title: Catherine Martin (designer)

text: After her husband's insistence that she revisit "The Great Gatsby", which she had not read since adolescence, the two began working on the novel's cinematic reinvention. The conceptualization for the film began 10 years prior to its release. Three years before it made its debut, Martin and Luhrmann began the initial design project for the film. The two consulted academic texts about the novel, as well as historical analyses pertaining to both Fitzgerald himself, as well as his work. They visited libraries at the Metropolitan Museum of Art and the Fashion Institute of Technology to further their research. Martin described herself during this time as being "like a detective". Luhrmann stated that since the book took place in 1922, was published in 1925, but foreshadowed the economic crash of 1929, anything within that decade was available to borrow for design purposes. This allowed Martin more room to play with trends and flattering pieces, such as her choice to dress lead actor Leonardo DiCaprio in slimmer-cut suits than what would have been typical in the beginning of the decade. For the women's clothes in the film, she erred towards the end of the decade, wanting to focus on slimmer silhouettes. She also took artistic liberties when it came to the actresses' shoes, telling Vogue that she found heels from the era to be "stumpy". She rationalised her choice to her usually anachronistically aware-self to use thinner-heeled shoes by telling herself she was copying what was found in fashion illustrations from the time. Martin was charged with creating 500 outfits for the film's various cast members. Martin worked with Brooks Brothers and Miuccia Prada, a longtime friend of her husband's, to design the costumes for the film. Prada designed twenty of the dresses for the film's first party scene, and an additional twenty for a second party scene. Tiffany & Co. supplied the film's jewelry.


title: Catherine Martin (designer)

text: For "The Great Gatsby" sets, Martin took inspiration from 1920s designer Syrie Maugham, as well as from houses on the Long Island Shore, where part of the film takes place. In total, 42 sets were constructed under Martin's vision in 14 weeks. She and Luhrmann aimed to make the film feel authentic, but also connective for a modern audience. For her work on the film, Martin earned the 2013 Academy Award for Best Costume Design, as well as the Academy Award for Best Production Design, the latter which she shares with Beverley Dunn. These two wins resulted in Martin becoming the Australian with the most Academy Awards.


title: Catherine Martin (designer)

text: Shortly after the release of "Gatsby", Martin collaborated with Brooks Brothers to release a limited edition menswear collection. She has also launched a range of home wares, featuring paints, wallpaper and rugs.


title: Catherine Martin (designer)

text: In 2013, Martin was a Glamour Magazine Woman of the Year. Discussing her and Luhrmann's progression as artists, Marin told the magazine, "We've gone from me staying up all night to paint the floor to where I am now, with 300 carpenters working for me. I feel like the ". For her spread in their December issue, her husband photographed her alongside their children.


title: Catherine Martin (designer)

text: Martin's work was featured in fellow costume designer Deborah Nadoolman Landis' 2013 book "Hollywood Costume".


title: Catherine Martin (designer)

text: She has stated that she is no longer tempted to keep any wardrobe mementos from the films she works on, telling Fashionista, "... I realised through long and hard experience the best record of your work, is the work itself."


title: Catherine Martin (designer)

text: Martin has stated that she prides herself on ensuring the costumes she produces are beautifully made, comfortable, and easy to take on and off.


title: Catherine Martin (designer)

text: In 2016, Martin and Luhrmann developed the Netflix television series "The Get Down", which takes place in 1970s South Bronx. Martin was an executive producer of the series.


title: Catherine Martin (designer)

text: In 2022, she was the recipient of the Longford Lyell Award at the AACTA Awards, a lifetime achievement award which is the highest accolade awarded by the Australian Academy of Cinema and Television Arts.


title: Catherine Martin (designer)

text: She met her husband, Baz Luhrmann, in college and the pair wed in 1997. The couple has two children together: a girl, Lillian Amanda Luhrmann, born on 10 October 2003 and a boy, William Alexander Luhrmann, who was born on 8 June 2005. In July 2015, the couple placed their Darlinghurst, Sydney, home on the market for $16 million AUD, in favour of establishing a more settled family life in New York City, where their family has been spending more and more time.


title: Viktor Bryukhanov

text: Viktor Petrovich Bryukhanov (, ; 1 December 1935 – 12 October 2021) was the manager of construction of the Chernobyl Nuclear Power Plant and the director of the plant from 1970 to 1986.


title: Viktor Bryukhanov

text: Bryukhanov was born on 1 December 1935 in the city of Tashkent, Uzbekistan (at the time part of the USSR). He was the oldest son, out of four children. His father used to work as a glazier and his mother was a cleaning lady. He later went on to become the only one of his brothers to receive higher education attaining a degree from Energy Department of the Tashkent Polytechnic in electrical engineering in 1959. After graduation, he was offered a job at Academy of Sciences of Uzbekistan. He worked at the Angren Thermal Power Plant in the following positions: duty de-aerator installer, driver of feed pumps, assistant turbine driver, turbine driver, senior turbine workshop engineer, shift supervisor and became workshop director a year later.


title: Viktor Bryukhanov

text: In 1966, he was invited to work at the Slavyanskaya Thermal Power Plant. He started as a senior foreman and rose up to the rank of head of workshop and finally, deputy chief engineer, finally resigning in 1970 to build a nuclear power plant in Ukraine (which at the time was also part of the USSR). He was a member of Communist Party of Soviet Union since 1966. Between 1970 and 1986, he was repeatedly elected member of the regional district office of Kyiv, Chernobyl, and Pripyat city committees of the party.


title: Viktor Bryukhanov

text: Viktor met his wife Valentina at Angren Power Plant. Valentina was an assistant to a turbine engineer and Viktor was a trainee fresh from the university.


title: Viktor Bryukhanov

text: In 1970 the energy minister offered Bryukhanov a new assignment – build an atomic power plant consisting of four RBMK reactors on the banks of the Pripyat River in Ukraine. Initially, Bryukhanov proposed construction of pressurized water reactors (PWRs), but this decision was met with opposition stating safety and economic reasons supporting construction of RBMK reactors, which was eventually performed. At a cost of almost 400 million roubles, Bryukhanov was responsible for building the reactors from scratch. As there was nothing nearby, he would need to bring materials and equipment to the construction site. He organized a temporary village, known as "Lesnoy", and had a schoolhouse built. In 1970, he was joined in Lesnoy by his wife, six-year-old daughter and infant son. By 1972, they had moved into the new city of Pripyat.


title: Viktor Bryukhanov

text: During construction, deadlines were missed due to tight schedules, lack of construction equipment, and defective materials. Three years after assuming the role of director, the plant still had not been completed. He offered to resign, but his resignation was torn up by his Party-appointed supervisor from the Energy Ministry in July 1972. On 1 August 1977, two years later than planned and more than seven years after the planning and the construction of the plant was launched, the first reactor of the Chernobyl Power Plant went online. At 8:10pm on 27 September the same year, Ukraine's first nuclear electricity ran across 110 and 330 kilovolt lines and on to the Soviet power grid.


title: Viktor Bryukhanov

text: Bryukhanov presided over the response to fuel element damage at Reactor 1 on 9 September 1982, when contaminated steam was vented into the atmosphere. The radioactive contaminants had spread fourteen kilometers from the plant and reached Pripyat, but the authorities determined that the public should not be informed, and that decontamination was only necessary on the grounds of the plant itself.


title: Viktor Bryukhanov

text: On 26 April 1986, the head of the chemical division called Bryukhanov to report an incident at the station. He had not been informed that there was another attempt at the rundown test that night. While on a bus passing by the fourth reactor block, Bryukhanov realized the upper structure of the reactor was gone. He ordered all authorities to meet at the nuclear bunker in the basement of the administration building. Bryukhanov attempted to contact the shift supervisor but there was no answer at the fourth reactor block. He then activated a General Radiation Accident on the automatic telephone system, which sent a coded message to the Ministry of Energy. He then had to report the situation to his superiors in Moscow and to the local Communist officials.


title: Viktor Bryukhanov

text: Lacking high-range dosimeters, officials had difficulty determining whether a radiation release had occurred or not and, if so, how much radiation had been released. Bryukhanov, assisted by chief engineer Nikolai Fomin, instructed the operators to maintain and restore coolant supply, unaware that the reactor had already been destroyed. The civil defense chief told him that radiation had reached the maximum reading of the military dosimeter of 200 roentgen per hour. At 3:00 AM, Bryukhanov, contacted Vladimir V. Marin, the official in charge of nuclear matters of the Communist Party at his Moscow home to report the accident and assure officials that the situation was under control. The radiation team reported that levels was only 13 microroentgen per hour, which was reassuring but incorrect. At 5:15, deputy chief engineer Anatoly Dyatlov, who had been overseeing the test, staggered into the bunker with the operating reports showing power levels and coolant pressure charts. Even though he had personally seen the damage to the reactor building, Bryukhanov continued to maintain that the reactor core was intact until well after daybreak.


title: Viktor Bryukhanov

text: Bryukhanov remained nominally in charge of the plant in the weeks that followed, although he now slept at the Fairy Tale Pioneer Camp. A criminal investigation was begun on the day of the accident and was led by Sergei Yankovsky. Bryukhanov was questioned by Yankovsky about the causes of the accident. After Bryukhanov went on a week's leave on 22 May to visit his family, party officials made arrangements to remove him permanently from his position as director of the power plant. He returned from his vacation to find he had been reassigned to a back office job.


title: Viktor Bryukhanov

text: Bryukhanov was summoned to Moscow and attended a turbulent meeting with the Politburo on 3 July in which the causes of the accident were discussed. In attendance was the RBMK designer Anatoly Alexandrov, Efim Slavsky of the Ministry of Medium Machine Building (Sredmash) and Valery Legasov of the Kurchatov Institute. Bryukhanov was accused of mismanagement and it was decided that operator error was the primary cause of the accident, while reactor design flaws were also a factor. Mikhail Gorbachev was furious and accused the nuclear designers of covering up dangerous problems with the Soviet nuclear industry for decades. Following the meeting, Bryukhanov was expelled from the CPSU.


title: Viktor Bryukhanov

text: On his return, he faced further questioning by investigators. On 19 July, an official explanation was published in Vremya, blaming the disaster entirely on the operators and local management. The true cause of the accident was classified by the KGB. On hearing the news on TV, Bryukhanov's mother collapsed from a heart attack and died. Bryukhanov was charged on 12 August and imprisoned by the KGB. At first he refused legal representation since he regarded the verdict as pre-determined but his wife, during her permitted monthly visit, changed his mind. As part of discovery procedures dictated by the law, investigators brought him the materials they uncovered during the course of their inquiries, which were used in a case against him. Bryukhanov also found a letter written by one of the Kurchatov Institute experts, which revealed the perilous design faults that were kept hidden from him and his staff for 16 years. On 20 January 1987, after he sat in isolation for six weeks, the prosecutor's office filed their closing indictment with the Supreme Court of the Soviet Union. All of the 48 files of evidence sent to Moscow were classified.


title: Viktor Bryukhanov

text: Bryukhanov was charged with gross violation of safety regulations, creating conditions that led to an explosion, mismanagement by understating the radiation levels after the accident and sending people into known contaminated areas. For the lesser charges of administrative negligence, Bryukhanov entered a plea of guilty. He contested the more serious charges of abuse of power brought against him. In his testimony, he defended the safety record of the plant and emphasized the difficulty of his duties but did little else to defend himself. He knew the outcome was largely predetermined and he had at least play his part.


title: Viktor Bryukhanov

text: Bryukhanov was found guilty and given the maximum sentence of ten years. He was sent to a penal colony in Donetsk to serve his sentence.


title: Viktor Bryukhanov

text: In September 1991, he was released early for good behavior. After his release, he worked in the ministry of international trade in Kyiv. Bryukhanov lived with his wife in the Desnianskyi District in Kyiv from 1992. He had served half of his 10-year jail term.


title: Viktor Bryukhanov

text: In 1995, Bryukhanov worked as an employee of Ukrinterenergo, Ukraine's state-owned energy company, in charge of liquidating the consequences of the Chernobyl accident. By his 80th birthday in December 2015, Bryukhanov had retired due to failing eyesight.


title: Viktor Bryukhanov

text: Bryukhanov stressed in various interviews that neither he nor his employees were to blame for the Chernobyl disaster, and claimed the accident was caused by "the imperfection of technology."


title: Viktor Bryukhanov

text: Bryukhanov died in Kyiv on 13 October 2021, at the age of 85. The official cause of death was not communicated. Bryukhanov had a severe form of Parkinson's disease, in addition to having suffered a series of strokes in 2015 and 2016.


title: Interfaith marriage in Islam

text: Interfaith marriages are recognized between Muslims and Non-Muslim "People of the Book" (usually enumerated as Jews, Christians, and Sabians). According to the traditional interpretation of Islamic law ("sharīʿa"), a Muslim man is allowed to marry a Christian or Jewish woman but this ruling doesn't apply to women who belong to other Non-Muslim religious groups, whereas a Muslim woman is not allowed to marry a Non-Muslim man of any Non-Muslim religious group.


title: Interfaith marriage in Islam

text: In the case of a Muslim-Christian marriage, which is to be contracted only after permission from the Christian party, the Christian spouse is not to be prevented from attending church for prayer and worship, according to the Ashtiname of Muhammad, a treaty between Muslims and Christians recorded between Muhammad and Saint Catherine's Monastery.


title: Interfaith marriage in Islam

text: In some societies outside the traditional "dar al-islam", interfaith marriages between Muslims and Non-Muslims are not uncommon, including marriages that contradict the historic Sunni understanding of "ijmāʿ" (the consensus of "fuqāha") as to the bounds of legitimacy. The tradition of reformist and progressive Islam, however, permits marriage between Muslim women and Non-Muslim men; Islamic scholars opining this view include Khaleel Mohammed, Daayiee Abdullah, and Hassan Al-Turabi, among others.


title: Interfaith marriage in Islam

text: In general, the Quran tells Muslim men not to marry Non-Muslim women, and it tells Muslim women not to marry Non-Muslim men, but it makes an allowance for Muslim men to marry women of the People of the Book (usually Jews, Christians, and Sabians). No such allowances are made for women. Some Muslim scholars discourage all interfaith marriages, citing cultural differences between Muslims and Non-Muslims.


title: Interfaith marriage in Islam

text: Although the Quran contains no explicit prohibition for Muslim women marrying Non-Muslim men, scholars argue that the fact that Quran makes allowance for men, but not for women, means Muslim women are prohibited from interfaith marriages. Khaled Abou El Fadl writes that he did not find a single scholar in classical jurisprudence who disagreed with the prohibition of marriage between Muslim women and Non-Muslim men.


title: Interfaith marriage in Islam

text: In the United States, for example, about one in ten Muslims are married to Non-Muslims, including about one in six Muslims under 40 and about 20% of Muslims who describe themselves as less devoutly religious. The tradition of reformist and progressive Islam, however, permits marriage between Muslim women and Non-Muslim men; Muslim scholars opining this view include Khaleel Mohammed, Daayiee Abdullah, and Hassan Al-Turabi, among others.


title: Interfaith marriage in Islam

text: Despite Sunni Islam prohibiting Muslim women from marrying Non-Muslim men in interfaith marriages, interfaith marriages between Muslim women and Non-Muslim men take place at substantial rates, contravening the traditional Sunni understanding of "ijma". The modern tradition of reformist and progressive Islam has also come to permit marriage between Muslim women and Non-Muslim men, with Islamic scholars opining this view including Khaleel Mohammed, Daayiee Abdullah, and Hassan Al-Turabi, among others. In the United States, about 10% of Muslim women are today married to Non-Muslim men.


title: Interfaith marriage in Islam

text: Many Arab countries allow interfaith marriages to Christian or Jewish women but not to Christian or Jewish men. In Lebanon for example there is no civil personal status law and marriages are performed according to the religion of the spouses. In India, Muslim women can freely marry Non-muslim men. In order to promote trust among the religions, these marriages find larger acceptance in Indian society. Turkey allows marriages between Muslim women and Non-Muslim men through secular laws. In Tunisia since 16 September 2017, Muslim women can lawfully marry any man of any faith, or of none. In Malaysia, a Non-Muslim must convert to Islam in order to marry a Muslim and the offspring of such unions are automatically Muslims.


title: Interfaith marriage in Islam

text: Recent studies on interfaith marriages in Muslim-majority countries have shown that parent attitudes remain more negative toward marriage of a daughter as compared to a son, and that "stronger religious belief was associated with more negative attitudes", though less in the case of Muslims who perceived Islam and Christianity as more similar than distinct.


title: Kenney Jones

text: Kenneth Thomas "Kenney" Jones (born 16 September 1948) is an English drummer best known for his work in the groups Small Faces, Faces, and the Who. Jones was inducted into the Rock and Roll Hall of Fame in 2012 as a member of Small Faces/Faces.


title: Kenney Jones

text: Having previously been in a band with Ronnie Lane, Jones was one of the founding members of the English rock group Small Faces. Active from 1965 to 1969, Small Faces were part of the Mod trend of the 1960s. Their hits included "All or Nothing", "Sha-La-La-La-Lee", "Itchycoo Park" and "Tin Soldier".


title: Kenney Jones

text: In 2007, Small Faces were honoured by Westminster Council with a commemorative plaque placed at what was Don Arden's offices in Carnaby Street, the band's "spiritual home". Jones himself unveiled the plaque. In a BBC interview, Jones said: "To honour the Small Faces after all these years is a terrific achievement. I only wish that Steve Marriott, Ronnie Lane and Don Arden were here to enjoy this moment with me". Since the death of Jimmy Winston in September 2020, Jones and Rick Wills are the sole surviving members of the Small Faces.


title: Kenney Jones

text: In 2004 "The Observer" listed the Small Faces' 1968 release "Ogdens' Nut Gone Flake" one of the "top British albums of all time".


title: Kenney Jones

text: After the departure of lead singer/guitarist Steve Marriott in 1969, the group recruited singer Rod Stewart and guitarist Ronnie Wood to replace Marriott. Both were formerly from the Jeff Beck Group. The band changed its name to the Faces, as the original name was associated with the small stature of its members, and Stewart and Wood did not fit the description. Jones remained with the band until its dissolution in late 1975, recording four studio albums and a live album with them.


title: Kenney Jones

text: In November 1978, Jones was invited by guitarist Pete Townshend and manager Bill Curbishley to join The Who, replacing their original drummer Keith Moon, who had died of a drug overdose in September. He was invited, in part, because the band had been friendly with him from his days with the Small Faces (he and Moon were friends and were together on the last night of Moon's life in 1978, as part of the viewing party put together by Paul McCartney for "The Buddy Holly Story"), and because he had played with Townshend, Roger Daltrey and John Entwistle on the "Tommy" soundtrack. He played on the albums "Face Dances" and "It's Hard" and also played on the soundtrack for Daltrey's film "McVicar", as well as on the band's tours from 1979 to 1982. Jones played with the band at Live Aid in 1985.


title: Kenney Jones

text: Jones' final appearance as a regular member of the Who was when the group received a lifetime achievement award at the 1988 British Phonographic Industry awards ceremony. He was frequently at odds with Daltrey, who felt that Jones' drumming style was not right for the band (Jones's playing was usually straighter and less frenetic than Moon's), but Daltrey has denied having anything personal against Jones or his drumming.


title: Kenney Jones

text: Jones was replaced by Simon Phillips for the Who's 1989 reunion tour. In an April 2011 special edition of "Uncut" magazine, Townshend said that Jones was a good choice for the band.


title: Kenney Jones

text: Jones reunited with The Who on 14 June 2014 at the Rock n Horsepower benefit concert held at his Hurtwood Polo Club. The band performed for an event set up by Jones to benefit Prostate Cancer UK, an organization that promotes awareness of the disease that Jones has. It was the first time that he had appeared onstage with Townshend and Daltrey since 1988. Sharing the bill were contemporaries such as Jeff Beck, Procol Harum and Mike Rutherford.


title: Kenney Jones

text: Jones formed partnerships with former Free, Bad Company, and The Firm singer Paul Rodgers in the early 1990s, forming a band called The Law.


title: Kenney Jones

text: In 2001, Jones formed a new band; over several months, the line-up solidified to include Rick Wills and Robert Hart. In 2005, The Jones Gang released their debut album, "Any Day Now".


title: Kenney Jones

text: Jones has been featured on recordings as a guest drummer on many recording sessions, including appearances on albums by Rod Stewart, The Rolling Stones, Ronnie Wood, Roger Daltrey, Andy Fairweather-Low, Joan Armatrading, Keith Moon, Marsha Hunt, Mike Batt, Pete Townshend, Chuck Berry, Jerry Lee Lewis, David Essex, John Lodge and Wings. He was also on a "Top of the Pops" performance with Status Quo, performing their 1986 hit single, "Red Sky".


title: Kenney Jones

text: Outside of music, Jones is a fan of polo. He has become an accomplished polo player and is the owner of Hurtwood Park Polo Club, in Ewhurst, Surrey.


title: Kenney Jones

text: On behalf of Small Faces and in memory of his late colleagues Steve Marriott and Ronnie Lane, Jones established a children's charity, the Small Faces Charitable Trust, in 1999.


title: Kenney Jones

text: Jones is a supporter of the Conservative Party, and recorded a song called "Mr Brown" written by Robert Hart, criticising the tax policies of the then Chancellor of Exchequer Gordon Brown. He has also performed in support of the Countryside Alliance.


title: Kenney Jones

text: Jones' memoir, "Let the Good Times Roll: My Life in Small Faces, Faces, and The Who", was released in September 2018 ().


title: Kenney Jones

text: Jones has six children. He is married to retired model Jayne Andrew, mother of four of his children. He was previously married to singer Jan Osborne, sister of Gary Osborne. In September 2013 he was diagnosed with prostate cancer, for which he was treated with brachytherapy.


title: Kenney Jones

text: Jones stated that he "virtually taught" Zak Starkey, son of Ringo Starr, how to play drums. Jones was close friends with Starkey's parents. After replacing Moon in The Who, Jones gave Starkey one of Moon's old drum kits. In 1996, Starkey became The Who's touring drummer.


title: They Shoot Horses, Don't They? (film)

text: They Shoot Horses, Don't They? is a 1969 American psychological drama film directed by Sydney Pollack, from a screenplay written by Robert E. Thompson and James Poe, based on Horace McCoy's 1935 novel of the same name, and starring Jane Fonda, Michael Sarrazin, Susannah York, Gig Young, Bonnie Bedelia and Red Buttons. It focuses on a disparate group of individuals desperate to win a Depression-era dance marathon and an opportunistic emcee who urges them on.


title: They Shoot Horses, Don't They? (film)

text: The film was released theatrically in the United States on December 10, 1969, and also premiered at the 1970 Cannes Film Festival. The film became a critical and commercial success, grossing $12.6 million on a budget of $4.86 million, becoming the seventeenth highest-grossing film of 1969. Reviewers praised its direction, screenplay, depiction of the depression era, and performances (especially of Fonda, York and Young). It received nine nominations at the 42nd Academy Awards including; Best Director, Best Actress (for Fonda), Best Supporting Actress (for York), Best Adapted Screenplay, with Young winning for Best Supporting Actor. As of , it holds the record for most Oscar nominations without one for Best Picture.


title: They Shoot Horses, Don't They? (film)

text: Robert Syverton is a homeless man, who recalls the events leading to an unstated crime. As a boy, he saw a horse breaking its leg, after which it was shot and put out of misery. Years later, in the Great Depression, he wanders into a dance marathon about to begin in the shabby ballroom, near the Pacific Ocean on the Santa Monica Pier. Couples are competing for a prize of $1,500 in silver dollars and hoping to be spotted by Hollywood celebrities and talent scouts in the audience. Robert is recruited by Rocky, the contest's promoter and emcee, as the substitute partner of selfish Gloria Beatty, after her previous partner is disqualified due to bronchitis.


title: They Shoot Horses, Don't They? (film)

text: The other marathon contestants include retired sailor Harry Kline, emotionally fragile aspiring London actress Alice, her partner and aspiring actor Joel, impoverished farmer James and his pregnant wife Ruby. Early in the marathon, the weaker pairs are eliminated quickly, while Rocky observes the vulnerabilities of the stronger contestants and exploits them for the audience's amusement. The arena employs quack doctors to cover up the extreme physical and mental damage to participants. Frayed nerves are exacerbated by the theft for one of Alice's dresses (especially Rocky using it in order to make artificial drama and entertain the audience) and Gloria's displeasure at the attention Alice receives from Robert. Robert ends up pairing off with Alice while Gloria takes Joel as her partner, then switches to Harry after Joel leaves for a job. Weeks into the marathon, in order to spark the paying spectators' enthusiasm, Rocky stages a series of derbies, in which many contestants run around the dance floor, with the last three couples eliminated. After Harry dies of a heart attack during a derby, the undeterred Gloria carries him and crosses the finish line. Rocky disqualifies Harry and the medics remove his body from the dance floor. This incident causes Alice to have a nervous breakdown. When Alice showers with clothes on, Rocky comforts her and removes her from the competition. Lacking partners, Gloria and Robert again pair up.


title: They Shoot Horses, Don't They? (film)

text: Rocky suggests that Gloria and Robert get married during the marathon, a publicity stunt guaranteed to earn more cash for them, in the form of gifts from supporters such as Mrs. Laydon, a wealthy woman sponsoring them throughout the contest. When Gloria refuses, Rocky reveals the contest's invoice paper sheet: expenses will be deducted from the prize money, leaving the winner with close to nothing. Gloria and Robert leave the competition. While packing up her things, Gloria searches for one of her silk stockings. When Robert finds the damaged one, she breaks down. The two leave the dance hall and stand on the pier near the beach. Gloria confesses to Robert how empty she feels, and that she is tired of her life. Gloria pulls a gun from her purse, but cannot bring herself to pull the trigger. She desperately asks Robert to kill her, handing him her gun; he complies. Later, police officers arrest Robert and remove Gloria's body. Asking why he did it, Robert tells the police that she'd asked him to; further pressing him if that's the only reason he had, Robert remarks "They shoot horses, don't they"? The marathon continues with the few remaining couples, having gone up to 1,491 hours.


title: They Shoot Horses, Don't They? (film)

text: In the early 1950s, Norman Lloyd and Charlie Chaplin were looking for a project on which to collaborate, with Lloyd as director and Chaplin as producer. Lloyd purchased the rights to Horace McCoy's novel for $3,000 and planned to cast Chaplin's son, Sydney, and newcomer Marilyn Monroe in the lead roles. Once arrangements were completed, in 1952 Chaplin took his family on what was intended to be a brief trip to the United Kingdom for the London premiere of "Limelight". During this trip, in part because Chaplin was accused of being a Communist supporter during the McCarthy era, FBI head J. Edgar Hoover negotiated with the Immigration and Naturalization Service to revoke his re-entry permit and the film project was cancelled. When the rights to the book reverted to McCoy's heirs sixteen years later (he had died in 1955), they refused to renew the deal with Lloyd, since nothing had come of his original plans.


title: They Shoot Horses, Don't They? (film)

text: A script was written by James Poe, who wanted to direct. The rights were bought by Palomar Pictures, whose president was then Edgar Scherick. Scherick offered the project to the producing team of Bob Chartoff and Irwin Winkler, who were enthusiastic, but felt the script needed a rewrite and that they would struggle to make the film for Scherick's desired budget of $900,000. They also had concerns about Poe's ability as a director and worried that he was too arrogant.


title: They Shoot Horses, Don't They? (film)

text: Mia Farrow was interested in starring but Scherick felt her fee of $500,000 was too high. Eventually it was agreed to show the script to Jane Fonda, who was interested. Michael Sarrazin was borrowed from Universal to play the male lead. Scherick eventually agreed to raise the budget to $4 million. Martin Baum (agent) became head of ABC Pictures and Winkler says Baum arranged for Scherick to be fired. Baum wanted the second female lead to be played by Susannah York though Poe had promised the role to his then-girlfriend. Winkler says it was Baum who suggested Red Buttons and Gig Young, and pushed for Poe to be fired. The producers were reluctant especially as Jane Fonda liked Poe and had director approval. Winkler arranged for Poe to direct a screen test for Bonnie Bedelia with Fonda; the test did not go well and Fonda became less enthusiastic about Poe's capabilities as a director. Poe was fired from the project.


title: They Shoot Horses, Don't They? (film)

text: The main candidates to replace Poe were William Friedkin, Sydney Pollack and Jack Smight. According to Winkler, Smight wanted $250,000, Friedkin wanted $200,000 and Pollack was willing to do it for $150,000. Pollack got the job.


title: They Shoot Horses, Don't They? (film)

text: Fonda said she was originally unimpressed by the script, but her husband Roger Vadim, who saw similarities between the book and works of the French existentialists, urged her to reconsider.


title: They Shoot Horses, Don't They? (film)

text: Meeting with Pollack to discuss the script, she was surprised when he asked for her opinion. She later said, "It was the first time a director asked me for input on how I saw the character and the story." She read the script with a critical eye, made notes on the character and later observed in her autobiography, "It was a germinal moment [for me] ... This was the first time in my life as an actor that I was working on a film about larger societal issues, and instead of my professional work feeling peripheral to life, it felt relevant." Troubled about problems in her marriage at the time, she drew on her personal anguish to help her with her characterization.


title: They Shoot Horses, Don't They? (film)

text: Warren Beatty originally was considered for the role of Robert Syverton and Pollack's first choice for Rocky was character actor Lionel Stander.


title: They Shoot Horses, Don't They? (film)

text: During filming there was an issue with Susannah York, who wanted a guarantee she would be able to make "Country Dance". When this was not forthcoming, it seemed she would have to be replaced and Pollack suggested Sally Kellerman. However, York relented and agreed to make the film.


title: They Shoot Horses, Don't They? (film)

text: The film uses the unusual technique of flashforward (glimpses of the future). It occurs during the last 18 minutes of the film, as passages appear foreshadowing the fate of Robert, just before the tragic ending. Costar Gig Young was noted for his deep characterization of Rocky: he patterned his character after the bandleader and radio personality Ben Bernie, and used Bernie's famous catchphrase, "Yowza! Yowza! Yowza!", for the character in the film.


title: They Shoot Horses, Don't They? (film)

text: The ballroom band consisted of several professional jazz musicians, all uncredited. The band was led by Bobby Hutcherson and included Hugh Bell, Ronnie Bright, Teddy Buckner, Hadley Caliman, Teddy Edwards, Thurman Green, Joe Harris, Ike Isaacs, Harold Land and Les Robertson.


title: They Shoot Horses, Don't They? (film)

text: The film was a box office success, grossing $12.6 million in the United States and Canada on a $4.86 million budget, generating theatrical rentals of $5.98 million making it the 16th highest-grossing film of 1969. It grossed $28,000 in its opening week.


title: They Shoot Horses, Don't They? (film)

text: The film was screened at the 1970 Cannes Film Festival, but was not entered into the main competition. In the United States, the film was applauded for portraying the Depression era.


title: They Shoot Horses, Don't They? (film)

text: Roger Ebert gave the film four stars out of four and named it as one of the best American movies of the 1970s:


title: They Shoot Horses, Don't They? (film)

text: "They Shoot Horses, Don't They?" is a masterful re-creation of the [dance] marathon era for audiences that are mostly unfamiliar with it. In addition to everything else it does, ""Horses"" holds our attention because it tells us something we didn't know about human nature and American society. It tells us a lot more than that, of course, but because it works on this fundamental level as well. It is one of the best American movies of the 1970s.


title: They Shoot Horses, Don't They? (film)

text: The movie is far from being perfect, but it is so disturbing in such important ways that I won't forget it very easily, which is more than can be said of much better, more consistent films ... The movie is by far the best thing that Pollack has ever directed (with the possible exception of "The Scalphunters"). While the cameras remain, as if they had been sentenced, within the ballroom, picking up the details of the increasing despair of the dancers, the movie becomes an epic of exhaustion and futility.


title: They Shoot Horses, Don't They? (film)

text: "Variety" said, "Puffy-eyed, unshaven, reeking of stale liquor, sweat and cigarettes, Young has never looked older or acted better. Fonda ... gives a dramatic performance that gives the film a personal focus and an emotionally gripping power."


title: They Shoot Horses, Don't They? (film)

text: Although it is at times heavy-handed, "They Shoot Horses, Don't They?" is a tour de force of acting. Fonda here got her first chance to prove herself as a serious, dramatic actress ... Young is superb in his role, a sharp switch from his usual bon vivant parts ... Pollack does one of his best jobs of directing, even if his primary strength lies in his rapport with actors. The look of the film is just right and Pollack skillfully evokes the ratty atmosphere amid which explosive emotions come to a boil ... [It] remains a suitably glum yet cathartic film experience.


title: They Shoot Horses, Don't They? (film)

text: In 1996, Steve Simels of "Entertainment Weekly" observed, "Sydney Pollack's dance-marathon movie has probably aged better than any American film of its time."


title: They Shoot Horses, Don't They? (film)

text: "They Shoot Horses, Don't They?" was released on DVD by Anchor Bay Entertainment in 1999. It was later reissued on DVD by MGM Home Entertainment on October 19, 2004. Kino Lorber released the film for the first time on Blu-ray on September 5, 2017.


title: They Shoot Horses, Don't They? (film)

text: Turner Classic Movies observed, "By popularizing the title of McCoy's novel, [the film] gave American argot a catch-phrase that's as recognizable today as when the movie first caught on."


title: Extreme Rules (2021)

text: The 2021 Extreme Rules was the 13th annual Extreme Rules professional wrestling pay-per-view and livestreaming event produced by WWE. It was held for wrestlers from the promotion's Raw and SmackDown brand divisions. The event took place on September 26, 2021, at the Nationwide Arena in Columbus, Ohio, and was the first Extreme Rules to air on the livestreaming service Peacock. It was also the first and so far only Extreme Rules event to be held in September, replacing Clash of Champions that was previously held during that month; Extreme Rules was moved to October the following year.


title: Extreme Rules (2021)

text: The event was originally scheduled to take place on July 18 at the SAP Center in San Jose, California, but it was postponed and relocated due to issues stemming from the COVID-19 pandemic in 2020. Although the concept of Extreme Rules is that the event features various hardcore-based matches, for the 2021 event, only the main event match was contested under a hardcore stipulation. The 2021 event also saw a return to its original name, after the previous year's event was titled as The Horror Show at Extreme Rules. Notably, this event was also the first Extreme Rules event where no titles changed hands—five championships were defended and retained.


title: Extreme Rules (2021)

text: Seven matches were contested at the event, including one on the Kickoff pre-show. In the main event, Roman Reigns defeated "The Demon" Finn Bálor in an Extreme Rules match to retain SmackDown's Universal Championship. In other prominent matches, The Usos (Jey Uso and Jimmy Uso) defeated The Street Profits (Angelo Dawkins and Montez Ford) to retain the SmackDown Tag Team Championship, SmackDown Women's Champion Becky Lynch faced Bianca Belair, which ended in a no contest after Sasha Banks made her return and subsequently ambushed both competitors, and Damian Priest defeated Jeff Hardy and Sheamus in a triple threat match to retain Raw's United States Championship.


title: Extreme Rules (2021)

text: The event received mixed-to-negative reviews from critics and fans, who mainly criticized the lack of stipulation matches.


title: Extreme Rules (2021)

text: Extreme Rules is an annual gimmick pay-per-view (PPV) and WWE Network event produced by WWE since 2009. The concept of the show is that the event features various matches that are contested under hardcore rules and generally features one Extreme Rules match. The defunct Extreme Championship Wrestling promotion, which WWE acquired in 2003, originally used the "extreme rules" term to describe the regulations for all of its matches; WWE adopted the term and has since used it in place of "hardcore match" or "hardcore rules." The previous year's event was titled The Horror Show at Extreme Rules, due to having horror-themed matches on its card; the 2021 event would mark a return to its original name. The 2021 event was the 13th event under the Extreme Rules chronology and featured wrestlers from the Raw and SmackDown brands. It was also the first Extreme Rules to air on Peacock after the American version of the WWE Network merged under Peacock in March.


title: Extreme Rules (2021)

text: The 2020 Extreme Rules event was originally to take place at the SAP Center in San Jose, California, but had to be relocated to the WWE Performance Center in Orlando, Florida and held behind closed doors due to the COVID-19 pandemic. The SAP Center put out an official statement that they would instead host the 2021 event. The venue also announced that there would be no refunds (unless a new date was not determined within 60 days), but tickets purchased would be honored for the following year's event. However, in May 2021, it was reported that due to the ongoing pandemic, the 2021 event would be held on July 18 from the WWE ThunderDome bio-secure bubble at the Yuengling Center in Tampa, Florida, but after WWE announced that they would be resuming live touring in mid-July, that date was instead given to Money in the Bank. On July 9, 2021, WWE then announced that Extreme Rules would be held on September 26 at the Nationwide Arena in Columbus, Ohio, which were the initial reported date and venue for Clash of Champions.


title: Extreme Rules (2021)

text: The event comprised seven matches, including one on the Kickoff pre-show. The matches resulted from scripted storylines, where wrestlers portrayed heroes, villains, or less distinguishable characters in scripted events that built tension and culminated in a wrestling match or series of matches. Results were predetermined by WWE's writers on the Raw and SmackDown brands, while storylines were produced on WWE's weekly television shows, "Monday Night Raw" and "Friday Night SmackDown."


title: Extreme Rules (2021)

text: At SummerSlam, Bianca Belair was originally set to defend the SmackDown Women's Championship against Sasha Banks. However, Banks was unable to appear for unknown reasons. Carmella was then announced as Banks' replacement. Before the match could begin, however, Becky Lynch, in her first appearance since the "Raw" after Money in the Bank in May 2020, made a surprise return, attacked Carmella, challenged Belair, and subsequently defeated her in 26 seconds to win the title. On the following "SmackDown", Belair challenged Lynch to a rematch, however, Lynch refused. Belair then won a fatal four-way match to become the number one contender. The following week, Belair challenged Lynch to a match for that night, but Lynch again refused, stating she would defend the title when she was ready. Later backstage, WWE officials Adam Pearce and Sonya Deville told Lynch that she would defend the title against Belair at Extreme Rules.


title: Extreme Rules (2021)

text: On the July 23 episode of "SmackDown", after Roman Reigns declined John Cena’s challenge to a match for the Universal Championship at SummerSlam, Finn Bálor challenged Reigns for the title at the event, which Reigns accepted. During the contract signing, however, an altercation occurred, resulting in Cena signing the contract and becoming Reigns' opponent at SummerSlam where Reigns retained. Bálor then got his opportunity at the title on the September 3 episode of "SmackDown", but he was unsuccessful. A rematch between the two for the Universal Championship was scheduled for Extreme Rules. On the September 10 episode, it was revealed that Reigns would be facing Bálor's alter ego, "The Demon", and it was later stipulated to be an Extreme Rules match.


title: Extreme Rules (2021)

text: At SummerSlam, Damian Priest defeated Sheamus to win the United States Championship. On the August 30 episode of "Raw", Priest retained the title against Sheamus and Drew McIntyre in a triple threat match. On the following episode, Sheamus defeated McIntyre to earn a United States Championship match against Priest at Extreme Rules. On the September 20 episode, Jeff Hardy defeated Sheamus to earn a spot in the title match at Extreme Rules, thus making it a triple threat match.


title: Extreme Rules (2021)

text: During the Extreme Rules Kickoff pre-show, while The New Day (WWE Champion Big E, Kofi Kingston, and Xavier Woods) were interviewed backstage after arriving at the arena, they were confronted by AJ Styles and Omos. Bobby Lashley then attacked Big E from behind and all six men brawled. Shortly thereafter, backstage personnel separated them. A six-man tag team match was announced for the main card.


title: Extreme Rules (2021)

text: Also during the pre-show, Liv Morgan faced Carmella. Before the match, Carmella insulted Morgan by stating that Morgan was not beautiful. Morgan then attacked Carmella from behind and the match began. In the end, Morgan threw Carmella into the announce table. Back in the ring, Morgan performed a Springboard Flatliner on Carmella to win the match.


title: Extreme Rules (2021)

text: The actual pay-per-view opened with The New Day (WWE Champion Big E, Kofi Kingston, and Xavier Woods) facing Bobby Lashley, AJ Styles, and Omos in a six-man tag team match. During the match, Kingston tried to make the tag to Big E, but Lashley pulled Big E off the apron and attacked him. Woods tagged in and hit a Tornado DDT on Lashley for a nearfall. Lashley then hit a Running Powerslam on Woods for a nearfall. Big E tagged in and hit three Belly-to-Belly Suplexes and a Warrior Splash on Styles. Big E and Kingston hit a Double Stomp/Powerbomb combination on Styles, but Lashley broke up the pin. Lashley went for a Spear, but Kingston sent him outside the ring. Kingston went for a Suicide Dive on Lashley, but Omos caught Kingston in mid-air with a Chop. As Lashley went for the Spear on Big E, Styles tagged himself in and missed a Phenomenal Forearm on Big E while Lashley tagged himself in and Lashley accidentally hit a Spear on Styles. Big E hit the Big Ending on Lashley to win the match.


title: Extreme Rules (2021)

text: Next, The Usos (Jey Uso and Jimmy Uso) defended the WWE SmackDown Tag Team Championship against The Street Profits (Angelo Dawkins and Montez Ford). The Usos attacked the injured ribs on Ford throughout the match. Towards the end, The Street Profits hit a Blockbuster on Jimmy, and Ford got a nearfall. The Usos threw Dawkins into the barricade and Ford hit a Running Flip Dive on both Jey and Jimmy. Back in the ring, Ford hit a Frog Splash on Jey for a nearfall. The Usos hit a Double Superkick on Dawkins and one to Ford. The Usos hit a Double Superfly Splash on Ford to retain the titles.


title: Extreme Rules (2021)

text: After that, Charlotte Flair defended the Raw Women's Championship against Alexa Bliss. During the match, Flair attempted a Top Rope Moonsault, but Bliss moved, however, Flair landed on her feet and hit a Moonsault for a nearfall. Flair missed Natural Selection and Bliss hit a Sunset Flip Powerbomb for a nearfall. Bliss went for Twisted Bliss, but Flair moved. Flair went for the Figure-Eight, Bliss countered into an Inside Cradle for a nearfall. Bliss hit a DDT, but Flair got her foot on the bottom rope. Flair grabbed Lilly and threw it at Bliss, causing a distraction for Flair to hit the Queen's Boot and Natural Selection to retain the title. Afterwards, Flair attacked Bliss and ripped Lilly apart. A distraught Bliss sat in the ring and cried while holding Lily's remnants.


title: Extreme Rules (2021)

text: In the fourth match, Damien Priest defended the United States Championship in a triple threat match against Jeff Hardy and Sheamus. As the match started, Sheamus hit a Brogue Kick on Hardy. During the match, Priest hit a Falcon Arrow on Hardy, but Sheamus broke up the pin. On the outside, Sheamus threw Priest into the ring post. Hardy hit a Double Whisper in the Wind and got a nearfall on Sheamus. Sheamus locked in the Cloverleaf on Hardy, but Priest broke it up. Sheamus hit the White Noise on Priest, but Hardy broke up the pin. Hardy hit the Twist of Fate on both Priest and Sheamus. In the end, Hardy hit the Swanton Bomb onto both Priest and Sheamus. Sheamus hit the Brogue Kick on Hardy, and Priest got a roll-up on Sheamus to retain the title.


title: Extreme Rules (2021)

text: In the penultimate match, Becky Lynch defended the SmackDown Women's Championship against Bianca Belair. Belair went for the KOD, but Lynch got out of the ring. Lynch then went for the Manhandle Slam and the Dis-Arm-Her, but Belair countered both times. Towards the end on the outside, Lynch hit a Hurricanrana to Belair into the steel steps. Back in the ring, Lynch attempted an Armbar, but Belair countered into a Powerbomb for a nearfall. Lynch locked in the Dis-Arm-Her, but Belair countered and went for the KOD, but Sasha Banks returned and attacked Belair, causing a no contest with Lynch retaining the title. Afterwards, Banks laid out both Belair and Lynch with a Backstabber.


title: Extreme Rules (2021)

text: In the main event, Roman Reigns defended the Universal Championship against "The Demon" Finn Bálor in an Extreme Rules match. During the match, Bálor attacked Reigns with a bundle of kendo sticks taped together. Bálor pulled out a table, but Reigns hit the Running Driveby Dropkick to put Bálor head first into the ring post. The two brawled into the crowd where Bálor hit a Crossbody, putting Reigns through a table. Back in the ring, Reigns put Bálor through a table with a Uranage for a nearfall. Reigns hit a Superman Punch on Bálor for a nearfall. Reigns hit a Spear on Bálor and kicked out while also hitting Reigns with a low blow. Bálor hit the Coupe de Grace on Reigns, but The Usos came out and pulled Bálor out of the ring. Bálor put Jey Uso through the announce table with a Powerbomb. Reigns hit a Spear on Bálor through the barricade. With everyone down, red lights flashed and a heartbeat sound was heard as The Demon rose to his feet and attacked Reigns with a steel chair and put him through a table. As Bálor went for the Coup de Grace, the top rope snapped and Bálor fell and hurt his knee. Reigns hit a Spear on Bálor to retain the title.


title: Extreme Rules (2021)

text: The next night's episode of "Raw" opened with Big E defending the WWE Championship against former champion Bobby Lashley, which ended via disqualification due to New Day's Kofi Kingston and Xavier Woods interfering with Cedric Alexander and Shelton Benjamin, hinting a reunion of The Hurt Business. A rematch took place later in the main event which was contested inside a steel cage to prevent interference where Big E defeated Lashley to retain the championship.


title: Extreme Rules (2021)

text: United States Champion Damian Priest defended the title against Sheamus in a no disqualification match, where Priest retained once again.


title: Extreme Rules (2021)

text: Raw Women's Champion Charlotte Flair issued an open challenge for the championship after claiming that she had beaten every women on the roster. The challenge was answered by Doudrop, who lost the match due to interference from Eva Marie.


title: Extreme Rules (2021)

text: On the following episode of "SmackDown", it was announced that Becky Lynch would defend the SmackDown Women's Championship against Bianca Belair and Sasha Banks in a triple threat match at Crown Jewel.


title: Extreme Rules (2021)

text: Liv Morgan and Carmella were scheduled to have a rematch on the following "SmackDown", but the match never officially started and Carmella laid out Morgan. The two then had a rematch the following week, which was also a quarterfinal match for the inaugural Queen's Crown tournament, the female version of the King of the Ring tournament. Carmella won to advance in the tournament.


title: Extreme Rules (2021)

text: Also on the following episode of "SmackDown", the 2021 WWE Draft began and concluded with the October 4 episode of "Raw". The results of the draft went into effect beginning with the October 22 episode of "SmackDown", the night after Crown Jewel.


title: Ypres

text: the Dutch name is the official one, the city's French name is most commonly used in English. The municipality comprises the city of Ypres/Ieper and the villages of Boezinge, Brielen, Dikkebus, Elverdinge, Hollebeke, Sint-Jan, Vlamertinge, Voormezele, Zillebeke, and Zuidschote. Together, they are home to about 34,900 inhabitants.


title: Ypres

text: During the First World War, Ypres (or "Wipers" as it was commonly known by the British troops) was the centre of the Battles of Ypres between German and Allied forces.


title: Ypres

text: Ypres is an ancient town, known to have been raided by the Romans in the first century BC. It is first mentioned by name in 1066 and is probably named after the river Ieperlee on the banks of which it was founded.


title: Ypres

text: During the Middle Ages, Ypres was a prosperous Flemish city with a population of 40,000 in 1200 AD, renowned for its linen trade with England, which was mentioned in the "Canterbury Tales".


title: Ypres

text: As the third largest city in the County of Flanders (after Ghent and Bruges) Ypres played an important role in the history of the textile industry. Textiles from Ypres could be found in the markets of Novgorod in Kievan Rus' in the early 12th century. In 1241, a major fire ruined much of the old city. The powerful city was involved in important treaties and battles, including the Battle of the Golden Spurs, the Battle at Mons-en-Pévèle, the Peace of Melun, and the Battle of Cassel.


title: Ypres

text: The famous Cloth Hall was built in the 13th century. Also during this time cats, then the symbol of the devil and witchcraft, were thrown off Cloth Hall, possibly because of the belief that this would get rid of evil demons. Today, this act is commemorated with a triennial Cat Parade through town.


title: Ypres

text: In 1377, when textile workers held guns against their bosses, they were hanged, accused of rebellion and burned in the bonfire by Inquisition accused of heresy (N Cohn, 1981:86)


title: Ypres

text: During the Norwich Crusade, led by the English bishop Henry le Despenser, Ypres was besieged from May to August 1383, until French relief forces arrived. After the destruction of Thérouanne, Ypres became the seat of the new Diocese of Ypres in 1561, and Saint Martin's Church was elevated to cathedral.


title: Ypres

text: On 25 March 1678 Ypres was conquered by the forces of Louis XIV of France. It remained French under the Treaty of Nijmegen, and Vauban constructed his typical fortifications that can still be seen today. In 1697, after the Treaty of Ryswick, Ypres was returned to the Spanish Crown.


title: Ypres

text: During the War of the Spanish Succession, the Duke of Marlborough in 1709 intended to capture Ypres, at the time a major French fortress, but changed his mind owing to the long time and effort it had taken him to capture Tournai and apprehension of disease spreading in his army in the poorly drained land around Ypres (see Battle of Malplaquet). In 1713 it was handed over to the Habsburgs, and became part of the Austrian Netherlands.


title: Ypres

text: In 1782 the Habsburg Emperor Joseph II ordered parts of the walls torn down. This destruction, which was only partly repaired, made it easier for the French to capture the city in the 1794 Siege of Ypres during the War of the First Coalition.


title: Ypres

text: In 1850 the Ypresian Age of the Eocene Epoch was named on the basis of geology in the region by Belgian geologist André Hubert Dumont.


title: Ypres

text: Ypres had long been fortified to keep out invaders. Parts of the early ramparts, dating from 1385, still survive near the Rijselpoort (Lille Gate). Over time, the earthworks were replaced by sturdier masonry and earth structures and a partial moat. Ypres was further fortified in the 17th and 18th centuries while under the occupation of the Habsburgs and the French. Major works were completed at the end of the 17th century by the French military engineer Sébastien Le Prestre de Vauban.


title: Ypres

text: Ypres occupied a strategic position during the First World War because it stood in the path of Germany's planned sweep across the rest of Belgium and into France from the north (the Schlieffen Plan). The neutrality of Belgium, established by the First Treaty of London,


title: Ypres

text: was guaranteed by Britain; Germany's invasion of Belgium brought the British Empire into the war. The German army surrounded the city on three sides, bombarding it throughout much of the war. To counterattack, British, French, and allied forces made costly advances from the Ypres Salient into the German lines on the surrounding hills.


title: Ypres

text: In the First Battle of Ypres (19 October to 22 November 1914), the Allies captured the town from the Germans. The Germans had used tear gas at the Battle of Bolimov on 3 January 1915. Their use of poison gas for the first time on 22 April 1915 marked the beginning of the Second Battle of Ypres, which continued until 25 May 1915. They captured high ground east of the town. The first gas attack occurred against Canadian, British, and French soldiers, including both metropolitan French soldiers as well as Senegalese and Algerian tirailleurs (light infantry) from French Africa. The gas used was chlorine. Mustard gas, also called Yperite from the name of this town, was also used for the first time near Ypres, in the autumn of 1917.


title: Ypres

text: Of the battles, the largest, best-known, and most costly in human suffering was the Third Battle of Ypres (31 July to 10 November 1917, also known as the Battle of Passchendaele), in which the British, Canadian, ANZAC, and French forces recaptured the Passchendaele Ridge east of the city at a terrible cost of lives. After months of fighting, this battle resulted in nearly half a million casualties to all sides, and only a few miles of ground won by Allied forces. During the course of the war the town was all but obliterated by the artillery fire.


title: Ypres

text: English-speaking soldiers often referred to Ieper/Ypres by the deliberate mispronunciation "Wipers". British soldiers even published a wartime newspaper called "The Wipers Times". The same style of deliberate mispronunciation was applied to other Flemish place names in the Ypres area for the benefit of British troops, such as Wytschaete becoming "White Sheet" and Ploegsteert becoming "Plug Street".


title: Ypres

text: Ypres was one of the sites that hosted an unofficial Christmas Truce in 1914 between German and British soldiers.


title: Ypres

text: During World War Two, the British Expeditionary Force (BEF) would fight the Germans in a delaying action at the Ypres-Comines Canal, one of the actions that allowed the Allied retreat to Dunkirk. Adolf Hitler (later Chancellor of Germany) fought at Ypres in the First World War and later visited the town during the Battle of France.


title: Ypres

text: On 12 February 1920 King George V awarded the Military Cross to the City of Ypres, one of only two awards of this decoration to a municipality during World War I, the other being to Verdun. In May 1920 Field Marshal French presented the Cross in a special ceremony in the city, and in 1925 it was added to the city's coat of arms, along with the French Croix de Guerre.


title: Ypres

text: Historian Mark Connelly states that in the 1920s, British veterans set up the Ypres League and made the city the symbol of all that they believed Britain was fighting for and gave it a holy aura in their minds. The Ypres League sought to transform the horrors of trench warfare into a spiritual quest in which British and imperial troops were purified by their sacrifice. In 1920 Lieutenant-Colonel Beckles Willson's guide book, "The Holy Ground of British Arms" captured the mood of the Ypres League:


title: Ypres

text: There is not a single half-acre in Ypres that is not sacred. There is not a single stone which has not sheltered scores of loyal young hearts, whose one impulse and desire was to fight and, if need be, to die for England. Their blood has drenched its cloisters and its cellars, but if never a drop had been spilt, if never a life had been lost in defence of Ypres still would Ypres have been hallowed, if only for the hopes and the courage it has inspired and the scenes of valour and sacrifice it has witnessed.


title: Ypres

text: Ypres became a pilgrimage destination for Britons to imagine and share the sufferings of their men and gain a spiritual benefit.


title: Ypres

text: After the war, Winston Churchill proposed to leave Ypres as a mausoleum, with the rightful owners to be deprived from regaining their land. By early March 1919, the Belgian scheme was to leave the Cathedral and Cloth Hall and the buildings around them in ruins. By November 1919, the Belgian government was seriously considering two schemes, both of which would have kept the Cloth Hall and the Cathedral in ruins, but one scheme would allow rebuilding houses around the Grand Place, whereas the other would have created a belt of trees surrounding the Hall and Cathedral. By early September 1920, the decision had been made by the British Government that the Menin Gate and its immediate surroundings would be used as a memorial, by which time, the Belgians had already begun to rebuild the area.


title: Ypres

text: In the 100th anniversary period more attempts are being made to preserve the First World War heritage in and around Ypres.


title: Ypres

text: On September 6th 1944, the 1st Polish Armoured Division liberated the town of Ypres after 4 years of occupation, and the nightly 'Last Post' ceremony was resumed at the Menin Gate; the Germans had forbidden the ceremony when they occupied Ypres in 1940; from January 1941 until the liberation, the daily commemoration took place in Brookwood Military Cemetery.


title: Ypres

text: After the war the town was extensively rebuilt using money paid by Germany in reparations, with the main square, including the Cloth Hall and town hall, being rebuilt as close to the original designs as possible (the rest of the rebuilt town is more modern in appearance). The Cloth Hall today is home to In Flanders Fields Museum, dedicated to Ypres's role in the First World War and named for the poem by John McCrae.


title: Ypres

text: Ypres is a small city in the very western part of Belgium, the so-called "Westhoek". Ypres these days has the title of "city of peace" and maintains a close friendship with another town on which war had a profound impact: Hiroshima. Both towns witnessed warfare at its worst: Ypres was one of the first places where chemical warfare was employed, while Hiroshima suffered the debut of nuclear warfare. The city governments of Ypres and Hiroshima advocate that cities should never be targets again and campaign for the abolition of nuclear weapons. Ypres hosts the international campaign secretariat of Mayors for Peace, an international Mayoral organization mobilizing cities and citizens worldwide to abolish and eliminate nuclear weapons by 2020.


title: Ypres

text: The imposing Cloth Hall was built in the 13th century and was one of the largest commercial buildings of the Middle Ages. The structure which stands today is the exact copy of the original medieval building, rebuilt after the war. The belfry that surmounts the hall houses a 49-bell carillon. The whole complex was designated a World Heritage Site by UNESCO in 1999.


title: Ypres

text: The Gothic-style Saint Martin's Cathedral, built in 1221, was also completely reconstructed after the war, but now with a higher spire. It houses the tombs of Jansenius, bishop of Ypres and father of the religious movement known as Jansenism, and of Robert of Bethune, nicknamed "The Lion of Flanders", who was Count of Nevers (1273–1322) and Count of Flanders (1305–1322).


title: Ypres

text: The Menin Gate Memorial to the Missing commemorates those soldiers of the British Commonwealth – with the exception of Newfoundland and New Zealand – who fell in the Ypres Salient during the First World War before 16 August 1917 and who have no known grave. United Kingdom and New Zealand servicemen who died after that date are named on the memorial at Tyne Cot, a site which marks the farthest point reached by Commonwealth forces in Belgium until nearly the end of the war. Other New Zealand casualties are commemorated on memorials at Buttes New British Cemetery and Messines Ridge British Cemetery. The Menin Gate records only soldiers for whom there is no known grave. As graves are identified, the names of those buried in them are removed from the Gate.


title: Ypres

text: The memorial, designed by Sir Reginald Blomfield with sculpture by Sir William Reid Dick, was unveiled by Lord Plumer on 24 July 1927. It was built and is maintained by The Commonwealth War Graves Commission.


title: Ypres

text: The memorial's location is especially poignant, as it lies on the eastward route from the town, which Entente soldiers would have taken heading towards the fighting – many never to return. Every evening since 1929, at precisely eight o'clock, traffic around the imposing arches of the Menin Gate Memorial has been stopped while the "Last Post" is sounded beneath the gate by the buglers of the Last Post Association in honour of the memory of British Empire soldiers who fought and died there. During the Second World War the ceremony was prohibited by the occupying German forces, but was resumed on the very evening of liberation – 6 September 1944 – notwithstanding the heavy fighting still underway in other parts of the town. The Last Post ceremony was, instead, hosted daily at Brookwood Military Cemetery in England for the duration of that period.


title: Ypres

text: The stone lions bearing the Ypres coat-of-arms, which once flanked the original gate, were presented to Australia in 1936 by the people of Belgium, as acknowledgement of Australia's sacrifice during the war. They now reside in the Australian War Memorial in Canberra. In 2017, for the 100th anniversary memorial services of the Third Battle of Ypres, or Passendale, in a joint effort by the Belgian, Flemish and Australian governments, the lions were temporarily returned to the Menin Gate. Exact replicas are now installed, in their original position, guarding the approach to Menin Gate on its eastern side.


title: Ypres

text: War graves, both of the Allied side and the Central Powers, cover the landscape around Ypres. The largest number of dead are at Langemark German war cemetery and Tyne Cot Commonwealth war cemetery. The countryside around Ypres is featured in the famous poem by John McCrae, "In Flanders Fields".


title: Ypres

text: Saint George's Memorial Church commemorates the British and Commonwealth soldiers who died in the five battles fought for Ypres during First World War.


title: Ypres

text: Though Ypres is an historic city, and generates significant income from tourism, it also has a number of industrial areas. The biggest one is along the Ieperlee canal, which hosts room for around 120 companies and a wind farm in the north of Ypres.


title: Ypres

text: The office area known as Ieper Business Park is connected to the industrial area. That office area started as the site of speech recognition company Lernout & Hauspie, and was named "Flanders Language Valley" (mimicking Silicon Valley), until the company went bankrupt. Since then, the office area had many difficult years, where a big share of the offices were unused. However, those years are mostly over, and currently, the area offers about 1000 employees a job.


title: Ypres

text: Then there are also various other, smaller industrial areas like the area around Picanol in the south of Ypres.


title: Ypres

text: It can also be accessed from Brussels, linking to Eurostar, and takes about 75 minutes with two stops.


title: Cindy Sherman

text: Cynthia Morris Sherman (born January 19, 1954) is an American artist whose work consists primarily of photographic self-portraits, depicting herself in many different contexts and as various imagined characters.


title: Cindy Sherman

text: Her breakthrough work is often considered to be the collected "Untitled Film Stills", a series of 70 black-and-white photographs of herself evoking typical female roles in performance media (especially arthouse films and popular B-movies). In the 1980s, she used color film and large prints, and focused more on costume, lighting and facial expression.


title: Cindy Sherman

text: Sherman was born on January 19, 1954, in Glen Ridge, New Jersey, the youngest of the five children of Dorothy and Charles Sherman. Shortly after her birth, her family moved to the township of Huntington, Long Island. Her father worked as an engineer for Grumman Aircraft. Her mother taught reading to children with learning difficulties. Sherman has described her mother as good to a fault, and her father as strict and cruel. She was raised Episcopalian.


title: Cindy Sherman

text: In 1972, Sherman enrolled in the visual arts department at Buffalo State College, where she began painting. During this time, she began to explore the ideas which became a hallmark of her work: She dressed herself as different characters, cobbled together from thrift-store clothing. Frustrated with what she saw as the limitations of painting as a medium of art, she abandoned it and took up photography. "[T]here was nothing more to say [through painting]", she recalled. "I was meticulously copying other art, and then I realized I could just use a camera and put my time into an idea instead." Sherman has said about this time: "One of the reasons I started photographing myself was that supposedly in the spring one of my teachers would take the class out to a place near Buffalo where there were waterfalls and everybody romps around without clothes on and takes pictures of each other. I thought, ‘Oh, I don't want to do this. But if we're going to have to go to the woods I better deal with it early.’ Luckily we never had to do that." She spent the remainder of her college education focused on photography. Though Sherman had failed a required photography class as a freshman, she repeated the course with Barbara Jo Revelle, whom she credited with introducing her to conceptual art and other contemporary forms. At college she met Robert Longo, a fellow artist who encouraged her to record her process of "dolling up" for parties. This was the beginning of her Untitled Film Still series.


title: Cindy Sherman

text: In 1974, together with Longo, Charles Clough and Nancy Dwyer, she created Hallwalls, an arts center intended as a space that would accommodate artists from diverse backgrounds. Sherman was also exposed to the contemporary art exhibited at the Albright-Knox Art Gallery, the two Buffalo campuses of the SUNY school system, Media Studies Buffalo, and the Center for Exploratory and Perceptual Arts, and Artpark, in nearby Lewiston, N.Y.


title: Cindy Sherman

text: It was in Buffalo that Sherman encountered the photo-based conceptual works of artists Hannah Wilke, Eleanor Antin, and Adrian Piper. Along with artists like Laurie Simmons, Louise Lawler, and Barbara Kruger, Sherman is considered to be part of the Pictures Generation.


title: Cindy Sherman

text: Sherman works in series, typically photographing herself in a range of costumes. To create her photographs, Sherman shoots alone in her studio, assuming multiple roles as author, director, make-up artist, hairstylist, wardrobe mistress, and model.


title: Cindy Sherman

text: "Bus Riders" (1976–2000) is a series of photographs that feature the artist as a variety of meticulously observed characters. The photographs were shot in 1976 for the Bus Authority for display on a bus. Sherman used costumes and make-up, including blackface, to transform her identity for each image, and the cutout characters were lined up along the bus's advertising strip. Some critiques say that this work showed insensitivity to race through the use of blackface makeup while others state that it was rather with the intention of exposing racism embedded in society.


title: Cindy Sherman

text: In her landmark photograph series "Untitled Film Stills", (1977–80), Sherman appears as B-movie and film noir actresses. When asked if she considers herself to be acting in her photographs, Sherman said, "I never thought I was acting. When I became involved with close-ups I needed more information in the expression. I couldn't depend on background or atmosphere. I wanted the story to come from the face. Somehow the acting just happened."


title: Cindy Sherman

text: Many of Sherman's photo series, like the 1981 "Centerfolds," call attention to stereotypes of women in society, films, television and magazines. When talking about one of her centerfold pictures Sherman stated, "In content I wanted a man opening up the magazine suddenly look at it with an expectation of something lascivious and then feel like the violator that they would be looking at this woman who is perhaps a victim. I didn't think of them as victims at the time... Obviously I'm trying to make someone feel bad for having a certain expectation".


title: Cindy Sherman

text: She explained to "The New York Times" in 1990, "I feel I'm anonymous in my work. When I look at the pictures, I never see myself; they aren't self-portraits. Sometimes I disappear." She describes her process as intuitive, and that she responds to elements of a setting such as light, mood, location, and costume, and will continue to change external elements until she finds what she wants. She has said of her process, "I think of becoming a different person. I look into a mirror next to the camera…it’s trance-like. By staring into it I try to become that character through the lens ... When I see what I want, my intuition takes over—both in the 'acting' and in the editing. Seeing that other person that’s up there, that’s what I want. It's like magic."


title: Cindy Sherman

text: The series "Untitled Film Stills" (1977–1980), with which Cindy Sherman achieved international recognition, consists of 69 black-and-white photographs. The artist poses in different roles (librarians, hillbillies, and seductresses), and settings (streets, yards, pools, beaches, and interiors), producing a result reminiscent of stills typical of Italian neorealism or American film noir of the 1940s, 1950s and 1960s. She avoided putting titles on the images to preserve their ambiguity. She would often pose her heroines as alone, expressionless, and in private. An overarching characteristic of her heroines were those that did not follow conventional ideas of marriage and family. They were rebellious women who either died as that or who were later tamed by society. Modest in scale compared to Sherman's later cibachrome photographs, they are all 8 1/2 by 11 inches, each displayed in identical, simple black frames.


title: Cindy Sherman

text: Sherman used her own possessions as props, or sometimes borrowed, as in "Untitled Film Still #11" in which the doggy pillow belongs to a friend. The shots were also largely taken in her own apartment.


title: Cindy Sherman

text: In addition to her film stills, Sherman has appropriated a number of other visual forms—the centerfold, fashion photograph, historical portrait, and soft-core sex image. These and other series, like the 1980s "Fairy Tales and Disasters" sequence, were shown for the first time at the Metro Pictures Gallery in New York City.


title: Cindy Sherman

text: It was with her series "Rear Screen Projections", 1980, that Sherman switched from black-and-white to color and to clearly larger formats. "Centerfolds/Horizontals", 1981, are inspired by the center spreads in fashion and pornographic magazines. The twelve (24 by 48 inches) photographs were initially commissioned — but not used — by Artforum's Editor in Chief Ingrid Sischy for an artist's section in the magazine. She poses either on the floor or in bed, usually recumbent and often supine. About her aims with the self-portraits, Sherman has said: "Some of them I'd hope would seem very psychological. While I'm working I might feel as tormented as the person I'm portraying."


title: Cindy Sherman

text: In "Fairy Tales", 1985, and "Disasters", 1986–1989, Cindy Sherman uses visible prostheses and mannequins for the first time. Provoked by the 1989 NEA funding controversy involving photographs by Robert Mapplethorpe and Andres Serrano at the Corcoran Gallery of Art, as well as the way Jeff Koons modeled his porn star wife in his "Made in Heaven" series, Sherman produced the "Sex" series in 1989. For once she removed herself from the shots, as these photographs featured pieced-together medical dummies in flagrante delicto.


title: Cindy Sherman

text: Between 1989 and 1990, Sherman made 35 large, color photographs restaging the settings of various European portrait paintings of the fifteenth through early 19th centuries under the title "History Portraits".


title: Cindy Sherman

text: Sherman uses prosthetic limbs and mannequins to create her "Sex Pictures" series (1992). Hal Foster, an American art critic, describes Sherman's "Sex Pictures" in his article "Obscene, Abject, Traumatic" as "[i]n this scheme of things the impulse to erode the subject and to tear at the screen has driven Sherman […] to her recent work, where it is obliterated by the gaze."


title: Cindy Sherman

text: Reviewer Jerry Saltz told "New York" magazine that Sherman's work is "[f]ashioned from dismembered and recombined mannequins, some adorned with pubic hair, one posed with a tampon in vagina, another with sausages being excreted from vulva, this was anti-porn porn, the unsexiest sex pictures ever made, visions of feigning, fighting, perversion. … Today, I think of Cindy Sherman as an artist who only gets better."


title: Cindy Sherman

text: Greg Fallis of Utata Tribal Photography describes Sherman's "Sex Pictures" series and her work as follows: "With her "Sex Pictures", Sherman posed medical prostheses in sexualized positions, recreating—and strangely modifying—pornography. An example of this can be seen in her work entitled, "Untitled,#264." Sherman displays herself with a body made of prosthetic. Her face is the only part of her that shows but is covered by a gas mask meant to emphasize the parts of the female body that tend to be over sexualized.


title: Cindy Sherman

text: Between 2003 and 2004, Sherman produced the "Clowns" cycle, where the use of digital photography enabled her to create chromatically garish backdrops and montages of numerous characters. Set against opulent backdrops and presented in ornate frames, the characters in Sherman's 2008 untitled "Society Portraits" are not based on specific women, but the artist has made them look entirely familiar in their struggle with the standards of beauty that prevail in a youth- and status-obsessed culture.


title: Cindy Sherman

text: Her exhibition at the Museum of Modern Art in 2012 also presented a photographic mural (2010–11) accompanied by films selected by Sherman. In this mural, she photoshopped her face with a decorative backdrop to transform herself into a fictitious environment. Along with other characters, Sherman toys with the idea of reality and fantasy together. Based on a 32-page insert Sherman did for "POP" using vintage clothes from Chanel’s archive, a more recent series of large-scale pictures from 2012 depict outsized enigmatic female figures standing in striking isolation before ominous painterly landscapes the artist had photographed in Iceland during the 2010 eruptions of Eyjafjallajökull and on the isle of Capri.


title: Cindy Sherman

text: In 2017, she collaborated on a "selfie" project with W Magazine that was based on the concept of the "plandid," or "the planned candid photograph". Sherman utilized a variety of photo-correction apps to create her Instagram portraits.


title: Cindy Sherman

text: Sherman's career has also included several fashion series, including designs for Prada, Dolce & Gabbana, and Marc Jacobs. In 1983, fashion designer and retailer Dianne Benson commissioned her to create a series of advertisements for her store, Dianne B., that appeared in several issues of Interview magazine. Sherman also created photographs for an editorial in "Harper's Bazaar" in 1993. In 1994, she produced the "Post Card Series for Comme des Garçons" for the brand's autumn/winter 1994–95 collections in collaboration with Rei Kawakubo.


title: Cindy Sherman

text: In 2006, she created a series of fashion advertisements for designer Marc Jacobs. The advertisements themselves were photographed by Juergen Teller and released as a monograph by Rizzoli. For Balenciaga, Sherman created the six-image series "Cindy Sherman: Untitled (Balenciaga)" in 2008; they were first shown to the public in 2010. Also in 2010, Sherman collaborated with Anna Hu on a design for a piece of jewelry.


title: Cindy Sherman

text: In the early 1990s, Sherman worked with Minneapolis band Babes in Toyland, providing photographs for covers for the albums "Fontanelle" and "Painkillers", creating a stage backdrop used in live concerts, and acting in the promotional video for the song "Bruise Violet." She also worked as a film director.


title: Cindy Sherman

text: Sherman moved from photographs to film with her movie "Office Killer" in 1997, starring Jeanne Tripplehorn, Molly Ringwald and Carol Kane. Dorine, played by Carol Kane, is a stand-in for Sherman. They have a shared interest in arranging bodies, like a puppeteer, in diorama-like scenes. According to author Dahlia Schweitzer, "Office Killer" is full of unexpected characters and plot twists. Schweitzer considers the film to be a comedy, horror, melodrama, noir, feminist statement, and an art piece. The film got negative reviews. In a review for "The New York Times", art critic Roberta Smith states that the film lacks the artist's usual finesse and is a retrospective of her work - "a fascinating if lumpish bit of Shermaniana." Movie critic colleague to Roberta Smith, Stephen Holden, called the film "sadly inept."


title: Cindy Sherman

text: Later, she had a cameo role in John Waters' film "Pecker", and also appeared in "The Feature" in 2008, starring ex-husband Michel Auder, which won a New Vision Award. Echoing similar grisly and gory elements as her "Untitled Horror" series, the film includes several artistically executed murder scenes. "Office Killer" grossed $37,446 and received generally poor reviews, which called the film "crude" and "laugh-free."


title: Cindy Sherman

text: In the catalog essay by Philipp Kaiser for Sherman's 2016 exhibition at the Metro Pictures Gallery, he mentioned six short films that Sherman made while in college, and how they were the precursors that eventually led to "Office Killer" being created. The catalog also includes a conversation between Sherman and the director of the exhibit, Sofia Coppola, in which Sherman admits that she may star in an upcoming film project.


title: Cindy Sherman

text: Sherman's first solo show in New York was presented at a noncommercial space The Kitchen in 1980. When the Metro Pictures Gallery opened later that year, Sherman's photographs were the first show. "Untitled Film Stills" were shown first at the non-profit gallery Artists Space where Sherman was working as a receptionist. Her first solo exhibitions in France were presented by Galerie Chantal Crousel in Paris.


title: Cindy Sherman

text: Sherman has since participated in many international events, including SITE Santa Fe (2004); the Venice Biennale (1982, 1995); and five Whitney Biennials. In addition to numerous group exhibitions, Sherman's work was the subject of solo exhibitions at the Stedelijk Museum in Amsterdam (1982), Whitney Museum of American Art in New York (1987), Kunsthalle Basel (1991), Hirshhorn Museum and Sculpture Garden in Washington, D.C. (1995), the San Francisco Museum of Modern Art (1998), the Serpentine Gallery in London and the Scottish National Gallery of Modern Art (2003), and Martin-Gropius-Bau in Berlin (2007), among others. Major traveling retrospectives of Sherman's work have been organized by the Museum Boymans-van Beuningen in Rotterdam (1996); the Museum of Contemporary Art, Los Angeles and the Museum of Modern Art in New York (1997), which was sponsored by Madonna; and Kunsthaus Bregenz, Austria, Louisiana Museum for Moderne Kunst, Denmark, and Jeu de Paume in Paris (2006–2007). In 2009, Sherman was included in the seminal show "The Pictures Generation, 1974–1984" at the Metropolitan Museum of Art.


title: Cindy Sherman

text: In 2012, the Museum of Modern Art mounted "Cindy Sherman," a show that chronicled Sherman's work from the mid-1970s on and include more than 170 photographs. The exhibition travelled to the San Francisco Museum of Modern Art and the Walker Art Center in Minneapolis. In 2013, Sherman was invited to organize a show within that year's Venice Biennale.


title: Cindy Sherman

text: In 2016, after a sabbatical from her studio which was spent "coming to terms with health issues and getting older," Sherman produced and staged her first photo gallery in five years. The series, "The Imitation of Life," named after a 1959 melodrama by Douglas Sirk, tackles aging by presenting Sherman in highly stylized glamour portraits inspired by the divas of old Hollywood, such as Gloria Swanson, Mary Pickford, and Ruby Keeler. The series was exhibited in 2016 at the Metro Pictures Gallery in New York City, and also at the Broad Museum in Los Angeles. In 2017 it was shown at the Spruth Magers gallery in Berlin, Germany, and at the Wexner Center for the Arts in Columbus, Ohio.


title: Cindy Sherman

text: In 2019, the National Portrait Gallery, London, organised a major retrospective of Sherman's works from the mid-1970s to the present.


title: Cindy Sherman

text: In Sherman's "Imitation of Life" series of 2016 she poses, in vintage costume and theatrical makeup, as a variety of ageing actress-like women.


title: Cindy Sherman

text: When writing about Sherman's "Film Stills" in the journal "October", the scholar Douglas Crimp states that Sherman's work is "a hybrid of photography and performance art that reveals femininity to be an effect of representation."


title: Cindy Sherman

text: However, Sherman does not consider her work or herself to be feminist, stating "The work is what it is and hopefully it's seen as feminist work, or feminist-advised work, but I'm not going to go around espousing theoretical bullshit about feminist stuff."


title: Cindy Sherman

text: Many scholars emphasize the relationship Cindy Sherman's work has with the concept of the gaze. In particular, scholars like Laura Mulvey have analyzed Sherman's "Untitled" series in relation to the male gaze. In a 1991 essay on Sherman, Mulvey states that ″the accouterments of the feminine struggle to conform to a facade of desirability haunt Sherman's iconography,″ which functions as a parody of different voyeurisms captured by the camera.


title: Cindy Sherman

text: Others question whether this confrontation with the male gaze and a feminine struggle was an intentional consideration of Sherman's, and whether this intentionality is important in considering the feminist standpoint of Sherman's photography.


title: Cindy Sherman

text: Sherman herself has identified an uncertainty toward the "Untitled" series' relationship with the male gaze. In a 1991 interview with David Brittain in "Creative Camera," Sherman said that "I didn't really analyze it at the time as far as knowing that I was commenting upon some feminist issue. The theories weren't there at all... But now I can look back on some of them, and I think some of them are a little blatantly obvious, too much like the original pin-up pictures of those times, so I have mixed feelings about them now as a whole series."


title: Cindy Sherman

text: In addition to questions of the gaze, Sherman's work is also given feminist analysis in the context of abjection. Scholars like Hal Foster and Laura Mulvey interpret Sherman's use of the abject via the grotesque in 1980s projects like "Vomit Pictures" as de-fetishizing the female body.


title: Cindy Sherman

text: Scholar Michele Meager interprets Sherman as having been "crowned a resistant celebrity" to feminist theory.


title: Cindy Sherman

text: In 2010, Sherman's nearly six foot tall chromogenic color print "Untitled#153" (1985), featuring the artist as a mud-caked corpse, was sold by Phillips de Pury & Company for $2.7 million, near the $3 million high estimate. In 2011, a print of "Untitled#96" fetched $3.89 million at Christie's, making it the most expensive photograph at that time.


title: Cindy Sherman

text: Sherman was represented by Metro Pictures for 40 years and also by Sprüth Magers before moving to Hauser & Wirth in 2021.


title: Cindy Sherman

text: Sherman's work is often credited as a major influence for contemporary portrait photographers. One such photographer is Ryan Trecartin, who manipulates themes of identity in his videos and photography. Her influence stretches to artists in other art mediums, including painter Lisa Yuskavage, visual artist Jillian Mayer, and performance artist Tracey Ullman.


title: Cindy Sherman

text: In April 2014, actor and artist James Franco exhibited a series of photographs at the Pace Gallery called "New Film Stills", in which Franco restaged twenty-nine images from Sherman's "Untitled Film Stills". The exhibit garnered mainly negative reviews, calling Franco's appropriations 'sophomoric,' 'sexist,' and embarrassingly clueless.'


title: Cindy Sherman

text: Sherman lived with artist Robert Longo, from 1974 to 1980. She married director Michel Auder in 1984, making her stepmother to Auder's daughter, Alexandra, and her half-sister Gaby Hoffmann. They divorced in 1999. From 2007 to 2011, she had a relationship with the artist David Byrne.


title: Cindy Sherman

text: Between 1991 and 2005, Sherman lived in a fifth-floor co-op loft at 84 Mercer Street in Manhattan's Soho neighborhood; she later sold it to actor Hank Azaria. She bought two floors in a 10-story condo building overlooking the Hudson River in West Soho, and currently uses one as her apartment and the other as her studio and office.


title: Cindy Sherman

text: For many years, Sherman spent her summers in the Catskill Mountains. In 2000, she bought songwriter Marvin Hamlisch's 4,200-square-foot house on 0.4 acre in Sag Harbor for $1.5 million. She later acquired a 19th-century home on a ten-acre waterfront property on Accabonac Harbor in East Hampton, New York.


title: Cindy Sherman

text: Sherman has expressed contempt for social media platforms, calling them "so vulgar." However, she maintains an active Instagram account featuring her selfies.


title: Cindy Sherman

text: Sherman serves on the artistic advisory committee of the New York City-based Stephen Petronio Company and on the Artists Committee of the Americans for the Arts. Along with David Byrne, she was a member of Portugal's Estoril Film Festival's jury in 2009.


title: Cindy Sherman

text: In 2012, she joined Yoko Ono and nearly 150 fellow artists in the founding of Artists Against Fracking, a group in opposition to hydraulic fracturing to remove gas from underground deposits.


title: Cindy Sherman

text: Sherman has been criticized for donning blackface in her early "Bus Riders" series (1976–2000). The American theatre critic Margo Jefferson has written, "[The African-American figures] all have nearly the same features, too, while Ms. Sherman is able to give the white characters she impersonates a real range of skin tones and facial features. This didn't look like irony to me. It looked like a stale visual myth that was still in good working order."


title: Ben Lee

text: Benjamin Michael Lee (born 11 September 1978) is an Australian musician and actor. Lee began his career as a musician at the age of 14 with the Sydney band Noise Addict, but he focused on his solo career when the band broke up in 1995. He appeared as the protagonist in the Australian film "The Rage in Placid Lake" (2003). He has released eleven solo studio albums. "Rolling Stone Australia" said of his latest album, "I'm Fun!": "Self-described troublemaker Ben Lee is releasing one of the best albums of his career".


title: Ben Lee

text: Lee's musical career began in 1993 with the band Noise Addict, who were signed to Steve Pavlovic's independent label Fellaheen Records, on the strength of a self-produced and distributed four-track demo recorded in Lee's bedroom. Pavlovic's connections brought the band to the attention of Sonic Youth's Thurston Moore and Beastie Boys' Mike D, both of whom released the band's material in the US. The group put out several releases on the Beasties' Grand Royal Records.


title: Ben Lee

text: These including the acoustic "Young and Jaded" EP in 1994, which contained Lee's Evan Dando tribute, "I Wish I Was Him". In 1995, Grand Royal released the band's only full-length album, the Brad Wood–produced "Meet the Real You". Noise Addict made a music video for the song "16", toured with Sebadoh, but then broke up. Lee was also briefly a member of the alternative act Gerling. In 2009, Lee recorded a new Noise Addict album, "It Was Never About the Audience", with a new lineup: Lou Barlow and Lara Meyerratken.


title: Ben Lee

text: Lee's solo career started at the age of 16, while he was still in Noise Addict. He began recording his first solo album, "Grandpaw Would", in both Sydney and Chicago with producer Brad Wood. This was followed by the 1997 album, "Something to Remember Me By", also produced by Wood. An alternate version of his song "Burn to Shine", produced by T-Bone Burnett, played over the end credits of the film "Best Men". Lee was then featured on the "There's Something About Mary" soundtrack, with the song "How to Survive a Broken Heart". 1998's "Breathing Tornados", released on Pavlovic's new label Modular, marked a new direction for Lee as he introduced synthesisers and increased instrumentation into his sound.


title: Ben Lee

text: The album was a success in Australia, earning Lee ARIA Award nominations for Best Male Artist and Album of the Year. The album's first single, "Cigarettes Will Kill You", was also nominated for Single of the Year and finished second in that year's Triple J Hottest 100. In 2001, Lee contributed a track ("Sweet Is the Night") to a Jeff Lynne tribute album "Lynne Me Your Ears".


title: Ben Lee

text: Lee's fourth album, "hey you. yes you.", was released in 2002. The first single from the album, "Something Borrowed, Something Blue", reached number 67 on the ARIA Charts and number 22 on the 2002's Triple J Hottest 100. The second single, "Running with Scissors", peaked at number 82 on the ARIA charts. In 2003, he also contributed several songs to the Evan Dando solo album "Baby I'm Bored".


title: Ben Lee

text: In late 2004, Lee left Steve Pavlovic's Modular Recordings and started his own record label, Ten Fingers. The first release on the label was the single, "Gamble Everything for Love", followed by the album, "Awake Is the New Sleep" in February 2005, which went double platinum in Australia. A defining release in his career, the album showcased a much brighter, positive side of Lee's personality, in contrast to his previous darker musings. "Awake Is the New Sleep" received several nominations for the 2005 Australian Recording Industry Association (ARIA) awards, and Lee won Best Male Artist, Best Independent Release, and Single of the Year for "Catch My Disease", which Lee wrote with Mcgowan Southworth. "Catch My Disease" also went to No. 2 on the 2005 Triple J Hottest 100.


title: Ben Lee

text: In addition, the song was featured on the soundtracks to the 2005 films "Just Friends" and "", as well as the soundtracks to the television series, "Grey's Anatomy", "Hidden Palms" and "Scrubs". In 2006 it was used in a television commercial for Dell Computers. On 26 March 2006, Lee performed "We're All in This Together" from "Awake Is the New Sleep" at the closing ceremony of the 2006 Commonwealth Games. The single for "We're All in This Together" was released on 8 April 2006. The CD includes cover versions of the song by Pony Up, Holidays on Ice and Gelbison. "We're All in This Together" is being used in commercials for Kohl's (2008), Coca-Cola (Remixed Australian Summer Series Ads in 2007), the South Australian Government (2006), the Salvation Army Red Shield Appeal (2007) and Telus Mobility's "My Faves" (2007).


title: Ben Lee

text: Lee released his sixth album, "Ripe", on 18 September 2007 with Benji Madden and Mandy Moore making appearances. Mandy Moore sung a light-hearted, '50s style duet with Lee called "Birds and Bees". "Mandy was very sweet and did her best Olivia Newton-John for me. I'm really psyched about this recording," Lee says. Madden helped out with some backing vocals, along with US band Rooney and Sara Watkins from the band Nickel Creek. "American Television" from the album was used in a VH1 advertisement for "Flavor of Love 3" and the song "Ripe" appeared in an episode of "One Tree Hill" (Season 5, episode 2).


title: Ben Lee

text: In February 2009, Lee released his seventh studio album, "The Rebirth of Venus", which received mixed reviews. It featured guest performances from the likes of Missy Higgins and Patience Hodgson, and peaked at No.21 on the ARIA Charts.