title: Extrusion

text: Friction extrusion was invented at The Welding Institute in the UK and patented in 1991. It was originally intended primarily as a method for production of homogeneous microstructures and particle distributions in metal matrix composite materials. Friction extrusion differs from conventional extrusion in that the charge (billet or other precursor) rotates relative to the extrusion die. An extrusion force is applied so as to push the charge against the die. In practice either the die or the charge may rotate or they may be counter-rotating. The relative rotary motion between the charge and the die has several significant effects on the process. First, the relative motion in the plane of rotation leads to large shear stresses, hence, plastic deformation in the layer of charge in contact with and near the die. This plastic deformation is dissipated by recovery and recrystallization processes leading to substantial heating of the deforming charge. Because of the deformation heating, friction extrusion does not generally require preheating of the charge by auxiliary means potentially resulting in a more energy efficient process. Second, the substantial level of plastic deformation in the region of relative rotary motion can promote solid state welding of powders or other finely divided precursors, such as flakes and chips, effectively consolidating the charge (friction consolidation) prior to extrusion.


title: Extrusion

text: Microextrusion is a microforming extrusion process performed at the submillimeter range. Like extrusion, metal is pushed through a die orifice, but the resulting product's cross section can fit through a 1mm square. Several microextrusion processes have been developed since microforming was envisioned in 1990. Forward (ram and billet move in the same direction) and backward (ram and billet move in the opposite direction) microextrusion were first introduced, with forward rod-backward cup and double cup extrusion methods developing later. Regardless of method, one of the greatest challenges of creating a successful microextrusion machine is the manufacture of the die and ram. "The small size of the die and ram, along with the stringent accuracy requirement, needs suitable manufacturing processes." Additionally, as Fu and Chan pointed out in a 2013 state-of-the-art technology review, several issues must still be resolved before microextrusion and other microforming technologies can be implemented more widely, including deformation load and defects, forming system stability, mechanical properties, and other size-related effects on the crystallite (grain) structure and boundaries.


title: Extrusion

text: A single or twin screw auger, powered by an electric motor, or a ram, driven by hydraulic pressure (often used for steel and titanium alloys), oil pressure (for aluminium), or in other specialized processes such as rollers inside a perforated drum for the production of many simultaneous streams of material.


title: Extrusion

text: There are several methods for forming internal cavities in extrusions. One way is to use a hollow billet and then use a fixed or floating mandrel. A fixed mandrel, also known as a German type, means it is integrated into the dummy block and stem. A floating mandrel, also known as a French type, floats in slots in the dummy block and aligns itself in the die when extruding. If a solid billet is used as the feed material then it must first be pierced by the mandrel before extruding through the die. A special press is used in order to control the mandrel independently from the ram. The solid billet could also be used with a spider die, porthole die or bridge die. All of these types of dies incorporate the mandrel in the die and have "legs" that hold the mandrel in place. During extrusion the metal divides, flows around the legs, then merges, leaving weld lines in the final product.


title: Extrusion

text: Direct extrusion, also known as forward extrusion, is the most common extrusion process. It works by placing the billet in a heavy walled container. The billet is pushed through the die by a ram or screw. There is a reusable dummy block between the ram and the billet to keep them separated. The major disadvantage of this process is that the force required to extrude the billet is greater than that needed in the indirect extrusion process because of the frictional forces introduced by the need for the billet to travel the entire length of the container. Because of this the greatest force required is at the beginning of process and slowly decreases as the billet is used up. At the end of the billet the force greatly increases because the billet is thin and the material must flow radially to exit the die. The end of the billet (called the butt end) is not used for this reason.


title: Extrusion

text: In indirect extrusion, also known as backwards extrusion, the billet and container move together while the die is stationary. The die is held in place by a "stem" which has to be longer than the container length. The maximum length of the extrusion is ultimately dictated by the column strength of the stem. Because the billet moves with the container the frictional forces are eliminated. This leads to the following advantages:


title: Extrusion

text: In the hydrostatic extrusion process the billet is completely surrounded by a pressurized liquid, except where the billet contacts the die. This process can be done hot, warm, or cold, however the temperature is limited by the stability of the fluid used. The process must be carried out in a sealed cylinder to contain the hydrostatic medium. The fluid can be pressurized two ways:


title: Extrusion

text: Most modern direct or indirect extrusion presses are hydraulically driven, but there are some small mechanical presses still used. Of the hydraulic presses there are two types: direct-drive oil presses and accumulator water drives.


title: Extrusion

text: Direct-drive oil presses are the most common because they are reliable and robust. They can deliver over 35 MPa (5000 psi). They supply a constant pressure throughout the whole billet. The disadvantage is that they are slow, between 50 and 200 mm/s (2–8 ips).


title: Extrusion

text: Accumulator water drives are more expensive and larger than direct-drive oil presses, and they lose about 10% of their pressure over the stroke, but they are much faster, up to 380 mm/s (15 ips). Because of this they are used when extruding steel. They are also used on materials that must be heated to very hot temperatures for safety reasons.


title: Extrusion

text: Hydrostatic extrusion presses usually use castor oil at pressure up to 1400 MPa (200 ksi). Castor oil is used because it has good lubricity and high pressure properties.


title: Extrusion

text: The design of an extrusion profile has a large impact on how readily it can be extruded. The maximum size for an extrusion is determined by finding the smallest circle that will fit around the cross-section, this is called the "circumscribing circle". This diameter, in turn, controls the size of the die required, which ultimately determines if the part will fit in a given press. For example, a larger press can handle diameter circumscribing circles for aluminium and 55 cm (22 in) diameter circles for steel and titanium.


title: Extrusion

text: The complexity of an extruded profile can be roughly quantified by calculating the "shape factor", which is the amount of surface area generated per unit mass of extrusion. This affects the cost of tooling as well as the rate of production.


title: Extrusion

text: Thicker sections generally need an increased section size. In order for the material to flow properly legs should not be more than ten times longer than their thickness. If the cross-section is asymmetrical, adjacent sections should be as close to the same size as possible. Sharp corners should be avoided; for aluminium and magnesium the minimum radius should be 0.4 mm (1/64 in) and for steel corners should be and fillets should be . The following table lists the minimum cross-section and thickness for various materials.


title: Extrusion

text: Magnesium and aluminium alloys usually have a RMS or better surface finish. Titanium and steel can achieve a RMS.


title: Extrusion

text: In 1950, Ugine Séjournet, of France, invented a process which uses glass as a lubricant for extruding steel. The Ugine-Sejournet, or Sejournet, process is now used for other materials that have melting temperatures higher than steel or that require a narrow range of temperatures to extrude, such as the platinum-iridium alloy used to make kilogram mass standards. The process starts by heating the materials to the extruding temperature and then rolling it in glass powder. The glass melts and forms a thin film, 20 to 30 mils (0.5 to 0.75 mm), in order to separate it from chamber walls and allow it to act as a lubricant. A thick solid glass ring that is 0.25 to 0.75 in (6 to 18 mm) thick is placed in the chamber on the die to lubricate the extrusion as it is forced through the die. A second advantage of this glass ring is its ability to insulate the heat of the billet from the die. The extrusion will have a 1 mil thick layer of glass, which can be easily removed once it cools.


title: Extrusion

text: Another breakthrough in lubrication is the use of phosphate coatings. With this process, in conjunction with glass lubrication, steel can be cold extruded. The phosphate coat absorbs the liquid glass to offer even better lubricating properties.


title: Extrusion

text: Plastics extrusion commonly uses plastic chips or pellets, which are usually dried, to drive out moisture, in a hopper before going to the feed screw. The polymer resin is heated to molten state by a combination of heating elements and shear heating from the extrusion screw. The screw, or screws as the case with twin screw extrusion, forces the resin through a die, forming the resin into the desired shape. The extrudate is cooled and solidified as it is pulled through the die or water tank. A "caterpillar haul-off" (called a "puller" in the US) is used to provide tension on the extrusion line which is essential for overall quality of the extrudate. Pelletizers can also create this tension while pulling extruded strands in to be cut. The caterpillar haul-off must provide a consistent pull; otherwise, variation in cut lengths or distorted product will result. In some cases (such as fibre-reinforced tubes) the extrudate is pulled through a very long die, in a process called "pultrusion". The configuration of the interior screws are a driving force dependent on the application. Mixing elements or convey elements are used in various formations. Extrusion is common in the application of adding colorant to molten plastic thus creating specific custom color.


title: Extrusion

text: A multitude of polymers are used in the production of plastic tubing, pipes, rods, rails, seals, and sheets or films.


title: Extrusion

text: Ceramic can also be formed into shapes via extrusion. Terracotta extrusion is used to produce pipes. Many modern bricks are also manufactured using a brick extrusion process.


title: Extrusion

text: With the advent of industrial manufacturing, extrusion found application in food processing of instant foods and snacks, along with its already known uses in plastics and metal fabrication. The main role of extrusion was originally developed for conveying and shaping fluid forms of processed raw materials. Present day, extrusion cooking technologies and capabilities have developed into sophisticated processing functions including: mixing, conveying, shearing, separation, heating, cooling, shaping, co-extrusion, venting volatiles and moisture, encapsulation, flavor generation and sterilization. Products such as certain pastas, many breakfast cereals, premade cookie dough, some french fries, certain baby foods, dry or semi-moist pet food and ready-to-eat snacks are mostly manufactured by extrusion. It is also used to produce modified starch, and to pelletize animal feed.


title: Extrusion

text: Generally, high-temperature extrusion is used for the manufacture of ready-to-eat snacks, while cold extrusion is used for the manufacture of pasta and related products intended for later cooking and consumption. The processed products have low moisture and hence considerably higher shelf life, and provide variety and convenience to consumers.


title: Extrusion

text: In the extrusion process, raw materials are first ground to the correct particle size. The dry mix is passed through a pre-conditioner, in which other ingredients may be added, and steam is injected to start the cooking process. The preconditioned mix is then passed through an extruder, where it is forced through a die and cut to the desired length. The cooking process takes place within the extruder where the product produces its own friction and heat due to the pressure generated (10–20 bar). The main independent parameters during extrusion cooking are feed rate, particle size of the raw material, barrel temperature, screw speed and moisture content. The extruding process can induce both protein denaturation and starch gelatinization, depending on inputs and parameters. Sometimes, a catalyst is used, for example, when producing texturised vegetable proteins (TVP).


title: Extrusion

text: For use in pharmaceutical products, extrusion through nano-porous, polymeric filters is being used to produce suspensions of lipid vesicles liposomes or transfersomes with a particular size of a narrow size distribution. The anti-cancer drug Doxorubicin in liposome delivery system is formulated by extrusion, for example. Hot melt extrusion is also utilized in pharmaceutical solid oral dose processing to enable delivery of drugs with poor solubility and bioavailability. Hot melt extrusion has been shown to molecularly disperse poorly soluble drugs in a polymer carrier increasing dissolution rates and bioavailability. The process involves the application of heat, pressure and agitation to mix materials together and ‘extrude’ them through a die. Twin-screw high shear extruders blend materials and simultaneously break up particles. The resulting particle can be blended with compression aids and compressed into tablets or filled into unit dose capsules.


title: Extrusion

text: The extrusion production technology of fuel briquettes is the process of extrusion screw wastes (straw, sunflower husks, buckwheat, etc.) or finely shredded wood waste (sawdust) under high pressure when heated from 160 to 350 °C. The resulting fuel briquettes do not include any of the binders, but one natural – the lignin contained in the cells of plant wastes. The temperature during compression causes melting of the surface of bricks, making it more solid, which is important for the transportation of briquettes.


title: Extrusion

text: The majority of synthetic materials in textiles are manufactured with extrusion only. Fiber forming substances are used in extrusion to form various synthetic filaments. The molten materials are passed through a spinneret that helps in forming fibers.


title: Joe's Garage

text: Joe's Garage is a three-part rock opera recorded by American musician Frank Zappa in September and November 1979. Originally released as two separate studio albums on Zappa Records, the project was later remastered and reissued as a triple album box set, Joe's Garage, Acts I, II & III, in 1987. The story is told by a character identified as the "Central Scrutinizer" narrating the story of Joe, an average adolescent male, from Canoga Park, Los Angeles, who forms a garage rock band, has unsatisfying relationships with women, gives all of his money to a government-assisted and insincere religion, explores sexual activities with appliances, and is imprisoned. After being released from prison into a dystopian society in which music itself has been criminalized, he lapses into insanity.


title: Joe's Garage

text: The album encompasses a large spectrum of musical styles, while its lyrics often feature satirical or humorous commentary on American society and politics. It addresses themes of individualism, free will, censorship, the music industry and human sexuality, while criticizing government and religion, and satirizing Catholicism and Scientology. "Joe's Garage" is noted for its use of xenochrony, a recording technique that takes musical material (in this instance, guitar solos by Zappa from older live recordings) and overdubs them onto different, unrelated material. All solos on the album are xenochronous except for "Crew Slut" and "Watermelon in Easter Hay", a signature song that Zappa described as the best song on the album, and according to his son Dweezil, the best guitar solo his father ever played.


title: Joe's Garage

text: "Joe’s Garage" initially received mixed to positive reviews, with critics praising its innovative and original music, but criticizing the scatological, sexual and profane nature of the lyrics. Since its original release, the album has been reappraised as one of Zappa's best works.


title: Joe's Garage

text: After being released from his contractual obligations with Warner Bros. Records, Frank Zappa formed Zappa Records, a label distributed at that time by Phonogram Inc. He released the successful double album "Sheik Yerbouti" (1979, recorded 8/1977-2/1978), and began working on a series of songs for a follow-up album. The songs "Joe's Garage" and "Catholic Girls" were recorded with the intention that Zappa would release them as a single. Throughout the development of "Joe's Garage", Zappa's band recorded lengthy jams which Zappa later formed into the album. The album also continued the development of xenochrony, a technique Zappa also featured on "One Size Fits All" (1975), in which aspects of older live recordings were utilized to create new compositions by overdubbing them onto studio recordings, or alternatively, selecting a previously recorded solo and allowing drummer Vinnie Colaiuta to improvise a new drum performance, interacting with the previously recorded piece.


title: Joe's Garage

text: Midway through recording the new album, Zappa decided that the songs connected coherently and wrote a story, changing the new album into a rock opera. "Joe's Garage" was the final album Zappa recorded at a commercial studio. Zappa's own studio, the Utility Muffin Research Kitchen, built as an addition to Zappa's home, and completed in late 1979, was used to record and mix all of his subsequent releases.


title: Joe's Garage

text: The lyrical themes of "Joe's Garage" involve individualism, sexuality, and the danger of large government. The album is narrated by a government employee identifying himself as The Central Scrutinizer, who delivers a cautionary tale about Joe, a typical adolescent male who forms a band as the government prepares to criminalize music. The Central Scrutinizer explains that music leads to a "slippery slope" of drug use, disease, unusual sexual practices, prison, and eventually, insanity. According to Scott Schinder and Andy Schwartz, Zappa's narrative of censorship reflected the censorship of music during the Iranian Revolution of 1979, where rock music was made illegal.


title: Joe's Garage

text: The title track is noted as having an autobiographical aspect, as the character of Larry (as performed by Zappa himself) sings that the band plays the same song repeatedly because "it sounded good to me". In real life, Zappa said he wrote and played music for himself, his sole intended audience. The song also takes lyrical inspiration from bands playing in bars like The Mothers of Invention once had, and shady record deals Zappa had experienced in the past. In "Joe's Garage", Joe finds that the music industry is "not everything it is cracked up to be". The song refers to a number of music fads, including new wave, heavy metal, disco and glitter rock, and is critical of the music industry of the late 1970s.


title: Joe's Garage

text: "Catholic Girls" is critical of the Catholic Church, and satirizes "the hypocrisy of the myth of the good Catholic girl." While Zappa was in favor of the sexual revolution, he regarded himself as a pioneer in publicly discussing honesty about sexual intercourse, stating "American sexual attitudes are controlled as a necessary tool of business and government in order to perpetuate themselves. Unless people begin to see through that, to see past it to what sex is really all about, they're always going to have the same neurotic attitudes. It's very neatly packaged. It all works hand-in-hand with the churches and political leaders at the point where elections are coming up." This view inspired the lyrical content of "Crew Slut", in which Mary, Joe's girlfriend, falls into the groupie lifestyle, going on to participate in a wet T-shirt contest in the following track, "Fembot in a Wet T-Shirt".


title: Joe's Garage

text: "Why Does It Hurt When I Pee?" was written in the summer of 1978. Zappa's road manager, Phil Kaufman, alleged, that the song was written after Kaufman had asked that very question; within the context of the album's storyline, it is sung by Joe after he receives a sexually transmitted disease from Lucille, "a girl, who works at the Jack in the Box". The Central Scrutinizer continues to express the hypothesis that "girls, music, disease, heartbreak [...] all go together." Halfway through the album's libretto, Zappa expressed the belief that governments believe that people are inherently criminals, and continue to invent laws, which gives states the legal grounds to arrest people, leading to the fictional criminalization of music which occurs towards the end of the album's storyline.


title: Joe's Garage

text: "A Token of My Extreme" satirizes Scientology and L. Ron Hubbard, as well as new age beliefs and the sexual revolution. It describes an insincere religion, which co-operates with a "malevolent totalitarian regime." "Stick It Out" contains lyrical references to Zappa's songs "What Kind Of Girl", "Bwana Dik", "Sofa No. 2", and "Dancin' Fool". "Dong Work For Yuda" was written as a tribute to Zappa's bodyguard, John Smothers, and features Terry Bozzio imitating Smothers' dialect and speech. "Keep It Greasy" is a lyrical tribute to anal sex. Following Joe's imprisonment and release, the libretto describes a dystopian future, accompanied musically by long guitar solos, which Joe imagines in his head. The penultimate song, "Packard Goose", criticizes rock journalism, and features a philosophical monologue delivered by the character Mary, who had been absent since the first act. In the epilogue song "A Little Green Rosetta," Joe gives up music, returns to sanity, hocks his imaginary guitar and gets "a good job" at the Utility Muffin Research Kitchen Facility (a self-reference to Zappa's own personal studio). The Central Scrutinizer sings the last song on the album in his "regular voice", and joins in a long musical number with most of the other people that worked with Zappa around 1979.


title: Joe's Garage

text: At the beginning of the album, in Act 1, we are introduced to "The Central Scrutinizer", the album's narrator, who brings us a "special presentation" on music's bad influences on man. We are introduced to Joe, the main character in the presentation. Joe used to be the lead singer in a garage band, which eventually broke up ("Joe's Garage"). Joe continues playing his music until a neighbor calls the police, who tell Joe to "stick closer to church-oriented social activities." Joe starts going to the Catholic Youth Organization (CYO) at the Catholic Church, held by Father Riley, and falls in love with a girl named Mary ("Catholic Girls").


title: Joe's Garage

text: One day, Mary skips the church club and goes to the Armory. She becomes a groupie for a band called Toad-O ("Crew Slut"). Eventually, Mary, unable to keep up with the band's laundry, is dumped in Miami. With no money to get home, she signs up for the local Wet T-Shirt Contest at the Brasserie, hosted by Father Riley (who has since changed his name to Buddy Jones) ("Wet T-Shirt Nite"). Mary wins first place in the contest and wins fifty bucks, enough money to go home. However, Warren, a former member of Joe's Garage Band, finds out about Mary's "naughty exploits" and sends a letter to Joe telling him about it ("Toad-O Line"). Joe, heartbroken, "falls in with a fast crowd" and gets seduced by Lucille, a girl who works at the Jack in the Box, and has sex with her, only to catch gonorrhea ("Why Does It Hurt When I Pee?"). Discouraged, he sings about Lucille and his feelings for her ("Lucille Has Messed My Mind Up").


title: Joe's Garage

text: In Act 2, Joe is in "a quandary, being devoured by the swirling cesspool of his own steaming desires" and seeks redemption; he decides to "pay a lot of money" to the First Church of Appliantology, owned by L. Ron Hoover, an amount of fifty bucks ("A Token of My Extreme"). He learns from Hoover that he is a "Latent Appliance Fetishist", learns German, dresses like a housewife and goes to a club called the "Closet", filled with sexual appliances. Joe meets Sy Borg, a "Model XQJ-37 Nuclear Powered Pansexual Roto-Plooker", who looks like a "Chrome-Plated Piggy Bank with marital aids stuck all over it", and falls in love with him ("Stick It Out"). They go back to Sy's apartment and have sex, only for Joe to accidentally kill him when a "golden shower" causes his master circuit to short out ("Sy Borg").


title: Joe's Garage

text: Having given all his money to Hoover, Joe cannot pay to fix Sy and is arrested and sent to a special prison filled with people arrested due to music, who spend all day "snorting detergent and plooking each other". At the prison, he meets Bald-Headed John, "King of the Plookers" ("Dong Work for Yuda"). Joe is eventually "plooked" by the executives at the prison ("Keep It Greasey"). Having "a long time to go before [he's] paid [his] debt to society", he decides to be "sullen and withdrawn" and sits around dreaming up imaginary guitar notes ("Outside Now"), until he is released from prison (a bit of art imitating life, as Zappa himself did just that during his own prison sentence in 1965).


title: Joe's Garage

text: In Act 3, Joe is released from prison into a dystopian society where music has been made illegal and "[walks] through the parking lot in a semi-catatonic state", dreaming guitar notes. Eventually, he hears the voice of his neighbor Mrs. Borg taunting him in his head ("He Used to Cut the Grass"). Joe becomes scared of rock journalists and sings about them. He sees a vision of Mary appear and deliver a lecture ("Packard Goose"). Joe goes back to his house and dreams his last imaginary guitar notes ("Watermelon in Easter Hay"). Afterward, he "[hocks his] imaginary guitar and [gets] a good job" at the Utility Muffin Research Kitchen, where he squeezes icing rosettes onto muffins. As an epilogue, the Central Scrutinizer turns off his plastic megaphone and sings the final song on the album, "A Little Green Rosetta", with all the people who worked with Frank Zappa around 1979, with the song growing more chaotic as it goes as "proof" that music is dangerous.


title: Joe's Garage

text: The music of "Joe's Garage" encompassed a variety of styles, including blues, jazz, doo wop, lounge, orchestral, rock, pop and reggae. "Catholic Girls" makes musical reference to Zappa's controversial song "Jewish Princess", as a sitar plays the melody of the earlier song during the fadeout of "Catholic Girls". "Crew Slut" is performed as a slow blues song, with slide guitar riffs and a harmonica solo. According to Kelly Fisher Lowe, the song is "more Rolling Stones or Aerosmith than it is Gatemouth Brown or Guitar Watson". The extended three and a half minute, two-part guitar solo in "Toad-O-Line" is taken from Zappa's earlier song, "Inca Roads."


title: Joe's Garage

text: "A Token Of My Extreme" originated as an instrumental song played during improvised conversations by saxophonist Napoleon Murphy Brock and George Duke on keyboards. It typically opened Zappa's concerts in 1974; a recording of this version of the piece was released under the title "Tush Tush Tush (A Token of My Extreme)" on "You Can't Do That on Stage Anymore, Vol. 2".


title: Joe's Garage

text: "Lucille Has Messed My Mind Up" first appeared on Jeff Simmons' album of the same name, on which its writing is credited to "La Marr Bruister", one of Zappa's pseudonyms. The "Joe's Garage" arrangement is radically different, and is played in a reggae style. "Stick It Out" originated as part of the Mothers of Invention's "Sofa" routine in the early 1970s. The "Joe's Garage" version is musically influenced by funk and disco, with its lyrics performed first in German, and then in English. "Sy Borg" derives from funk, reggae and R&B.


title: Joe's Garage

text: "Keep It Greasy" had been performed by Zappa since 1975; the "Joe's Garage" album version features a guitar solo from a March 1979 live performance of the song "City of Tiny Lights". Another March 1979 guitar solo from "City of Tiny Lights" is incorporated into the song "Outside Now" using the same recording technique. "Packard Goose" also uses xenochrony, with its guitar solo taken from a March 1979 performance of "Easy Meat".


title: Joe's Garage

text: The album concludes with a long guitar instrumental, "Watermelon in Easter Hay", the only guitar solo recorded for the album, in 9/4 time; every other guitar solo on the album was xenochronous—overdubbed from older live recordings. In their review of the album, "Down Beat" magazine criticized the song, but subsequent reviewers have championed the song as Zappa's masterpiece. Lowe called it the "crowning achievement of the album" and "one of the most gorgeous pieces of music ever produced". Zappa told Neil Slaven that he thought it was "the best song on the album". The song's title is thought to have come from a saying used by Zappa while recording the album: "Playing a guitar solo with this band is like trying to grow watermelon in Easter hay". After Zappa died, "Watermelon in Easter Hay" became known as one of his signature songs, and his son, Dweezil Zappa, later referred to it as "the best solo Zappa ever played".


title: Joe's Garage

text: The song is followed by "A Little Green Rosetta", a song that was originally intended to appear on Zappa's shelved "Läther" album, but rerecorded with different lyrics for "Joe's Garage".


title: Joe's Garage

text: "Joe's Garage" was initially released in separate units, beginning with the single LP "Act I" in September 1979. For the album artwork, Zappa was photographed in blackface makeup, holding a mop for the car grease garage theme. The gatefold sleeve of "Act I" was designed by John Williams, and featured a collage, which included a naked Maya, vague technical drawings, pyramids and fingers on the fret of a guitar. The lyric insert featured similar illustrations, which related to the content of the songs and storyline. The title track was released as a single, with "The Central Scrutinizer" as its B-side. It did not chart.


title: Joe's Garage

text: "Act I" peaked at #27 on the "Billboard" Pop Albums chart. It was followed by the double album "Acts II & III" in November. The gatefold of "Acts II & III" featured collages taken from a medical journal, while the cover for "Acts II & III" featured a makeup artist applying blackface makeup to Zappa's face. "Acts II & III" peaked at #53 on the Pop Albums chart.


title: Joe's Garage

text: "Joe's Garage" was reissued in 1987 as a triple album, combining Acts I, II & III into a single box set, and as a double album on compact disc. The song "Wet T-Shirt Nite" received two alternate titles, when the album was released on CD: the libretto referred to the song as "The Wet T-Shirt Contest", while the back cover referred to the song as "Fembot in a Wet T-Shirt". In an interview, Zappa explained that the "fembot" was the name given to a female robot in an episode of the TV series "The Six Million Dollar Man". The instrumental "Toad-O Line" was renamed "On the Bus". The Central Scrutinizer monologue at the end of "Lucille Has Messed My Mind Up", which concludes the story's first act, was indexed as its own track on the CD reissue, under the title "Scrutinizer Postlude".


title: Joe's Garage

text: AllMusic writer William Ruhlmann gave 3 out of 5 stars for the individual releases "Act I" and "Acts II & III". Ruhlmann wrote of "Act I", "although his concern with government censorship would see a later flowering in his battles with the Parents Music Resource Center (PMRC), here he wasn't able to use it to fulfill a satisfying dramatic function." Ruhlmann also felt that "Acts II & III" "seems so thin and thrown together, musically and dramatically".


title: Joe's Garage

text: Don Shewey of "Rolling Stone" magazine wrote, "If the surface of this opera is cluttered with cheap gags and musical mishmash, its soul is located in profound existential sorrow. The guitar solos that Zappa plays in Joe's imagination burn with a desolate, devastating beauty. Flaws and all, "Joe's Garage" is Frank Zappa's "Apocalypse Now"." The collected "Acts I, II & III" release received 4.5 out of 5 stars from Allmusic's Steve Huey, who wrote "in spite of its flaws, "Joe's Garage" has enough substance to make it one of Zappa's most important '70s works and overall political statements, even if it's not focused enough to rank with his earliest Mothers of Invention masterpieces."


title: Joe's Garage

text: For his performance on "Joe's Garage", Vinnie Colaiuta was named "the most technically advanced drummer ever" by "Modern Drummer", which ranked the album as one of the top 25 greatest drumming performances of all time. On September 26, 2008, "Joe's Garage" was staged by the Open Fist Theatre Company in Los Angeles, in a production authorized by the Zappa Family Trust.


title: John Challis

text: John Spurley Challis (16 August 1942 – 19 September 2021) was an English actor. He had an extensive theatre and television career but is best known for portraying Terrance Aubrey "Boycie" Boyce in the long-running BBC Television sitcom "Only Fools and Horses" (1981–2003) and its sequel/spin-off "The Green Green Grass" (2005–2009), as well as Monty Staines from the seventh series onwards in the ITV sitcom "Benidorm" (2015–2018). Challis was an established stage actor, making appearances for companies including the Royal Shakespeare Company and the National Theatre.


title: John Challis

text: John Spurley Challis was born on 16 August 1942 in Clifton, Bristol, England. An only child, his family moved to Southeast London when he was one year old. He grew up in Epsom, after the family moved to Surrey. Challis attended the state boarding Ottershaw School near Woking, Surrey. His father was Alec, a civil servant with the Admiralty who became secretary to the energy minister; he was a strict disciplinarian. His mother was Joan (née Harden), a former ambulance driver who performed in amateur dramatics and taught drama in schools.


title: John Challis

text: After leaving school, he worked as a trainee estate agent, before he "ran away with the Argyle Theatre for Youth".


title: John Challis

text: When offered work in television, Challis, who was tall, often found himself typecast as doctors, soldiers and police officers. His first television role was in the BBC soap opera "The Newcomers" in 1967. Another early television role, also in 1967 was as a thief who stole Ena Sharples' handbag in "Coronation Street"; he would later have a recurring role in the series as Detective Sergeant Norman Phillips from 1975 to 1977. 1969 he played in the gangster drama "Big Breadwinner Hog", and between 1971 and 1975 Challis made regular appearances in "Z-Cars" as Sergeant Culshaw.


title: John Challis

text: The sitcom "Bloomers" (1979), starring Richard Beckinsale, was written about Challis's experience working at a garden centre while taking a break from acting.


title: John Challis

text: A role in the John Sullivan sitcom "Citizen Smith" led to Challis being cast as Terrance Aubrey "Boycie" Boyce in "Only Fools and Horses" (1981—2003), which became his best-known role. Sullivan also created a spin-off for Challis, "The Green Green Grass" (2005—2009). The outdoor scenes of "The Green Green Grass" were filmed at his then-home at Wigmore Abbey, surrounding fields and local villages.


title: John Challis

text: His other television appearances include "Dixon of Dock Green", "Thriller", "The Sweeney", "Doctor Who" ("The Seeds of Doom"), "Dracula", "Beau Geste", "Juliet Bravo", "Bloomers", "Ever Decreasing Circles", "Doctor Snuggles", "Chance in a Million", "The Bill", "One Foot in the Grave", "Open All Hours", "The New Statesman", "Don't Wait Up", "Soldier Soldier", "Brass Eye", "My Family", "In Sickness and in Health", "Benidorm" and "Heartbeat". During his appearance in a 1997 Channel 4 mockumentary "Brass Eye" television episode "Decline", he was tricked into believing Clive Anderson had been shot by Noel Edmonds. In 2006 he took a cameo role in BBC's "The Impressionists" as the stationmaster at the Gare Saint Lazare. In the 2008 episode "Is Jeremy Quite Safe?" of "Last of the Summer Wine" he guest-starred as a retired jewel thief with fanciful stories of his past exploits in the South of France. In 2012, he narrated the National Geographic Channel series "Strippers: Cars for Cash".


title: John Challis

text: On BBC radio, he played an interrogator in the play "Rules of Asylum" by James Follett, broadcast by BBC Radio 4 in 1973. He also played Dibden Purlew in "Getting Nowhere Fast" from 2001 to 2004.


title: John Challis

text: He became an honorary citizen of Serbia, where "Only Fools and Horses" remains hugely popular. In 2020, Challis made the documentary "Boycie in Belgrade," exploring why the show was so beloved in the Balkan country.


title: John Challis

text: Challis performed many stage roles, including with the Royal Shakespeare Company in the 1960s and the National Theatre. His first performance in London's West End was in "Portrait of a Queen" in 1965 at the Vaudeville Theatre. In 1977 he played a leading role at the Orange Tree Theatre in Richmond, in Sam Walters’ production of Václav Havel’s play "The Memorandum".


title: John Challis

text: His work at the National Theatre included productions of "On the Razzle" (1979) and "The Rivals" (1983), with Michael Hordern, and "Laughter on the 23rd Floor" with Frank Finlay. In a 1993 tour with the National he starred along with Barbara Windsor, Kenneth Waller, and Christopher Villiers in a production of "Entertaining Mr Sloane" by Joe Orton. He appeared with Sue Holderness ('Marlene' in "Only Fools and Horses") in Ayckbourn's "Relatively Speaking", "Time and Time Again" and "How the Other Half Loves", and the National Theatre's own production of "Boycie and Marlene".


title: John Challis

text: In 1995, at the height of the success of "Only Fools and Horses," as an established Shakespeare actor he returned to the stage to appear in "Richard III" and "A Midsummer Night’s Dream" at Regent’s Park Open Air Theatre, and in 2000 he played Malvolio in "Twelfth Night", at Stafford Castle and he performed at Ludlow Castle in "As You Like It" in 2011.


title: John Challis

text: He was also featured regularly in pantomime productions in which he usually played the roguish or wicked roles, such as for example, Captain Hook in "Peter Pan" at the Plaza Theatre, Stockport, a role he reprised in 2018 at the Theatre Royal, Nottingham. He also appeared in pantomime at Weston Playhouse in winter 2011–12 playing Ebenezer in "Aladdin" and as King Rat in "Dick Whittington" at the Plaza over Christmas 2013 and New Year 2014.


title: John Challis

text: Challis was married four times. His first wife, Carol Robertson, was a stage manager. His second and third wives were actresses Debbie Arnold and Sabina Franklyn. He married his fourth wife Carol Davies in Brighton in 1995 and in 1998 bought the Abbot's Lodgings at Wigmore Abbey Grange, Adforton, Herefordshire, which they proceeded to renovate. Challis had no children.


title: John Challis

text: Challis was a patron of the British Hedgehog Preservation Society. He was an Arsenal supporter. Challis wrote two volumes of autobiography, "Being Boycie" and "Boycie & Beyond". In 2016, he wrote "Wigmore Abbey: The Treasure of Mortimer" about the renovation of his house's gardens.


title: John Challis

text: Challis additionally was a patron and avid supporter of "The Rose Theatre" in Kidderminster, Worcestershire. The organisation also paid special tribute to Challis after his death.


title: John Challis

text: Through Twitter, Challis became friends with American actor and musician Ice-T, with the pair exchanging gifts although never meeting in person.


title: John Challis

text: Challis died of cancer in his sleep on 19 September 2021, aged 79. He had been diagnosed with the disease in 2019.


title: John Challis

text: Tributes were paid by a number of fellow actors and entertainers including his "Only Fools and Horses" co-stars Sir David Jason and Sue Holderness, as well as Ice-T, Paul Chuckle, Piers Morgan and Sheila Ferguson.


title: Jadzia Dax

text: Jadzia Dax , played by Terry Farrell, is a fictional character from the science-fiction television series "".


title: Jadzia Dax

text: Jadzia Dax is a joined Trill. Though she appears to be a young woman, Jadzia lives in symbiosis with a long-lived creature, known as a symbiont, named Dax. The two share a single, conscious mind, and her personality is a blending of the characteristics of both the host and the symbiont. As such, Jadzia has access to all the skills and memories of the symbiont's seven previous hosts. Prior to the symbiotic joining, Jadzia earned academic degrees in exobiology, zoology, astrophysics, and exoarchaeology.


title: Jadzia Dax

text: Jadzia Dax is the chief science officer of the space station Deep Space Nine and is close friends with station commander Benjamin Sisko. Later in the series, she becomes involved with the Klingon character Worf, and they marry during the sixth season of the show. In the sixth-season finale Jadzia dies but the Dax symbiote survives, and in the seventh-season premiere returns with a new host Ezri Dax, played by Nicole de Boer.


title: Jadzia Dax

text: When selecting the characters for "Deep Space Nine", the production staff knew that they would have humans, Bajorans, and a changeling; for other characters, they wanted to pick "a species that had already been established" on "Star Trek: The Next Generation". They decided on a Trill, as seen in the form of Odan in the "TNG" episode "".


title: Jadzia Dax

text: Although Michael Westmore's alterations to make the Odan headpiece more feminine was as good as all of his work, the writers simply did not like it. Apparently, after she had put on the Odan forehead appliance, Rick Berman looked at Terry Farrell and said to Westmore, "What did you do to her head, she used to be beautiful?" Instead of changing species, as they had already come to like the idea of an "old man", a person with centuries of experience to guide Sisko, Westmore suggested, "just give her spots like we gave Famke [Janssen]", who played a Kriosian in "TNG": "The Perfect Mate". This make-up was used on all Trill afterwards, comprising lines of dark spots that run from the temples and down both sides of the head, neck, and body.


title: Jadzia Dax

text: When the show began, the writers had difficulty defining the character of Dax. Michael Piller explained, "Having a Trill seemed like a really, really good idea at the time, but it was the most difficult character for us to define. Jadzia Dax escaped us. At first we thought she was going to be ethereal, a Grace Kelly/Audrey Hepburn kind of goddess, and ultimately I think Ira Behr really figured it out, probably not until the second season, when he really made her a smart-talking, wise-cracking tough cookie." In 2014, Farrell admitted she found the character initially frustrating. "The writers didn't know what to do with the character they created", saying she was asked to portray the character as a cross between Grace Kelly and Yoda. She was also annoyed by a scene written where Dax gossiped about who was dating whom on the station, questioning "Why would a 350-year-old person care about who you're going out with?" Piller explained, "The more we've written her, the more we're finding that she is not what she appears to be. That underneath this placid exterior, there's all these various personalities that she's gone through that are in turmoil and there's a lot of inner conflict. You know all the voices we hear inside ourselves are all made up of different subpersonalities; well she's got them all screaming at her in a variety of different ways."


title: Jadzia Dax

text: Ira Behr spoke further on the character, announcing that they had intentionally changed the character by "Star Trek: Deep Space Nine". He said, "We changed Dax in year two. Originally, she was going to be the Spock character, the wise old owl, the wise old man. And then we realized that she could be the one who's ready to go out and kick anyone's butt, and go out and have an adventure and have fun, and be kind of witty and mercurial. And that turned out to be great. When we found that part of the character, we just ran with it."


title: Jadzia Dax

text: Speaking in 2002, Terry Farrell said of playing Dax, "It was a character who had lived seven lifetimes, been a man and a woman. Before I walked in and actually met everybody, I felt a little bit intimidated about this, I thought 'Oh my God, I need to meet them so they're going to tell me what I need to know.' And when I actually got here and spoke to everyone, they kind of didn't really know. And I was 28, and they kind of wanted me to be wiser than my years, just have the physicality of a 28-year-old, but have a 350-year-old wise person inside me. They tried to find what they wanted in adjusting me here and there, and I think really what happened was surrender to that it was all new for this Dax, Jadzia Dax, this experience of the seven lifetimes, and Michael Piller made the decision that she was trying to come to terms with all of these entities, all of these memories that were inside of herself. And I think that helped me a lot as an actress to try to assimilate the job, period, and in a lot of ways, made me feel a little lost and uncomfortable as Terry, which got played out as Jadzia, so it was okay that she slowly felt more comfortable, so did I, and by the time they decided to make me a little bit more roguish in the second or third season, I felt much more comfortable about the dialogue and the other actors, and my lack of stage experience. And when I had to start doing action sequences, and work with Michael Dorn, I felt a lot more comfortable. I had my own voice."


title: Jadzia Dax

text: Following the confirmation of Farrell's departure and plans to kill the character off, Michael Piller wanted to add a few lines to "Star Trek: Insurrection" (which was still in development) acknowledging Jadzia's death and the impact it had on Worf. Rick Berman eventually overruled this, arguing that this would confuse film audience members who did not follow the show regularly.


title: Jadzia Dax

text: Early in the run of "Star Trek: Deep Space Nine", Michael McGreevey pitched a story to the writers that featured Jadzia and Bashir falling in love. McGreevey commented, "It was a love story, a simple concept. I don't know why they didn't want to do it. The symbiont inside Dax becomes ill, making her ill, and Dr. Bashir must separate them in order to treat the symbiont. We would come to see the personality of Jadzia, which of course is different from Dax. Bashir falls in love with her, and she feels for him, too, but the most important thing in life is to be joined with the symbiont. Bashir realizes that the only way to save the symbiont is to put it back into Jadzia, and thereby lose the girl he loves".


title: Jadzia Dax

text: Jadzia Dax is a joined Trill. "Jadzia" is the name of the young Trill woman, while "Dax" refers to a slug-like symbiont that resides in her abdomen; Jadzia's actual family name was never revealed on the show. In the novels, her original name is said to be Jadzia Idaris. While Jadzia is 28 years old at the beginning of the series, the creature Dax is roughly 300 years old, having previously been hosted by seven other Trills. As a result, Dax may be considered the oldest crewmate on Deep Space Nine.


title: Jadzia Dax

text: Prior to Jadzia, the Dax symbiont had been hosted by Lela, Tobin, Emony, Audrid, Torias, Joran, and Curzon.


title: Jadzia Dax

text: The burden of seven lifetimes' worth of memories is not always a positive one; several episodes of "Deep Space Nine" focus on Dax's struggle with her dual nature:


title: Jadzia Dax

text: At the beginning of the series, Jadzia has just recently been joined with the symbiont Dax after the natural death of the previous host, Curzon Dax. Curzon had been a friend and mentor to station Commander Benjamin Sisko, and as Jadzia Dax, they continue this friendship despite the change in circumstances. Throughout the series, Sisko refers to Jadzia Dax by the affectionate nickname "Old Man," and she in turn frequently addresses him by his first name rather than his rank or "sir." She begins the series at the rank of lieutenant; at the start of the fourth season, she becomes a lieutenant commander and remains one until her death in the sixth-season finale.


title: Jadzia Dax

text: During the early seasons, Jadzia Dax is pursued romantically by Dr. Julian Bashir. Dax consistently but politely rebuffs him, though she later admits that she somewhat enjoyed the attention (cf. "Starship Down"). After Jadzia's death, Dax's new host Ezri begins dating Bashir.


title: Jadzia Dax

text: During the first season of the show, Jadzia Dax is often portrayed as somewhat reserved and aloof. In the early second-season episode "", she is ill-at-ease in the spider-filled caverns of a Bajoran moon, and is later disoriented by Kira's reckless piloting of a Bajoran starfighter. The writers' portrayal of the character begins to change in the second season, as they emphasize Jadzia Dax's gusto for life and extensive knowledge of other cultures:


title: Jadzia Dax

text: Jadzia Dax's connection to the Klingon culture became increasingly important as the series progressed, especially after the fourth-season arrival of Worf. In the episode "The Sword of Kahless", Dax joins Worf and Kor in the search for the titular Klingon artifact. In "Sons of Mogh", she becomes aware of and subsequently warns Captain Sisko of Worf's attempt to kill his brother Kurn, and in "Soldiers of the Empire", Worf and she go on a tense mission aboard a Klingon ship. Jadzia Dax eventually married Worf and joined him as a member of the Klingon House of Martok.


title: Jadzia Dax

text: Writers on "Deep Space Nine" had previously hinted at a potential same-sex relationship in the episode "", when Jadzia Dax says goodbye to Enina Tandro, a former lover of Dax's previous male host, Curzon. The first take of the scene resulted in a situation in which whether Dax and Enina were about to kiss was unclear. It was decided at the time to be inappropriate, although the writers had hoped that a time would come when the viewers would accept such a relationship. This theme was eventually realized in "Rejoined".


title: Jadzia Dax

text: The episode "", in which Jadzia is reunited with the wife of a former host of the Dax symbionts, features one of the first televised kisses between two female characters. Terry Farrell was happy with the story line, saying that it made sense for Dax to have this issue because the symbiont had been in both male and female hosts, adding, "Gender wasn't the issue. For the worm/symbiont, it was a matter of the being it was embodied in." She was pleased to be able to "stand up" for the LGBT community.


title: Jadzia Dax

text: Jadzia Dax was initially pursued by Dr. Julian Bashir aboard the station. The Ferengi bar owner, Quark, also has a special affection for the Trill scientist, even after the Dax symbiont was transferred to Ezri. However, her most notable and serious suitors include:


title: Jadzia Dax

text: In the fourth season, Michael Dorn joined the cast of "Deep Space Nine" as the Klingon character Worf. Perhaps because of her past interactions with Klingons, Dax is fairly flirtatious with Worf. He appears at first to be oblivious to this attention, and in the fifth-season episode "Looking for par'Mach in All the Wrong Places", he becomes enamored with a female Klingon named Grilka. This is resolved by the end of the episode, with Quark ironically winning the heart of Grilka, and Worf becoming romantically involved with Dax.


title: Jadzia Dax

text: In the beginning, their relationship is very sexual, with the strong implication that their encounters are somewhat rough (the above episode ends with Worf and Dax visiting the infirmary with various bruises and other injuries). In the season-five finale "", the station is overrun by Dominion forces, and Dax and Worf are assigned to different starships for the Dominion War. Near the end of the episode, they agree to get married after the war is over. Worf and Dax's marriage is the centerpiece of season-six episode "You Are Cordially Invited...". During the episode, Dax must obtain permission from the lady Sirella to join the House of Martok. At first, Dax is loath to pay Sirella the required respect, and the lady is unwilling to accede to Dax's request. The situation is resolved by the conclusion, with Sirella admitting during the ceremony that nothing can stand between "the beating of two Klingon hearts".


title: Jadzia Dax

text: Jadzia is murdered in "", the finale of the sixth season. Worf and she had decided to attempt to conceive, despite the doubts of Dr. Bashir that such a pregnancy was possible. After Major Kira tells Jadzia she has been praying for a conception, Jadzia receives encouraging test results from Julian, saying that the enzyme modification would allow her to become pregnant with Worf’s child. While the federation leads an attack on Cardassia with the Defiant, Jadzia remains on the station for some unclear reason. As the attack proceeds, the Cardassian Dukat takes advantage of the moment to plant the Pah-wraith in the Orbs, the orb-like Bajoran artifacts known as the "Tears of the Prophets", thereby destroying them. It just so happens that Jadzia goes to the station's temple to thank the Prophets for the good news of the potential pregnancy. The Cardassian arrives, possessed by the Pah-wraith just when Jadzia is there and unleashes his power onto her. Jadzia has no chance to resist and is mortally wounded. Jadzia dies shortly after in the infirmary. Sisko, devastated by her death along with the severed link to the prophets, leaves the station in despair and in search of answers.


title: Jadzia Dax

text: Though the host Jadzia is dead, the symbiont Dax survives and is removed and sent to Trill to be implanted into a new host. During the journey, Dax is quickly implanted into a Trill named Ezri Tigan. The resulting joined Trill, Ezri Dax, becomes a main character during the seventh and last season of the series. Worf grieves a long time for her, believing that because she did not die in battle, they will not meet again in Sto-vo-kor. He leads a dangerous mission against The Dominion in her name, to win her entry to the Klingon afterlife.


title: Jadzia Dax

text: In 2016, Screen Rant rated Jadzia Dax as the 19th-best character in "Star Trek" overall. In 2018, "TheWrap" placed Jadzia Dax as 26th of 39 in a ranking of main cast characters of the "Star Trek" franchise prior to "".


title: American Pie Presents: Band Camp

text: American Pie Presents: Band Camp is a 2005 American sex comedy film released by Universal Pictures. It is the first installment in "American Pie Presents" film series, a spin-off of the "American Pie" franchise.


title: American Pie Presents: Band Camp

text: "American Pie Presents: Band Camp" was released direct-to-DVD internationally on , and in the United States on .


title: American Pie Presents: Band Camp

text: Matt Stifler, the younger brother of Steve Stifler, is eager to enter a family business of making pornographic films to prove his "Stifmeister" behavior to his older brother, Steve. After Matt pulls a prank on the school band that goes too far, the school's guidance counselor Chuck "The Sherminator" Sherman, who attended high school with Steve, decides to punish Matt by sending him to band camp. Matt is initially dismissive of the idea, but is soon persuaded to agree, his interest piqued by the purportedly notorious sexual behavior of band camp girls.


title: American Pie Presents: Band Camp

text: Upon arrival, Matt is extremely disrespectful to the rules along with everyone at Tall Oaks and even gets his school's band in trouble. Jim's dad, Noah Levenstein, the camp's MACRO (Morale And Conflict Resolution Officer), recommends him to try to fit in for the band's trust. Matt conspires with his nerdy roommate, Ernie, to film the other band members in a bid called 'Bandeez Gone Wild' by using hidden cameras.


title: American Pie Presents: Band Camp

text: During a scuffle in lunch, Matt accepts a duel with the rival band leader Brandon, wherein the performers show off their music skills, with Brandon playing the snare drum, and Matt playing the triangle. When it seems Matt has lost, he leaves the stage and comes back playing the bagpipes, also wearing a kilt, to the tune of "Play That Funky Music" to win the duel. Matt befriends Elyse and are later attracted to each other and share a kiss while watching the clouds in the sky.


title: American Pie Presents: Band Camp

text: A day before the finals, the cheerleading squad of East Great Falls arrives and catches Matt in a band camp uniform. They tease him, taking a photo and plan to share it on the internet. Matt later offers a deal of showing them his film 'Bandeez Gone Wild' in exchange for deleting the photo. While showing them his video, Elyse turns up after he's unintentionally stood her up. Disappointed with Matt after seeing the video, she leaves.


title: American Pie Presents: Band Camp

text: The various school bands compete for points throughout camp with East Great Falls leading on the last day, but an ill-fated prank Matt meant for the rival team causes the band to lose and Elyse to possibly lose her opportunity for a scholarship. Once the new term starts, Matt visits Chuck, who reveals that he and the rest of Steve's friends really could not stand him.


title: American Pie Presents: Band Camp

text: Matt soon begins to fix his mistakes by deleting the naked videos he took of others at band camp, reconcile with his band camp buddies, and then persuade the school band to play Elyse's piece, Instrumental of Tal Bachman's Aeroplane, for the Conservatory head. Due to blatant plagiarism, Brandon has been disqualified and Elyse wins the scholarship, while Matt successfully wins her affection.


title: American Pie Presents: Band Camp

text: The film has received negative reviews from critics. On Rotten Tomatoes, it has an approval rating of 17% based on 6 reviews.


title: American Pie Presents: Band Camp

text: Brian Costello of Common Sense Media described the film as a "crass and unnecessary sequel with lots of cursing, sex."


title: Warren Mitchell

text: Warren Mitchell (born Warren Misell; 14 January 1926 – 14 November 2015) was a British actor. He was a BAFTA TV Award winner and twice a Laurence Olivier Award winner.


title: Warren Mitchell

text: In the 1950s, Mitchell appeared on the radio programmes "Educating Archie" and "Hancock's Half Hour". He also performed minor roles in several films. In the 1960s, he rose to prominence in the role of bigoted cockney Alf Garnett in the BBC television sitcom "Till Death Us Do Part" (1965–75), created by Johnny Speight, which won him a Best TV Actor BAFTA in 1967. He reprised the role in the television sequels "Till Death..." (ATV, 1981) and "In Sickness and in Health" (BBC, 1985–92), and in the films "Till Death Us Do Part" (1969) and "The Alf Garnett Saga" (1972).


title: Warren Mitchell

text: His other film appearances include "Three Crooked Men" (1958), "Carry On Cleo" (1964), "The Spy Who Came In from the Cold" (1965), "The Assassination Bureau" (1969) and "Norman Loves Rose" (1982). He held both British and Australian citizenship and enjoyed considerable success in stage performances in both countries, winning Olivier Awards in 1979 for "Death of a Salesman" and in 2004 for "The Price".


title: Warren Mitchell

text: Mitchell was born and raised in Stoke Newington, London. His father was a glass and china merchant. His family were Russian Jews (originally surnamed "Misell").


title: Warren Mitchell

text: He was interested in acting from an early age and attended Gladys Gordon's Academy of Dramatic Arts in Walthamstow from the age of seven. He did well at Southgate County School (now Southgate School), a state grammar school at Palmers Green, Middlesex. He then studied physical chemistry at University College, Oxford, as a Royal Air Force cadet student on a six-month university short course which the armed services sponsored for potential officers. There he met his contemporary, Richard Burton, and together they joined the RAF in October 1944. He completed his navigator training in Canada just as the Second World War ended.


title: Warren Mitchell

text: His wife, Constance Wake (1928–2017) was a film and TV actress in "Behind the Headlines" (1956 film), "Maigret" (1960 TV series) and others.


title: Warren Mitchell

text: Richard Burton's description of the acting profession had convinced him that it would be better than completing his chemistry degree and so Mitchell attended RADA for two years, performing in the evening with London's Unity Theatre. After a short stint as a DJ on Radio Luxembourg, in 1951, Mitchell became a versatile professional actor with straight and comedy roles on stage, radio, film and television. His first broadcast was as a regular on the radio show "Educating Archie", and this led to appearances in both the radio and television versions of "Hancock's Half Hour".


title: Warren Mitchell

text: By the late 1950s, he regularly appeared on television: as Sean Connery's trainer in boxing drama "Requiem for a Heavyweight" (1957), with Charlie Drake in the sitcom "Drake's Progress" (BBC, 1957) and a title role in "Three 'Tough' Guys" (ITV, 1957), in which he played a bungling criminal. He also appeared in several episodes of "Armchair Theatre". During the first of these, "Underground" (1958), one of the lead actors died during the live performance. He also had roles in "The Avengers" in addition to many ITC drama series including: "William Tell", "The Four Just Men", "Sir Francis Drake", "Danger Man" and as a recurrent guest in "The Saint", as in the second episode of the first season, "The Latin Touch" in 1962, depicting an Italian taxi driver.


title: Warren Mitchell

text: His cinema début was in Guy Hamilton's "Manuela" (1957), and he began a career of minor roles as sinister foreign agents, assisted by his premature baldness and facility with Eastern European accents. He appeared in "The Roman Spring of Mrs. Stone" (1961), the Hammer horror "The Curse of the Werewolf" (1961), "Carry On Cleo" (1964), "Where Has Poor Mickey Gone?" (Gerry Levy, 1964), and "Help!" (Richard Lester, 1965) and played leads in "All the Way Up" (James MacTaggart, 1970), "The Chain" (Jack Gold, 1984), "The Dunera Boys" (Ben Lewin, 1985) and "Foreign Body" (Ronald Neame, 1986).


title: Warren Mitchell

text: In 1965, Mitchell was cast in the role for which he became best known, as the Conservative-voting, bigoted cockney West Ham United supporter Alf Garnett in a play for the BBC "Comedy Playhouse" series, broadcast on 22 July 1965. This was the pilot edition of the long-running series "Till Death Us Do Part", with Gretchen Franklin, Una Stubbs and Anthony Booth. The part of Mum, played by Franklin, was recast with Dandy Nichols in the role when the programme was commissioned as a series. Mitchell's real life persona was different from Alf Garnett, being Jewish, Labour-voting and a staunch supporter of Tottenham Hotspur. The show ran from 1966 to 1975, in seven series, making a total of 53 30-minute episodes. While the series aimed to satirise racism, it actually also gained the support of many bigoted racists who perceived Alf as "the voice of reason".


title: Warren Mitchell

text: Mitchell reprised the role of Alf Garnett in the films "Till Death Us Do Part" (1969) and "The Alf Garnett Saga" (1972), in the ATV series "Till Death..." (1981), and in the BBC series "In Sickness and in Health" (1985–92). He also reprised his role as Alf Garnett in 1983 in the television series "The Main Attraction" where comedians recreated their famous acts from their past in front of a live and television audience (similar to "An Audience with..." that began in 1976). In 1997 he played the role in "An Audience with Alf Garnett". The same year, ITV aired a series of mini-episodes called "A Word With Alf", featuring Alf and his friends. All the TV shows and both films were written by Johnny Speight. When Speight died in 1998, the character of Alf Garnett was retired at Mitchell's request.


title: Warren Mitchell

text: Mitchell had a long and distinguished career on stage and television. Other small screen roles included a 13-episode series, "Men of Affairs" with Brian Rix (ITV, 1973–74), based on the West End hit farce "Don't Just Lie There, Say Something!" There were also performances in 1975 in "Play for Today" (showing that he could play a serious character role in the episode, "Moss"), as William Wardle, a crooked accountant in "The Sweeney" episode "Big Spender" (Thames Television for ITV, 1978), "Lovejoy" (BBC), "Waking the Dead" (BBC), "Kavanagh QC" (Central Television for ITV, he played a concentration camp survivor in the episode "Ancient History"), as Shylock in "The Merchant of Venice" (BBC, 1980) and "Gormenghast" (BBC, 2000). In 1991 he starred as Ivan Fox, a Jewish atheist from London living in Belfast in "So You Think You've Got Troubles", a BBC One comedy series written by Maurice Gran and Laurence Marks.


title: Warren Mitchell

text: In 2001, he appeared in a Christmas Special episode of "Last of the Summer Wine", "Potts in Pole Position".


title: Warren Mitchell

text: He was a subject of the television programme "This Is Your Life" in 1972 when he was surprised by Eamonn Andrews.


title: Warren Mitchell

text: On stage he received extensive critical acclaim for his performances as Willy Loman in Arthur Miller's "Death of a Salesman" at the National Theatre directed by Michael Rudman (1979, being originally cast in the role by Stephen Barry at the Playhouse in Perth, Australia); Harold Pinter's "The Caretaker" at the National Theatre; Pinter's "The Homecoming" at London's Comedy Theatre (1991) and Miller's "The Price" at the Apollo Theatre in 2003.


title: Warren Mitchell

text: Mitchell had a number of musical roles in his lengthy career, beginning with the role of Theophile in the original London production of "Can-Can" and the small role of Crookfinger Jake in "The Threepenny Opera". He also sang briefly in the film "Till Death Do Us Part" and played Alfred Doolittle on the studio album of "My Fair Lady", Music Hall Songs, songs of the First World War, and other recordings such as "The Writing's on the Wall", from 1967, on CBS, all in the Alf Garnett persona, were released in LP and 45 rpm single form, too, in Britain and Australia.


title: Warren Mitchell

text: In 2008, at the age of 82, Mitchell was performing alongside Ross Gardiner at the Trafalgar Studios, in London's West End, as a retired dry-cleaner in Jeff Baron's portrait of Jewish-American life "Visiting Mr. Green".


title: Warren Mitchell

text: In 1976, his one-man show "The Thoughts of Chairman Alf" won the "Evening Standard" Theatre Award for best comedy in London's West End. In 1982, he received an Australian Film Institute Award for best supporting actor in the film "Norman Loves Rose". He received two Laurence Olivier Theatre Awards—for playing Willy Loman in Arthur Miller's "Death of a Salesman" (National Theatre, 1979) and as best supporting actor in a 2003 performance of "The Price", also by Miller. His role in "Death of a Salesman" also won him an "Evening Standard Theatre Award for Best Actor" and was highly praised by Peter Hall. Miller reportedly described Mitchell's performance as "one of the best interpretations of the part he had ever seen."


title: Warren Mitchell

text: Mitchell described himself in an interview as an atheist, but also stated that he "enjoy[ed] being Jewish". He was a patron of the British Humanist Association. In 1951, he married Constance Wake, an actress who appeared in early 1960s television dramas such as "Maigret". They had three children, son Daniel and daughters Rebecca and Anna.


title: Warren Mitchell

text: For over 20 years, Mitchell suffered pain from nerve damage, caused by transverse myelitis, and was a supporter of the Neuropathy Trust. He suffered a mild stroke in August 2004. He was back onstage a week later, reprising his lauded role as a cantankerous old Jew in Arthur Miller's "The Price".


title: Warren Mitchell

text: Mitchell died at the Royal Free Hospital in Hampstead, London, on 14 November 2015, two months short of his 90th birthday after a long illness.


title: Project Gemini (film)

text: Project Gemini () is a 2022 Russian science fiction thriller film directed by Vyacheslav Lisnevsky about a space mission sent to terraform a distant planet. However, the mission encounters something unknown that has its own plan for the planet. The film stars Egor Koreshkov, Alyona Konstantinova, Konstantin Samoukov, Nikita Dyuvbanov, Elizaveta Martinez Kardenaz, Viktor Potapeshkin, Dmitry Frid, Pyotr Romanov, and Aleksandr Kuznetsov.


title: Project Gemini (film)

text: Principal photography commenced in 2016, the film was shot in Moscow, Russia and Kazakhstan, the locations were chosen deliberately futuristic, so that the viewer had no doubts that the film was set in the future. For a believable transfer of the atmosphere of a spacecraft and a number of fantastic elements, the film crew traveled to Star City, Russia.


title: Project Gemini (film)

text: In the not-too-distant future, mankind has made huge advances in its explorations of the cosmos, establishing scientific stations on many planets. An international project known as Gemini has resulted in the development of a unique planet terraforming unit. But once the unit is launched, Earth loses connection with the carrier rocket transporting the unit outside the Solar System. The search leads to nowhere – the unit is lost.


title: Project Gemini (film)

text: Some time has passed, before one day a group of astrophysicists receive a mysterious signal from space. It seems to originate on a remote and as-yet uncharted planet. The signal creates dangerous irregularities in the Earth's environment. An expedition is made to the planet itself, in order to locate the source of the signal. A small group of people – the vanguard of humanity – sets off into the unknown. They must endure dramatic and even tragic events to save the Earth from this dire


title: Project Gemini (film)

text: Instead of traveling through space, the ship is pulled four billion years into the past to ancient Earth. The team is able to continue the paradox and save Earth’s ecosystem from destruction.


title: Project Gemini (film)

text: The project was directed by Vyacheslav Lisnevsky, previously acted as director of films "Beyond the Edge" (2018 film). Only such actions of the director could reflect the real picture of life on board the ship sent into space. This applies, including the landing on other planets. He wrote the script in collaboration with Dmitry Zhigalov on the original production idea.


title: Project Gemini (film)

text: Filming took place in Russia and Kazakhstan for 2 months. It will be released in the 2nd half of 2017.


title: Project Gemini (film)

text: The movie was shot in Moscow at specially selected locations: a recently built business center Comcity office park, in the territory of Moscow-City, near Aquamarine residential complex at , which are located on the territory of the Russian capital. Not without consultations with experts, astronauts, during a visit to the Star City, Russia. All these objects look pretty futuristic and reflect visual image of a future city in the movie, which will be further enhanced by computer graphics.


title: Project Gemini (film)

text: Scenery of another planet where, according to the story, a team of astronauts was sent, were shot at Charyn Canyon in Kazakhstan.


title: Project Gemini (film)

text: As for the spacecraft, the flight and landing frames of another planet, they will be fully modeled on a computer.


title: Project Gemini (film)

text: At the studio large-scale stage scenery of a secret laboratory and a space ship's interior was built in the pavilion. Particularly careful work from the artists required unique costumes, including space suits for the astronauts, as well as futuristic gadgets, smart phones and weapons.


title: Project Gemini (film)

text: The exterior of spaceship and scenes of flight and landing on the other planet will be completely computer-rendered. Visual effects in the movie will be produced by KinoDanz's own computer graphics studio.


title: Project Gemini (film)

text: The was scheduled to premiere in Russia by 20th Century Studios CIS in April 2019. Later it became known that the date of its release was postponed.


title: Kamakura period

text: The is a period of Japanese history that marks the governance by the Kamakura shogunate, officially established in 1192 in Kamakura by the first "shōgun" Minamoto no Yoritomo after the conclusion of the Genpei War, which saw the struggle between the Taira and Minamoto clans. The period is known for the emergence of the samurai, the warrior caste, and for the establishment of feudalism in Japan.


title: Kamakura period

text: During the early Kamakura period, the shogunate continued warfare against the Northern Fujiwara which was only defeated in 1189. Then, the authority to the Kamakura rulers waned in the 1190s and power was transferred to the powerful Hōjō clan in the early 13th century with the head of the clan as regent (Shikken) under the shogun which became a powerless figurehead. The later Kamakura period saw the invasions of the Mongols in 1274 and again in 1281. To reduce the amount of chaos, the Hōjō rulers decided to decentralize power by allowing two imperial lines – Northern and Southern court, to alternate the throne. In the 1330s, the Southern court under Emperor Go-Daigo revolted and eventually led to the Siege of Kamakura in 1333 which ended the rule of the shogunate. With this, the Kamakura period ended. There was a short re-establishment (1333–1336) of imperial rule under Go-Daigo assisted by Ashikaga Takauji and Nitta Yoshisada but would later lead to direct rule under Ashikaga, forming the Ashikaga shogunate in the succeeding Muromachi period.


title: Kamakura period

text: Several significant administrative achievements were made during the Hōjō regency. These provided the opportunities for other military lords to exercise judicial and legislative authority and the government established a council centered around collective leadership. The period saw the adoption of Japan's first military code of law in 1232. There was an expansion of Buddhist teachings into Old Buddhism ("Kyū Bukkyō") and New Buddhism ("Shin Bukkyō").


title: Kamakura period

text: The Kamakura period marked Japan's transition to a land-based economy and the concentration of advanced military technologies in the hands of a specialized fighting class. Lords required the loyal services of vassals, who were rewarded with fiefs of their own; the fief holders then exercised local military rule. Once Minamoto no Yoritomo had consolidated his power, he established a new government at his family home in Kamakura. He called his government a , but because he was given the ancient high military title by Emperor Go-Toba, the government is often referred to in Western literature as the Shogunate. Yoritomo followed the Fujiwara form of house government and had an , a , and a . After confiscating estates in central and western Japan, he appointed stewards for the estates and constables for the provinces. As , Yoritomo was both the steward and the constable general.


title: Kamakura period

text: The Kamakura shogunate was not a national regime, however, and although it controlled large tracts of land, there was strong resistance to the stewards. The regime continued warfare against the Northern Fujiwara, but never brought either the north or the west under complete military control. However, the fourth leader of the Northern Fujiwara Fujiwara no Yasuhira was defeated by Yoritomo in 1189, and the 100-year-long prosperity of the north disappeared. The old court resided in Kyoto, continuing to hold the land over which it had jurisdiction, while newly organized military families were attracted to Kamakura.


title: Kamakura period

text: Despite a strong beginning, Yoritomo failed to consolidate the leadership of his family on a lasting basis. Intrafamily contention had long existed within the Minamoto, although Yoritomo had eliminated most serious challengers to his authority. When he died suddenly in 1199, his son Minamoto no Yoriie became and nominal head of the Minamoto, but Yoriie was unable to control the other eastern warrior families. By the early 13th century, a regency had been established by Hōjō Tokimasa—a member of the Hōjō clan, a branch of the Taira that had allied itself with the Minamoto in 1180. The head of Hōjō was installed as a regent for the ; the regent was termed the during the period, although later positions were created with similar power such as the and the . Often the was also the and . Under the Hōjō, the became a powerless figurehead.


title: Kamakura period

text: With the protection of the Emperor, a figurehead himself, strains emerged between Kyoto and Kamakura, and in 1221 the Jōkyū War broke out between the cloistered Emperor Go-Toba and the second regent Hōjō Yoshitoki. The Hōjō forces easily won the war, and the imperial court was brought under the direct control of the shogunate. The 's constables gained greater civil powers, and the court was obliged to seek Kamakura's approval for all of its actions. Although deprived of political power, the court retained extensive estates.


title: Kamakura period

text: Several significant administrative achievements were made during the Hōjō regency. In 1225 the third regent Hōjō Yasutoki established the Council of State, providing opportunities for other military lords to exercise judicial and legislative authority within the Kamakura regime. The Hōjō regent presided over the council, which was a successful form of collective leadership. The adoption of Japan's first military code of law—the —in 1232 reflected the profound transition from court to militarized society. While legal practices in Kyoto were still based on 500-year-old Confucian principles, the new code was a highly legalistic document that stressed the duties of stewards and constables, provided means for settling land disputes, and established rules governing inheritances. It was clear and concise, stipulated punishments for violators of its conditions, and parts of it remained in effect for the next 635 years.


title: Kamakura period

text: As might be expected, the literature of the time reflected the unsettled nature of the period. The describes the turmoil of the period in terms of the Buddhist concepts of impermanence and the vanity of human projects. The narrated the rise and fall of the Taira clan, replete with tales of wars and samurai deeds. A second literary mainstream was the continuation of anthologies of poetry in the , of which twenty volumes were produced between 1201 and 1205.


title: Kamakura period

text: During the Kamakura period six new Buddhist schools (classified by scholars as "New Buddhism" or "Shin Bukkyo") were founded:


title: Kamakura period

text: During this time the pre-existing schools of Tendai, founded by Saichō (767–822), Shingon, founded by Kūkai (774–835), and the great temples of Nara, collectively classified by scholars as "Old Buddhism" or "Kyū Bukkyo", continued to thrive, adapt, and exert influence. For example, all of the above six reformers had studied at the Tendai Mt. Hiei at some point in their lives.


title: Kamakura period

text: Throughout the Kamakura period, older Buddhist sects including Shingon, Tendai, and the Nara temple schools such as Kegon, Hossō, Sanron, and Ritsu continued to thrive and adapt to the trend of the times.


title: Kamakura period

text: At the start of the Kamakura period, the Mount Hiei monasteries had become politically powerful, appealing primarily to those capable of systematic study of the sect's teachings. The Shingon sect and its esoteric ritual continued to enjoy support largely from the noble families in Kyoto. However, with the increasing popularity of the new Kamakura schools, the older schools partially eclipsed as the newer "Kamakura" schools found followers among the new Kamakura government, and its samurai..


title: Kamakura period

text: The times that gave way to the Kamakura period were marked by political and military conflict, natural disasters, and social malaise attributed to the perceived arrival of the Latter Day of the Law. The new social order of a declining aristocracy and ascending military and peasant classes resulted in new forms of religion, both indigenous and Buddhist while Indian and Chinese influence continued. Furthermore, the Shōen manor system which had taken root in this era resulted in the increased prosperity and literacy of peasants which in turn provided more financial support for Buddhist teachers and their studies.


title: Kamakura period

text: The first originators of Kamakura Buddhism schools were Hōnen and Shinran who emphasized belief and practice over formalism.


title: Kamakura period

text: In the latter part of the 12th-century Dōgen and Eisai traveled to China and upon their return to Japan founded, respectively, the Sōtō and Rinzai schools of Zen. Dōgen rejected affiliations with the secular authorities whereas Eisai actively sought them. Whereas Eisai thought that Zen teachings would revitalize the Tendai school, Dōgen aimed for an ineffable absolute, a pure Zen teaching that was not tied to beliefs and practices from Tendai or other orthodox schools and with little guidance for leading people how to live in the secular world.


title: Kamakura period

text: The final stage of Kamakura Buddhism, occurring some 50 years after Hōnen, was marked by new social and political conditions as the aristocracy declined, the military class asserted new influence, and Buddhist-infused local "kami" practice among peasants flourished. These changing conditions created a climate that encouraged religious innovation. Nichiren and Ippen attempted at this time to create down-to-earth teachings that were rooted in the daily concerns of people. Nichiren rejected the focus on "next-worldly" salvation such a rebirth in a Pure Land and instead aimed for "this-worldly" personal and national liberation through a simple and accessible practice. Ippen emphasized a popularized form of nenbutsu recitation with an emphasis on practice rather than concentrating on an individual's underlying mental state.


title: Kamakura period

text: As time evolved the distinctions between "Old" and "New" Buddhisms blurred as they formed "cultic centers" and various forms of founder worship. The medieval structures of these schools evolved into hierarchical head temple-branch temple structures with associated rituals and forms of worship. This culminated in the state-sanctioned formalized schools of the Tokugawa period.


title: Kamakura period

text: The repulsions of two Mongol invasions were momentous events in Japanese history. Nichiren had predicted these invasions years earlier, in his "Rissho Ankoku Ron", a letter to the regency. Japanese relations with China had been terminated in the mid-ninth century after the deterioration of late Tang dynasty in China and the turning inward of the Heian court. Some commercial contacts were maintained with the Southern Song dynasty of China in later centuries, but Japanese pirates made the open seas dangerous. At a time when the shogunate had little interest in foreign affairs and ignored communications from China and the Goryeo kingdom, news arrived in 1268 of a new Mongol regime in Beijing. Its leader, Kublai Khan, demanded that the Japanese pay tribute to the new Yuan dynasty and threatened reprisals if they failed to do so. Unused to such threats, Kyoto raised the diplomatic counter of Japan's divine origin, rejected the Mongol demands, dismissed the Korean messengers, and started defensive preparations.


title: Kamakura period

text: After further unsuccessful entreaties, the first Mongol invasion took place in 1274. More than 600 ships carried a combined Mongol, Chinese, and Korean force of 23,000 troops armed with catapults, combustible missiles, and bows and arrows. In fighting, these soldiers grouped in close cavalry formations against samurai, who were accustomed to one-on-one combat. Local Japanese forces at Hakata, on northern Kyūshū, defended against the advantageous mainland force, which, after one day of fighting was destroyed by the onslaught of a sudden typhoon. Kublai realized that nature, not military incompetence, had been the cause of his forces' failure so, in 1281, he launched a second invasion. Seven weeks of fighting took place in northwestern Kyūshū before another typhoon struck, again destroying the Mongol fleet, which was mostly composed of hastily acquired, flat-bottomed Chinese ships especially vulnerable to powerful typhoons.


title: Kamakura period

text: Although Shinto priests attributed the two defeats of the Mongols to a "divine wind" or kamikaze, a sign of heaven's special protection of Japan, the invasion left a deep impression on the shogunate leaders. Long-standing fears of the Chinese threat to Japan were reinforced. The victory also convinced the warriors of the value of the shogunate form of government.


title: Kamakura period

text: The Mongol war had been a drain on the economy, and new taxes had to be levied to maintain defensive preparations for the future. The invasions also caused disaffection among those who expected recompense for their help in defeating the Mongols. There were no lands or other rewards to be given, however, and such disaffection, combined with overextension and the increasing defense costs, led to a decline of the Kamakura bakufu. Additionally, inheritances had divided family properties, and landowners increasingly had to turn to moneylenders for support. Roving bands of rōnin further threatened the stability of the shogunate.


title: Kamakura period

text: The Hōjō reacted to the ensuing chaos by trying to place more power among the various great family clans. To further weaken the Kyoto court, the bakufu decided to allow two contending imperial lines—known as the Southern Court or junior line and the Northern Court or senior line—to alternate on the throne. The method worked for several successions until a member of the Southern Court ascended to the throne as Emperor Go-Daigo. Go-Daigo wanted to overthrow the shogunate, and he openly defied Kamakura by naming his own son his heir. In 1331 the shogunate exiled Go-Daigo, but loyalist forces, including Kusunoki Masashige, rebelled. They were aided by Ashikaga Takauji, a constable who turned against the Kamakura when dispatched to put down Go-Daigo's rebellion. At the same time, Nitta Yoshisada, another eastern chieftain, rebelled against the shogunate, which quickly disintegrated, and the Hōjō were defeated.


title: Kamakura period

text: In the swell of victory, Go-Daigo endeavored to restore imperial authority and tenth-century Confucian practices. This period of reform, known as the Kenmu Restoration, aimed at strengthening the position of the emperor and reasserting the primacy of the court nobles over the warriors' caste. The reality, however, was that the forces who had arisen against Kamakura had been set on defeating the Hōjō, not on supporting the emperor. Ashikaga Takauji finally sided with the Northern Court in a civil war against the Southern Court represented by Go-Daigo. The long "War Between the Courts" lasted from 1336 to 1392. Early in the conflict, Go-Daigo was driven from Kyoto, and the Northern Court contender was installed by Ashikaga, who established a new line of shoguns.


title: Betty Blue

text: Betty Blue () is a 1986 French erotic psychological drama film directed by Jean-Jacques Beineix, based on the 1985 novel "37°2 le matin" by Philippe Djian. The film stars Béatrice Dalle and Jean-Hugues Anglade. It was the eighth highest-grossing film of 1986 in France.


title: Betty Blue

text: Zorg (Jean-Hugues Anglade) is a thirty-something aspiring writer making a living as a handyman for a community of beach houses in the seaside resort at Gruissan on France's mediterranean coast. He meets 19-year-old Betty (Béatrice Dalle), a volatile and impulsive young woman, and the two begin a passionate affair, living in his borrowed shack on the beach. Following a row with him where she tears apart and smashes up the house, she finds the manuscript of his first novel; she reads it in one long sitting and decides that he is a genius. However, after another argument with his boss, she empties the shack and burns it down. The two decamp to the outskirts of Paris, where her friend Lisa (Consuelo de Haviland) has a small hotel. Betty laboriously types out Zorg's novel and submits it to various publishers. They meet Lisa's new boyfriend Eddy (Gérard Darmon), and the four have many fun times, often fuelled by alcohol. They find work in Eddy's pizzeria, but a fight erupts in which Betty stabs a customer with a fork. Zorg tries to slap her back to her senses.


title: Betty Blue

text: Though Zorg hides the rejection letters, Betty finds one and, going to the publisher's house, slashes his face. Zorg induces him to drop charges by threatening him with violence, saying that she is the only good thing in his life and she is all he has. Eddy's mother dies and the friends go to the funeral in Marvejols. There, Eddy asks Zorg and Betty if they will live in the dead woman's house and look after her piano shop. Zorg enjoys the quiet provincial life and makes friends with the grocer Bob (Jacques Mathou), his sex-starved wife Annie (Clémentine Célarié), and various offbeat characters, but Betty's violent mood swings are a concern. One day, after an irritating comment from Zorg, she punches out a window with her bare hand and goes on a screaming flight through the town. Happiness seems on the horizon when a home test suggests that Betty is pregnant, but a lab test is negative and she sinks into depression and tells him that she is hearing voices talking to her in her head. Zorg, masquerading as a woman, robs an armoured cash collection van delivery headquarters, holding the guards at gunpoint, and tying them up. He attempts to use the money to buy Betty's happiness, but she fails to respond and enacts yet another prosecutable offence by luring a small boy away from his mother and taking him to a toy store. Zorg finds her and they both flee from the authorities as they rush to rescue the boy.


title: Betty Blue

text: One day, Zorg comes home to find blood all over the place and Betty gone. Bob tells him she has gouged out an eye and is in the hospital. Rushing there, Zorg finds her under heavy sedation and is told to come back the next day. Going home, he receives a phone call from a publisher accepting his manuscript. On his next visit to the hospital, he finds Betty restrained and catatonic. He becomes agitated and a doctor tells him that she will need prolonged treatment and may never recover her sanity. Zorg reacts by blaming her illness on the medication being administered and physically attacks the doctor. He is forcefully ejected from the hospital after a violent struggle with three orderlies. Returning in disguise, he whispers his farewells and smothers Betty with a pillow. Going home, he sits down to continue his current book.


title: Betty Blue

text: According to the director Jean-Jacques Beineix, the relationship between Jean-Hugues Anglade and Béatrice Dalle went far beyond a simple professional collaboration. "They were flirting all the time. It's clear that we didn't know if we were in the movie anymore. They lived an extraordinary story."


title: Betty Blue

text: A 185-minute director's cut debuted in 2000 with the extra hour allowing Betty's descent into madness to take up more space and her pursuit of motherhood to get more screen time. Zorg's character is explored with several solo vignettes, including his cross-dressing crime spree.


title: Betty Blue

text: Both the 185-minute Director’s Cut and the original theatrical cut were released on blu-ray in 2013 by Second Sight Films. The director's cut was added to The Criterion Collection on DVD and Blu-ray on 19 November 2019.


title: Logical connective

text: In logic, a logical connective (also called a logical operator, sentential connective, or sentential operator) is a logical constant. They can be used to connect logical formulas. For instance in the syntax of propositional logic, the binary connective formula_1 can be used to join the two atomic formulas formula_2 and formula_3, rendering the complex formula formula_4.


title: Logical connective

text: Common connectives include negation, disjunction, conjunction, and implication. In standard systems of classical logic, these connectives are interpreted as truth functions, though they receive a variety of alternative interpretations in nonclassical logics. Their classical interpretations are similar to the meanings of natural language expressions such as English "not", "or", "and", and "if", but not identical. Discrepancies between natural language connectives and those of classical logic have motivated nonclassical approaches to natural language meaning as well as approaches which pair a classical compositional semantics with a robust pragmatics.


title: Logical connective

text: A logical connective is similar to, but not equivalent to, a syntax commonly used in programming languages called a conditional operator.


title: Logical connective

text: In formal languages, truth functions are represented by unambiguous symbols. This allows logical statements to not be understood in an ambiguous way. These symbols are called "logical connectives", "logical operators", "propositional operators", or, in classical logic, "truth-functional connectives". For the rules which allow new well-formed formulas to be constructed by joining other well-formed formulas using truth-functional connectives, see well-formed formula.


title: Logical connective

text: Logical connectives can be used to link zero or more statements, so one can speak about "-ary logical connectives". The boolean constants "True" and "False" can be thought of as zero-ary operators. Negation is a 1-ary connective, and so on.


title: Logical connective

text: For example, the meaning of the statements "it is raining" (denoted by "P") and "I am indoors" (denoted by Q) is transformed, when the two are combined with logical connectives:


title: Logical connective

text: It is also common to consider the "always true" formula and the "always false" formula to be connective:


title: Logical connective

text: Some authors used letters for connectives at some time of the history: u. for conjunction (German's "und" for "and") and o. for disjunction (German's "oder" for "or") in earlier works by Hilbert (1904); N"p for negation, K"pq for conjunction, D"pq for alternative denial, A"pq for disjunction, X"pq for joint denial, C"pq for implication, E"pq" for biconditional in Łukasiewicz (1929); cf. Polish notation.


title: Logical connective

text: Such a logical connective as converse implication "←" is actually the same as material conditional with swapped arguments; thus, the symbol for converse implication is redundant. In some logical calculi (notably, in classical logic), certain essentially different compound statements are logically equivalent. A less trivial example of a redundancy is the classical equivalence between and . Therefore, a classical-based logical system does not need the conditional operator "→" if "¬" (not) and "∨" (or) are already in use, or may use the "→" only as a syntactic sugar for a compound having one negation and one disjunction.


title: Logical connective

text: There are sixteen Boolean functions associating the input truth values and with four-digit binary outputs. These correspond to possible choices of binary logical connectives for classical logic. Different implementations of classical logic can choose different functionally complete subsets of connectives.


title: Logical connective

text: One approach is to choose a "minimal" set, and define other connectives by some logical form, as in the example with the material conditional above.


title: Logical connective

text: The following are the minimal functionally complete sets of operators in classical logic whose arities do not exceed 2:


title: Logical connective

text: Another approach is to use with equal rights connectives of a certain convenient and functionally complete, but "not minimal" set. This approach requires more propositional axioms, and each equivalence between logical forms must be either an axiom or provable as a theorem.


title: Logical connective

text: The situation, however, is more complicated in intuitionistic logic. Of its five connectives, {∧, ∨, →, ¬, ⊥}, only negation "¬" can be reduced to other connectives (see for more). Neither conjunction, disjunction, nor material conditional has an equivalent form constructed from the other four logical connectives.


title: Logical connective

text: The standard logical connectives of classical logic have rough equivalents in the grammars of natural languages. In English, as in many languages, such expressions are typically grammatical conjunctions. However, they can also take the form of complementizers, verb suffixes, and particles. The denotations of natural language connectives is a major topic of research in formal semantics, a field that studies the logical structure of natural languages.