest performances included at Expo 2015 in Milan, Italy; at the theatrical show Mangilik El, dedicated to the 550th anniversary of the Kazakh Khanate; at the 2015 Eurasia International Film Festival in Almaty; and at an Astana Opera Concert that was attended by the Chinese President Xi Jinping.


title: Dimash Kudaibergen

text: Dinmuhammed released his second own composition "Unforgettable Day" in August 2015. In October 2015, Dinmuhammed was selected to represent Kazakhstan at the 2015 ABU TV Song Festival in Istanbul, Turkey. Dinmuhammed performed "Daididau", receiving a standing ovation. In November, Dinmuhammed performed at the closing ceremony of Mary – Culture and Arts Capital of the Turkic World festival, in Turkmenistan.


title: Dimash Kudaibergen

text: Dinmuhammed released his self-titled debut extended play (EP) on 1 January 2016. He appeared on various TV shows singing "My Swan" () in a duet with Mayra Muhammad-kyzy. In February 2016, his rendition of "Daididau" was selected by the European Broadcasting Union to represent Kazakhstan in their "Around the World in 80 Minutes of Music" program dedicated to the World Radio Day 2016 that was played by radio stations around the world. In March Dinmuhammed sang with his parents at the Women's Day concert in Astana, and took part in the "All Stars for My Beloved" concert dedicated to International Women's Day at the Kremlin Palace in Moscow. In March and April, he went on tour with the Kazakh University of Arts Symphony Orchestra in Vienna, Austria; Maribor, Slovenia; and Belgrade, Serbia, performing "SOS d'un terrien en détresse" and "Daididau".


title: Dimash Kudaibergen

text: Dinmuhammed had his first headlined tour from April to December 2016, in celebration of the 25th anniversary of independence of Kazakhstan. Dinmuhammed achieved 21 out of the 27 total planned concerts in 25 regions of Kazakhstan, which also included two additional concerts in the cities of Kazan and Ufa in Russia. He named his tour Unforgettable Day, after his own song by the same name. The concerts consisted of a wide variety of songs in various languages.


title: Dimash Kudaibergen

text: In July 2016, he was invited to perform at the Slavic Bazaar opening ceremony in Belarus, where he sang a duet with Nagima Eskalieva, and was also honored to raise the flag of the festival. In 2016 Dinmuhammed also served as a judge at Bala Dausy 2016 (Voice of Children 2016).


title: Dimash Kudaibergen

text: Other performance highlights of Dinmuhammed in 2016 included his guest performance at the annual Zhas Kanat Contest; and his performances of "Diva Dance" at an Astana Day Concert that was attended by the President of Kazakhstan; of the rap song "I Am Kazakh" (with Yerbolat and Alashuly) at Almaty's 1000th Birthday Gala Concert; at a UNESCO event in Paris, France; his performance at the Turkic Culture Festival in Seoul, South Korea, performing for the presidents of South Korea, Kazakhstan, Turkey, Kyrgyzstan, Azerbaijan, and Turkmenistan; and he represented Kazakhstan, alongside baritone Sundet Baigozhin, as a guest singer at the "Big Opera 2016" TV competition in Russia.