title: Silicone rubber

text: Liquid silicone rubber is also manufactured for life science applications (syringe pistons, closure for dispensing system, gaskets for IV flow regulator, respiratory masks, implantable chambers for IV administration), cosmetic products (Mascara brush, make-up packaging, make-up applicator and lipstick moulds) and optics products (circular lens, collimators, Fresnel lenses and free form lenses).Freeze-tolerant solar water-heating panels exploit the elasticity of silicone to repeatedly accommodate the expansion of water on freezing, while its extreme temperature tolerance maintain a lack of brittleness below freezing and excellent tolerance of temperatures in excess of . Its property of not having a carbon backbone, but a chemically robust silicon backbone instead, reduces its potential as a food source for dangerous waterborne bacteria such as Legionella.


title: Silicone rubber

text: Non-dyed silicone rubber tape with an iron(III) oxide additive (making the tape a red-orange colour) is used extensively in aviation and aerospace wiring applications as a splice or wrapping tape due to its non-flammable nature. The iron oxide additive adds high thermal conductivity but does not change the high electrical insulation property of the silicone rubber. This type of self-amalgamating tape amalgamates or fuses to itself, so that when stretched and wrapped around cables, electrical joints, hoses and pipes it bonds into a strong seamless rubbery electrically insulating and waterproof layer, although not adhesive.


title: Silicone rubber

text: As an electrical insulator, silicone rubber has the added virtue of remaining non-conductive when damaged by heat, reducing the likelihood of runaway arcing.


title: Silicone rubber

text: With the addition of carbon or another conductive substance as a powdered filler, silicone rubber can be made electrically conductive while retaining most of its other mechanical properties. As such it is used for flexible contacts which close on being pressed, used in many devices such as computer keyboards and remote control handsets.


title: Silicone rubber

text: In 2007, silicone rubber formed the matrix of the first autonomic self-healing elastomer. The microcapsule-based material was capable of recovering almost all of the original tear strength. Additionally, this material had improved fatigue properties as evaluated using a torsion-fatigue test.


title: Evangelion: 2.0 You Can (Not) Advance

text: The film continues the story of "", with Shinji Ikari continuing his role as a pilot of one of the gigantic Evangelion as part of NERV's ongoing fight against the mysterious creatures known as Angels. While replicating many scenes and plot elements from the original series, the film also introduces new ones, including newly designed creatures and new characters, such as Mari Illustrious Makinami, and integrates newly available 3D CG technology. Its ending paves the way for the significant storyline departures from the original series in "".


title: Evangelion: 2.0 You Can (Not) Advance

text: The Third Angel escapes its confinement and tries to break out of NERV's arctic Bethany Base, but Mari Illustrious Makinami, a new pilot, launches Evangelion Provisional Unit-05 and destroys the Angel by self-destructing the EVA and safely ejecting at the last moment.


title: Evangelion: 2.0 You Can (Not) Advance

text: Meanwhile, Shinji Ikari and his father Gendo visit mother and wife Yui's grave. Shortly after, the Seventh Angel attacks, but is quickly dispatched by the newly arrived Unit-02 and its headstrong pilot, Asuka Langley Shikinami. Ryoji Kaji delivers to Gendo a suitcase containing the mysterious "Key of Nebuchadnezzar" and notes that the destruction of Unit-05 went as planned. Gendo and Kozo Fuyutsuki then visit NERV's lunar compound, Tabgha Base, to view the construction of Evangelion Mark.06, which is noted as being different from the other EVAs. They are denied permission to land, but briefly see Kaworu Nagisa sitting in space without a space suit. During Gendo's absence, the Eighth Angel attacks Tokyo-3. Shinji, Asuka, and Rei kill it in an improvised plan devised by Misato Katsuragi. Both and Unit-01 are damaged. Gendo returns and asks to have them both repaired, but SEELE only allows the repair of Unit-01.


title: Evangelion: 2.0 You Can (Not) Advance

text: In an attempt to heal the relationship between Gendo and Shinji, Rei prepares a dinner party. At the same time, Mari arrives in Tokyo-3. Later, Unit-04 and NERV's U.S. branch are destroyed during an experiment, prompting the U.S. government to send Unit-03 to Tokyo-3. Due to an international agreement that allows no more than three functioning Evangelions per country at a time, NERV seals away Unit-02 and schedules a test of Unit-03 on the same day as Rei's dinner party; Asuka volunteers to take Rei's place as the test pilot, to avoid the party. Once Asuka activates Unit-03, the Ninth Angel possesses the EVA and goes on a rampage. Shinji pilots Unit-01, but refuses to fight the Angel for fear of harming Asuka, who is still trapped inside. Gendo orders the activation of the Dummy System, which makes Unit-01 autonomous, and allows it to savagely destroy Unit-03, crushing the cockpit in its teeth. Emotionally wounded by his father's cold decision, Shinji leaves NERV.


title: Evangelion: 2.0 You Can (Not) Advance

text: Asuka survives, but is grievously injured and placed in quarantine for fear of mental contamination by the Angel. Shinji heads out of the city, but the Tenth Angel attacks, so he flees to an emergency shelter. Gendo fails to activate Unit-01 without Shinji, so Mari hijacks Unit-02 and heads out to fight the Angel alone. She removes Unit-02's limiters and launches an all-out attack, but the Angel severely damages Unit-02. Rei joins the fight with the damaged Unit-00 and charges at the Angel with a missile. The missile detonates, but fails to destroy the Angel. The Angel consumes Unit-00 and integrates it with its own body, allowing it to bypass NERV's defenses.


title: Evangelion: 2.0 You Can (Not) Advance

text: Upon seeing Rei consumed along with Unit-00, Shinji rushes to Gendo and asks to pilot Unit-01 again. Shinji fends off the Angel, but before he can defeat it, Unit-01 runs out of power and shuts down. Unit-01 reactivates in berserk mode in response to Shinji's rage at the loss of Rei. It easily takes down the Angel, and Shinji uses the EVA to reach inside the Angel's core to save Rei. Unit-01 then starts transcending its physical boundaries to grant Shinji's wish. At the moment Shinji retrieves Rei, Unit-01 pulls Unit-00's core out of the Angel. As they embrace, Shinji thanks Rei for her attempt to reconcile him with Gendo. She apologizes that it was not realized, but Shinji assures her it was okay. The Angel explodes and its remains, along with Unit-00's core, are absorbed into Unit-01, fusing them all into one being. Unit-01 then sprouts giant wings of light, and Misato, who has been watching the battle, sees that they are identical to the ones she saw during Second Impact. Ritsuko realizes that the EVA has become a divine being, triggering Third Impact and declares this to be the end of the world.


title: Evangelion: 2.0 You Can (Not) Advance

text: In a post-credits scene, a spear shoots down from the Moon and impales Unit-01 in the middle of its apotheosis, neutralizing it and stopping Third Impact. Kaworu then descends from the Moon in Mark.06, saying that this time, he will show Shinji true happiness.


title: Evangelion: 2.0 You Can (Not) Advance

text: In September 2006, it was confirmed the second film produced as part of the "Rebuild of Evangelion" series, with a release date tentatively set for January 2008 and a 90-minute running time. In November 2006, the December edition of the Japanese anime magazine "Newtype" confirmed the second film was written during post-production on the first film. Anno stated the introduction of new characters and Evangelion units would begin from the second film onwards. The release date was pushed back several times from the original announcement of January 2008: first, to a December 2008 release before an update on the official website on October 6, 2008 announced the official English title and an "early summer 2009" release date. A final postponement revealed that the film would be released on June 27, 2009.


title: Evangelion: 2.0 You Can (Not) Advance

text: In May 2009, Hikaru Utada returned to the series and provided the theme song for the film, "Beautiful World (Planitb Acoustica Mix)". Utada previously released "Beautiful World" for "" in 2007. A featuring the film's score by Shirō Sagisu was released on July 8, 2009 in both the regular and special editions. The special edition contains a bonus disc featuring score selections not edited to fit into the film. The film also inserted popular Japanese folk songs, "Tsubasa o Kudasai" and "Kyō no Hi wa Sayōnara", performed by Megumi Hayashibara.


title: Evangelion: 2.0 You Can (Not) Advance

text: The film's initial teaser trailer, shown after the end credits of "" in the style of the "next episode" previews in the original TV series, hinted at the adoption of Unit-02 and its pilot Asuka Langley Shikinami and showed scenes inspired by the original series (the disappearance of Unit-04 upon the startup of its S engine, the possession of Unit-03 by Bardiel, Evangelion Units 01 and 02 fighting Zeruel) as well as new material (the newly designed Units 05 and 06 and the unintroduced new character of Mari Makinami). A full trailer was released on April 2, 2009. The character Makinami Mari Illustrious, teased in the teaser trailer and appearing in the Nintendo DS game as a character picture prize with the name of and the simple description of "Mysterious girl", was introduced in the April 18 EVA-EXTRA01 paper magazine by her full name, following the Evangelion naval naming convention, with Maaya Sakamoto as her voice actress. Similarly, theatrical posters revealed that the character Asuka's family name would be changed from Sohryu to Shikinami.


title: Evangelion: 2.0 You Can (Not) Advance

text: "Evangelion 2.0" made its International/US premiere at the Hawaii International Film Festival on October 24, 2009. The film made its Canadian premiere at Waterloo Festival for Animated Cinema on November 21, 2009. On December 3, 2009, the film was released in Hong Kong and South Korea. In Australia, the film made its premiere at the Reel Anime Festival in September 2010. The film premiered in Ireland on March 20, 2010 as a part of the Irish Film Institute Anime Weekend. The film screened on July 10, 2010 as a part of the Fantasia Film Festival in Montreal. The film made its European premiere at Lucca Comics 2009 on November 1, 2009 and was screened at the Asia Filmfest in Munich on November 6, 2009. Despite former announcements, "Evangelion: 2.0 You Can (Not) Advance" was not screened at the Animotion festival in Bonn because of licensing problems. The film also competed in the Sitges Film Festival in Catalonia, Spain on October 4, 2009 in the "Anima't" category. In North America, Cinema Asia Releasing, Eleven Arts and Funimation announced that "Evangelion: 2.0 You Can (Not) Advance" would premiere in the United States in January 2011. It was originally planned to premiere in 70–100 theaters. However, Funimation released a statement in December 2010 confirming that it would be released in 22 theatres.


title: Evangelion: 2.0 You Can (Not) Advance

text: "Evangelion 2.0" was broadcast on Nippon TV on August 26, 2011 under the name "Evangelion 2.02". Simultaneously, the TV edition was played in 5 Japanese theaters; the TV broadcast of "2.0" received higher ratings than did "1.0". At the end of the broadcast, a trailer for "Evangelion 3.0" was included, with an official release date of Fall 2012.


title: Evangelion: 2.0 You Can (Not) Advance

text: The DVD and Blu-ray release in Japan took place on May 26, 2010; unlike the 2 DVD versions of "1.0", it was released as "2.22" with "readjustments". Universum Film's German release was on September 17, 2010. The Japanese release set an Amazon.co.jp record for pre-orders, with more than 88,000, and ultimately over 800,000 pre-orders in general; upon release, it set first-day sales records (124,000 DVDs and 195,000 Blu-ray discs), topping Blu-ray sales for 4 weeks.


title: Evangelion: 2.0 You Can (Not) Advance

text: At Otakon 2010, North American anime distributor Funimation announced that they had licensed "Evangelion 2.0" and would plan a theatrical release followed by a DVD and Blu-ray release on April 5, 2011. The release date was later brought forward to March 29, 2011 for the United States, but the original release date was retained for Canada. The film grossed over in DVD and Blu-ray sales in the United States.


title: Evangelion: 2.0 You Can (Not) Advance

text: In May 2010, British anime distributor Manga Entertainment had announced plans to release "Evangelion 2.0" in the U.K. and were waiting on Funimation to announce production dates; in December 2010, the release dates for the Blu-ray and DVD of "2.22" were announced to be June 2011. Later, the date was changed for an early release on May 30, but then finally pushed back to the original month, on June 20. Australian distributor Madman Entertainment released "Evangelion 2.22" on Blu-ray and DVD on June 15, 2011 under exclusive license from NTV & Manga Entertainment. This time, Madman's DVD included all special features on the one disc, unlike its DVD release of "1.11", which came with one disc (whereas the North American DVD releases of both movies have two discs) and missing some special features (the Blu-ray came with all intact).


title: Evangelion: 2.0 You Can (Not) Advance

text: In 2021, Amazon Studios acquired the streaming rights to all of the "Rebuild of Evangelion" films. The "2.22" version of the film became available on the streaming service on August 13, 2021. It featured full re-dubbings of all "Rebuild" films, including several voice actors from the A.D. Vision and Manga Entertainment localizations of the original series and films, in place of the mostly new cast used in the Funimation adaptations of the "Rebuild" series and Netflix's adaptation of the series. Like Netflix's release, it also included a full re-translation by Khara's in-house translator, Dan Kanemitsu.


title: Evangelion: 2.0 You Can (Not) Advance

text: Character designer Yoshiyuki Sadamoto designed three Be@rbrick figures of Asuka, Rei, and Mari, which went on sale on March 14, 2009 and were also available as a bundle with advance film ticket purchases. NTT DoCoMo and Sharp released a production model of the ""SH-06A NERV"" phone featured in the film, which Hideaki Anno and Studio Khara supervised in designing. The phone, only available in Japan between June and July 2009, was originally set for 20,000 pre-order units and 10,000 for retail sales. After selling out all pre-orders in only five hours, NTT docomo announced they would be manufacturing an additional 7,500 units to meet all orders. In August 2009, ABC-Mart, King Records, and Achilles released sneakers based on the design of as part of "The Footstep Instrumentality Project." Ueshima Coffee Co., as with "Evangelion: 1.0 You Are (Not) Alone", released coffee cans decorated with "Evangelion" characters and their Evangelion units. Medicon released "Real Action Heroes" action figures of Shinji, Rei, Asuka, and Kaworu in restyled plugsuits in August, September, and November 2009 and May 2010, while Bandai released its own line of action figures with Mari Illustrious Makinami and two separate sets of Gashapon figures in May and July 2009. Bandai also released several action figures from their Robot Damashii line of Unit-00 (Tamashii exclusive), Unit-01 (regular and night combat version) Unit-02 (regular and beast mode), and Unit-03. Lawson released Asuka, Rei, and Pen PuchiEva figures to be sold with advance ticket purchases. Revoltech introduced several other action figures, including Unit-01 (normal and berserker modes), Unit-02, and Unit-05 (normal and repainted) as well as special exclusives available from magazine inserts (Unit-03) and 7-Elevens (Unit-00).


title: Evangelion: 2.0 You Can (Not) Advance

text: The 320-page art book for "2.0", "Groundwork of Evangelion 2.0", was released May 28, 2011 for ¥3,675.


title: Evangelion: 2.0 You Can (Not) Advance

text: In its opening weekend in Japan, the film reached number-one at the box office with a revenue of . The film subsequently grossed () at the Japanese box office in 2009, making it the year's second highest-grossing anime film. A 2020 Japan re-release grossed $433,850, totaling grossed in Japan.


title: Evangelion: 2.0 You Can (Not) Advance

text: The film's North American box office take was over $130,000, an improvement over "1.0". The film grossed $858,409 overseas by 2011, and a further $47,103 in Australia and New Zealand in 2017, for an overseas total of , bringing the film's worldwide box office gross to .


title: Evangelion: 2.0 You Can (Not) Advance

text: On Rotten Tomatoes, 'Evangelion 2.0' has an 82% with an average score of 6.4/10, based on 11 reviews. On Metacritic, the movie has a score of 45 based on 4 reviews, indicating "mixed or average reviews".


title: Evangelion: 2.0 You Can (Not) Advance

text: Justin Sevakis of Anime News Network praised the new character interactions and development, stating "Evangelion 2.0 feels as though the project has been put on mood stabilizers: it's not any happier, but it's more stable and certainly more focused. And in the end, it's a vast improvement." Reviewing the US Blu-ray release for ANN, Theron Martin wrote that "2.0s Asuka is "distinct from the get-go, too, as she is less bratty and more aggressively antisocial than the first one. She may have initially seemed to be the most socially adjusted Eva pilot in the TV series, but here she makes no pretenses about liking anyone – not even Kaji, whom she hopelessly mooned over in the TV series but doesn't give a second thought here – and seems motivated as much by establishing herself in a future career path in NERV as she is by her personal pride" and praised Anno's technique where "the peak moments of the most gruesome [scene] are set to a gentle, vocalized children's song which, paradoxically, makes the scenes all the more horrific."


title: Evangelion: 2.0 You Can (Not) Advance

text: Mania.com reviewer Chris Beveridge wrote that "watching the second installment of Evangelion is more rewarding and more difficult than the first. It's more rewarding because you're seeing this interpretation taking on its own life fully, from the way Asuka is introduced, the new character of Mari and the larger scope of how the world works with Evangelion units...They go big here with a lot of changes, changes that could annoy and irk the faithful, but it's an interpretation that is doing something different at this point and it does it well, giving it all the kind of smoothness it needs, even if it does feel rushed sometimes when there are so many Angel fights throughout it." Many reviews praised the action scenes (the "Boston Globe" criticizing their aesthetic as "exhausting"); The "Toronto Star" writes: "Sparing no time to get newbies up to speed, "Evangelion 2.0" will undoubtedly confound some viewers with its jam-packed narrative and jargon-heavy dialogue but the intricately designed, hyper-kinetic visuals more than compensate, especially when seen at the scale they deserve." The "Chicago Sun-Times" likewise praised the action, but criticized the soundtrack for being "a weird array of elevator-style music."


title: Evangelion: 2.0 You Can (Not) Advance

text: "The Kansas City Star"<nowiki>'</nowiki>s reviewer wrote "The peripheral characters are hard to keep track of, and a medieval theologian would be weirded out by all the mystical gibberish", but also praised the "terrific battle scenes and gorgeous animation. Those elements don't compensate for every shortcoming, but they make a challenging genre much easier for novices to enjoy." "NAW": "Having introduced Mari so vividly, though, the film forgets about her for about 40 minutes...She doesn't reappear until halfway through the film. And her purpose remains elusive." "Fort Worth Weekly"'s reviewer, on the other hand, praised the mystical gibberish and otaku references: "this movie trafficks in Judeo-Christian symbolism and references that often lean toward the obscure. This, along with its meta-commentary on anime itself and the ways its fans relate to it, helps set the movie apart from its fellows." On Rotten Tomatoes the film has a 82% rating based on reviews from 11 critics.


title: Evangelion: 2.0 You Can (Not) Advance

text: The film won first place in the Animation category of the French Lyon Asian Film Festival, narrowly beating "Symphony in August" in an audience vote. It won the award for Excellent Animation of the Year by being nominated for the Japan Academy Prize for Animation of the Year in 2010. Stills and draft materials from "2.0" by Hideaki Anno were exhibited at in Germany as part of the "Proto Anime Cut" exhibition in January–March 2011, with a European tour planned in summer 2012.


title: Evangelion: 2.0 You Can (Not) Advance

text: The next film in the series, "Evangelion: 3.0 You Can (Not) Redo", was previewed in a post-credits trailer, continuing the story with Shinji and Rei still frozen within Unit-01, Tokyo-3 and the Geofront being abandoned, "NERV personnel [being] held in confinement," "Eva Mark-06 descend[ing] on Dogma," "the quickening Eva Unit-08 and its pilot," and the assembling of "the children chosen by fate." The film was released in Japan on November 17, 2012, but with a radically different plotline compared to the one teased in the preview. It was released on Blu-ray and DVD in Japan on April 24, 2013 with the title "Evangelion: 3.33 You Can (Not) Redo". On June 12, 2021, the final film of the tetralogy, "", received a re-release called "3.0+1.01," that included a prequel manga set during the events "3.0" called "Evangelion 3.0 (-120 min.)", written by co-director Kazuya Tsurumaki at Hideaki Anno's initiative.


title: Hooked on a Feeling

text: "Hooked on a Feeling" is a 1968 pop song, written by Mark James and originally performed by B. J. Thomas. Thomas's version featured the sound of the electric sitar (played by Reggie Young) and reached No. 5 in 1969 on the "Billboard" Hot 100.


title: Hooked on a Feeling

text: It has been recorded by many other artists, including Blue Swede, whose version reached No. 1 in the United States in 1974.


title: Hooked on a Feeling

text: The song was written by Mark James, who was introduced to producer Chips Moman around 1967 by Moman's mutual friend Steve Tyrell, a singer and James' manager. James was hired by early 1968 to write for Moman's publishing company, which led to him writing songs for many artists, including his childhood friend B.J. Thomas. One of these songs was "Hooked on a Feeling", which James wrote about the thrills of being in love, inspired by his feelings for his childhood sweetheart. It was recorded at the American Sound Studio in Memphis, Tennessee in 1968, and first released on October 29 of that year. Country artist Louise Mandrell and RC Bannon also recorded and released this song in 1979.


title: Hooked on a Feeling

text: In 1971, British musician Jonathan King recorded a cover version of the song, adding "ooga chaka" jungle chants. King described it as "a reggae rhythm by male voices". His version reached number 23 on the UK Singles Chart in November 1971.


title: Hooked on a Feeling

text: In 1974, the Swedish pop rock group Blue Swede did a cover version, which included the "ooga chaka" introduction from Jonathan King's 1971 cover. The Blue Swede version of the song also tweaked the lyrics to avoid a drug reference. This version reached No. 1 in the United States. "Billboard" ranked it as the No. 20 song for 1974. On 25 July 2012, the 1974 live performance by Blåblus video was officially uploaded to YouTube; it has generated nearly 6 million views as of October 2022.


title: Hooked on a Feeling

text: In 1992, Blue Swede's recording was featured on the soundtrack of Quentin Tarantino's debut feature "Reservoir Dogs".


title: Hooked on a Feeling

text: In 1998, during an episode of the legal comedy-drama series "Ally McBeal", "Cro-Magnon", the main character's neurosis about being able to conceive a child before her biological clock runs out is illustrated by her imagining a computer generated baby dancing into her bedroom to Blue Swede's recording of "Hooked on a Feeling". A website featuring the dancing baby and the Blue Swede recording became an internet meme, further cementing the scene in pop culture history.


title: Hooked on a Feeling

text: The 2014 feature film "Guardians of the Galaxy", which featured the brass fanfare and title lyrics of the Blue Swede cover version prominently in its trailers and theatrical release, resulted in a significant spike in sales for the recording; the reached the top of the "Billboard" 200 chart in August 2014. The song was also featured heavily in the teaser trailer for the 2017 sequel, "Guardians of the Galaxy Vol. 2",<ref name= "/FilmTeaser"></ref> although the song was not used in the actual film.


title: Facundo Campazzo

text: Facundo "Facu" Campazzo Avedano (born 23 March 1991) is an Argentine professional basketball player for Crvena zvezda of the Adriatic League and the EuroLeague.


title: Facundo Campazzo

text: At a height of tall, he plays at the point guard position. He is also a member of the senior Argentina national basketball team.


title: Facundo Campazzo

text: As a member of the Spanish club Real Madrid, Campazzo won two EuroLeague championships in 2015 and 2018. While representing Argentina, Campazzo won the silver medal at the 2019 FIBA World Cup.


title: Facundo Campazzo

text: Campazzo began playing for the Argentine League club Peñarol de Mar del Plata in 2008. With Peñarol, he won the following tournaments: the Argentine League championship four times (2010, 2011, 2012, 2014), the Argentine Cup (2010), the Argentine Challenge Cup (2010), the Argentine Super 8 Tournament three times (2009, 2011, 2013), the InterLeagues Tournament twice (2010, 2012), and the FIBA Americas League championship (2010).


title: Facundo Campazzo

text: He was named the Argentine League Revelation of the Year, and the Argentine Cup MVP in 2010. He was named the Argentine Super 8 Tournament MVP in 2011 and 2013, and the Argentine League Most Improved Player in 2012. He was also named the Argentine League Finals MVP in 2012 and 2014.


title: Facundo Campazzo

text: On 30 August 2014, Campazzo signed a three-year deal with the Spanish League club Real Madrid. In the 2014–15 season, Real Madrid won the EuroLeague championship, after defeating the Greek club Olympiacos, by a score of 78–59, in the league's final game. Real Madrid eventually finished the season by winning the Spanish ACB League's 2014–15 season's league playoff finals, after a 3–0 series sweep in the finals series against Barcelona. By winning that title, Real Madrid also won the triple crown.


title: Facundo Campazzo

text: On 20 August 2015, Campazzo was loaned to Spanish club UCAM Murcia. He spent both the 2015–16 ACB season, and the 2016–17 ACB season with Murcia. He returned to Real Madrid for the 2017–18 ACB season.


title: Facundo Campazzo

text: In May 2018, Real Madrid won the 2017–18 EuroLeague season's championship, after defeating the Turkish club Fenerbahçe Doğuş in the finals, by a score of 85–80. Over 30 EuroLeague games played, Campazzo averaged 7.9 points, 4.5 assists and 2.4 rebounds per game. On 24 May 2018, he finished in fourth place in voting for the Spanish Liga ACB's MVP award of the 2017–18 season.


title: Facundo Campazzo

text: On 26 June 2018, he re-signed with Real Madrid, to a three-year deal. On 3 May 2019, he was named the EuroLeague MVP for the month of April. In the third place game of the 2019 EuroLeague Final Four, Campazzo set an all-time record for assists in a Final Four game, with 15. He surpassed Terrell McIntyre's previous record from 2008.


title: Facundo Campazzo

text: On 6 February 2020, Campazzo joined Stefan Jović, at the top of the EuroLeague's all-time single-game assists chart, after he dished out 19 assists, in a 103–97 win over the German club Alba Berlin.


title: Facundo Campazzo

text: On 30 November 2020, Campazzo was signed by the Denver Nuggets of the NBA to a multi-year contract. On 13 April 2022, Campazzo was suspended for Game 1 of the first round of the 2022 NBA playoffs. The suspension stemmed from him shoving Lakers guard Wayne Ellington in a game three days earlier.


title: Facundo Campazzo

text: In October 2022, Campazzo signed a contract with the Dallas Mavericks. On November 28, 2022, he was released into free agency when the Mavericks signed guard Kemba Walker.


title: Facundo Campazzo

text: Campazzo was a member of Argentina's junior national teams. With Argentina's under-16 junior national team, he played at the 2007 FIBA South American Under-16 Championship, where he won a gold medal.


title: Facundo Campazzo

text: Campazzo competed for the senior Argentina national basketball team at the 2012 London Summer Olympics. He also played for Argentine teams that won gold medals at the 2012 South American Championship and the 2014 South American Games, silver medals at the 2014 South American Championship, the 2015 FIBA Americas Championship, and the 2017 FIBA AmeriCup, and a bronze medal at the 2013 FIBA Americas Championship. He also played with Argentina at the 2014 FIBA World Cup, and at the 2016 Rio Summer Olympics.


title: Facundo Campazzo

text: He helped Argentina bring home a gold medal from the 2019 Pan American tournament, which was held in Lima, Peru. He also won the silver medal at the 2019 FIBA World Cup.


title: Facundo Campazzo

text: In 2022, Campazzo won the gold medal in the 2022 FIBA AmeriCup held in Recife, Brazil. He was the Argentina´s starting point guard in the tournament and after the final game against Brazil, he was named in the All-Tournament Team.


title: Dustin Higgs

text: Dustin John Higgs (March 10, 1972 – January 16, 2021) was an American man who was executed by the United States federal government, having been convicted and sentenced to death in 2000 for his role in the January 1996 murders of three women in Maryland. Tamika Black, Tanji Jackson, and Mishann Chinn were all shot and killed near the Patuxent Wildlife Research Center, on the Patuxent Research Refuge in Prince George's County, Maryland. Because this is classed as federal land, he was tried by the federal government rather than by the state of Maryland. His case, conviction, and execution were the subject of multiple controversies.


title: Dustin Higgs

text: The main contention was that Higgs did not personally kill any of the three victims, but waited in a vehicle nearby. The man who shot them, Willis Mark Haynes, was sentenced to life imprisonment without parole plus 45 years. The prosecution argued that although Higgs did not kill anyone, he was the ringleader, ordering and bullying Haynes. Higgs and his defense team maintained his innocence to the end, arguing that although he was involved, he was merely a witness, and was set up by Haynes and another witness, Victor Gloria. In 2012, Haynes swore in an affidavit that Higgs did not force or threaten him into killing any of the victims.


title: Dustin Higgs

text: Higgs was executed via lethal injection on January 16, 2021, becoming the thirteenth and final person executed by the federal government during the presidency of Donald Trump, when federal executions returned after a 17-year hiatus. Trump’s presidency ended only four days later. Higgs remains the most recent person executed by the United States federal government. A moratorium on federal executions is currently in place. It was imposed by President Joe Biden's


title: Dustin Higgs

text: Higgs was born in Poughkeepsie, New York on March 10, 1972, to Alfonso Higgs and Marilyn M. Bennett Higgs (1945–1982). When Dustin was 8, his mother was diagnosed with cancer. She died two years later, in 1982. Friends and relatives saw a big change in his mood after this. He moved to Laurel, Maryland in 1991. By 1996, he was married and had a son.


title: Dustin Higgs

text: On the evening of January 26, 1996, Higgs, Willis Haynes, and Victor Gloria drove from Higgs' apartment in Laurel, Maryland, to Washington, D.C., to pick up Tamika Black, Tanji Jackson, and Mishann Chinn. Dates had been arranged for each of the men and women and the groups had agreed to meet and hang out together. The six of them traveled in Higgs' vehicle, a blue Mazda MPV van, and returned to his apartment to drink alcohol, smoke marijuana, and listen to music. The partying continued into the early hours of January 27.


title: Dustin Higgs

text: At some point during the night, an argument broke out and the women left the apartment. Higgs, Haynes, and Gloria then headed out after them, with Higgs driving his own vehicle and Haynes sitting in the front passenger seat. Gloria was sitting in the back of the van behind Higgs. Higgs drove his van to the side of the road where the women were walking. They offered the women a ride home, which they willingly accepted. The women got into the back of the vehicle and Higgs drove out of Laurel. Neighbors in the area reported hearing and seeing the three women laughing and talking in the early hours of that morning.


title: Dustin Higgs

text: Higgs drove his van along a state road on to the Patuxent Research Refuge and stopped the vehicle near the Patuxent Wildlife Research Center. The women got out of the van and Haynes exited the vehicle. Haynes then fatally shot each of the three women with a silver .38 caliber pistol before returning to the van and closing the door. The gun was then thrown into the Anacostia River. Early on January 27, a passing motorist found the women's bodies and contacted the Park Police. Jackson's day planner was found at the scene with Higgs' nickname and telephone number recorded in it. According to the medical examiner, Jackson and Black had each been shot once in the chest and once in the back. Chinn had been shot once in the back of the head.


title: Dustin Higgs

text: The murders went unsolved for nearly three years. Higgs was first questioned about them in March 1996 at his apartment. He acknowledged that he had known Jackson and had talked to her the night before she died. He was arrested and his apartment searched, as he was suspected of an unrelated bank fraud violation. Police found cocaine and firearms in his apartment. On May 12, 1997, he pled guilty to possession with intent to distribute cocaine. He was sentenced to 17 years in a federal prison.


title: Dustin Higgs

text: In October 1998, Gloria and Haynes were arrested on unrelated drug charges. After being questioned, police learned of more details surrounding the murders. On December 21, Higgs and Haynes were indicted by a federal grand jury on charges of first degree murder, kidnapping resulting in death, and use of a firearm during a crime of violence. Higgs was already in custody at the time, serving his 17-year trafficking sentence. The government announced they would seek death sentences for both Higgs and Haynes.


title: Dustin Higgs

text: After this revelation, Higgs and Haynes were tried separately in 2000. Gloria pleaded guilty to being an accessory-after-the-fact to the killings, and in exchange for testimony against Higgs and Haynes, was sentenced to seven years in prison. His testimony was the main piece of evidence presented in Higgs' trial.


title: Dustin Higgs

text: The prosecution's version of events was that Higgs got into a heated argument with Tanji Jackson at his apartment on the evening of January 26, 1996. Jackson had supposedly taken a knife from the kitchen and threatened Higgs after she rejected his alleged sexual advances towards her. After the argument, the women left the apartment enraged. According to Gloria, Jackson made some kind of threat as she left the apartment. As Higgs watched the women leave, he saw Jackson appear to write down his license plate number. According to Gloria, this angered Higgs, who was concerned she knew people who may retaliate against him.


title: Dustin Higgs

text: The men then left the apartment and headed after them in Higgs' van. They pulled over and offered the women a ride home, which they accepted. The prosecution accepts that they were not forced into the vehicle or taken against their will. Higgs did not drive the correct way back to Washington, D.C., and instead drove to the Patuxent Research Refuge. Higgs pulled over at a secluded location and ordered the women out of the van. The women then asked if they were being forced to walk home to which Higgs responded, "something like that." As the women got out of the van, Higgs took out a handgun and handed it to Haynes. According to Haynes' testimony, Higgs then said to him "better make sure they're dead." Haynes then exited the van and Gloria heard gunshots. He witnessed Haynes shoot one of the women in the chest. After the women were killed and the gun was disposed of, Higgs drove back to his apartment with Haynes and Gloria. Gloria was later dropped off at a fast-food restaurant, where he was told to keep his mouth shut.


title: Dustin Higgs

text: The defense argued that Higgs' alleged reason for wanting the women killed — Jackson rejecting his sexual advances and possibly knowing people who may have retaliated against him — was a very weak motive for ordering three murders. They said the idea that the women willingly got into the van for a lift home also contradicted the idea that Jackson was angry at Higgs and would seek revenge. The defense claims that the real reason the women were killed was because they owed Haynes and some of his associates drug money. Two inmates at the Charles County Detention Center said Haynes had claimed to them to have a much bigger role in the killings. One argued Haynes was more of a partner to Higgs than someone who followed orders. One said the victims owed him drug money and that Haynes "had to kill" one of the women because she had been trying to set him up.


title: Dustin Higgs

text: Higgs' lawyer said he only learned of the witnesses after reviewing Haynes' trial record, by which time Higgs had already been sentenced to death. The evidence would supposedly have made both Haynes and Higgs equally culpable in the eyes of the jury, and the failure to provide the statements violated the Brady rule. According to the defense, both Gloria and Haynes repeatedly changed their stories, with Haynes admitting in 2012 in a sworn affidavit that Higgs had not forced or bullied him into doing anything, something the prosecution had claimed at Higgs' trial.


title: Dustin Higgs

text: Ultimately, Higgs and Haynes were found guilty of all of the charges. The jury spared Haynes's life. On August 24, 2000, he was sentenced to nine concurrent life terms without parole, plus 45 years. The federal judge at Haynes' trial claimed he had shown no remorse for the killings. As of June 2022, he was incarcerated at United States Penitentiary, Beaumont.


title: Dustin Higgs

text: On October 26, Higgs was sentenced to death, becoming the first person from Maryland to be sentenced to death in the federal court system. He was incarcerated at United States Penitentiary, Terre Haute.


title: Dustin Higgs

text: On November 22, Gloria was sentenced to eighty-four months in a federal prison. He was released on February 4, 2006, serving a total of just over five years and two months in prison.


title: Dustin Higgs

text: Multiple controversies surround Higgs' case. Firstly, he was sentenced to death despite not personally shooting or killing any of the three women. The case against him was mainly built on the testimonies of Gloria and Haynes, who had both cut deals and changed their stories multiple times. The fact the murders were committed on federal land further complicated things. Higgs was tried by the federal government rather than by the state of Maryland. Had the murders occurred farther down the road, the women would not have been killed on the Patuxent Research Refuge, and Higgs would have been tried by the state of Maryland instead of by the federal government. If he had been tried by the state of Maryland, based on state law, he would not have been eligible for the death penalty. The state of Maryland also abolished the death penalty in 2013, with all remaining death row inmates resentenced to life without parole. Prior to the abolition, the last execution in Maryland occurred in 2005, when Wesley Baker was executed for the June 1991 murder of 49-year-old Jane Tyson.


title: Dustin Higgs

text: The execution was controversial, in part because Higgs was executed during a lame-duck period. He had also tested positive for COVID-19 a few weeks prior. Higgs' attorney raised the concern that COVID-19 had caused him lung damage, and that during the execution, he would experience "a sensation of drowning akin to waterboarding." The execution was postponed by a federal judge's ruling on January 12. The Supreme Court voted 6–3, late on January 15, to let it proceed.


title: Dustin Higgs

text: At 1:23 a.m. on January 16, 2021, Higgs, 48, was executed by lethal injection of pentobarbital at the United States Penitentiary in Terre Haute, Indiana. His last words were "I'd like to say I am an innocent man. I did not order the murders." He mentioned each of the three murder victims by name. He became the third and last inmate to be executed by the U.S. federal government in January, after convicted murderers Lisa Marie Montgomery and Corey Johnson, who were executed on January 13 and 14, respectively.


title: Dustin Higgs

text: Higgs was the thirteenth and final person executed by the United States federal government during the presidency of Donald Trump. He also remains the most recent person executed by the federal government as a whole. He is buried at Poughkeepsie Rural Cemetery in his hometown of Poughkeepsie, New York.


title: The Book of Abramelin

text: The Book of Abramelin tells the story of an Egyptian mage named Abraham, or Abra-Melin, who taught a system of magic to Abraham of Worms, a Jew in Worms, Germany, presumed to have lived from –. The system of magic from this book regained popularity in the 19th and 20th centuries partly due to Samuel Liddell MacGregor Mathers' translation, The Book of the Sacred Magic of Abramelin the Mage.


title: The Book of Abramelin

text: The work was translated into English by Samuel L. MacGregor Mathers and more recently by Georg Dehn and Steven Guth. Dehn attributed authorship of "The Book of Abramelin" to Rabbi Yaakov Moelin (Hebrew ; ), a German Jewish Talmudist. This identification has since been disputed.


title: The Book of Abramelin

text: The grimoire is framed as a sort of epistolary novel or autobiography in which Abraham of Worms describes his journey from Germany to Egypt and reveals Abramelin's magical and Kabbalistic secrets to his son Lamech. Internally the text dates itself to the year 1458.


title: The Book of Abramelin

text: The story involves Abraham of Worms passing his magical and Kabbalistic secrets on to his son and tells how he acquired his knowledge. Abraham recounts how he found Abramelin the Mage living in the desert outside an Egyptian town, Arachi or Araki, which borders the Nile. Abramelin's home sat atop a small hill surrounded by trees. He was an Egyptian mage and taught a powerful form of Kabbalistic magic to Abraham. He was a "venerable aged man", and very courteous and kind. He discussed nothing but "the Fear of God", the importance of leading a well-regulated life, and the evils of the "acquisition of riches and goods".


title: The Book of Abramelin

text: Abramelin extracted a promise from Abraham that he would give up his "false dogmas" and live "in the Way and Law of the Lord." He then gave Abraham two manuscript books to copy for himself, asking for ten gold florins, which he took with the intention of distributing to seventy-two poor persons in Arachi. Upon his return fifteen days later, after having disposed of the payment money, Abramelin extracted an oath from Abraham to "serve and fear" the Lord, and to "live and die in His most Holy Law." After this, Abramelin gave Abraham the "Divine Science" and "True Magic" embedded within the two manuscripts, which he was to follow and give to only those whom he knew well.


title: The Book of Abramelin

text: The book exists in the form of twelve manuscripts and an early printed edition. The provenance of the text has not been definitively identified. The earliest manuscripts are two versions that date from about 1608, are written in German and are now found in Wolfenbüttel. Another two manuscripts are in Dresden, and date from about 1700 and 1750 respectively.


title: The Book of Abramelin

text: The first printed version, also in German, dates to 1725 and was printed in Cologne by Peter Hammer. A partial copy in Hebrew is found in the Bodleian Library in Oxford, and dates from around 1740. An 18th century manuscript copy exists in French in the "Bibliothèque de l'Arsenal" in Paris, an institution founded in 1757. Another 17th-century manuscript in Italian exists in the 'Legato Martinengo' of the Queriniana Library in Brescia, Italy. It was part of the collection of the Count and Qabbalist Leopardo Martinengo of Barco and Torre Pallavicina. The manuscript, unknown for centuries to international researchers until 2009, has been found by academic researcher Maria Elena Loda in the esoteric section. At the moment, it is the only known manuscript translation in the Italian language of the Abramelin grimoire.


title: The Book of Abramelin

text: All German copies of the text consist of four books: an autobiographical account of the travels of Abraham of Worms to Egypt, a book of assorted materials from the corpus of the practical Kabbalah (including some which is duplicated in the German-Jewish grimoire called "The Sixth and 7th Books of Moses") and the two books of magic given by Abramelin to Abraham. The well-known English translation by S.L. MacGregor Mathers from the French Manuscript in Paris contains only three of the four books. The Hebrew version in Oxford is limited to Book One, without reference to the further books.


title: The Book of Abramelin

text: Of all the extant sources, the German manuscripts in Wolfenbüttel and Dresden are taken by scholars to be the authoritative texts. According to respected Kabbalah scholar Gershom Scholem, the Hebrew version in Oxford was translated into Hebrew from German. An analysis of the spelling and language usage in the French manuscript indicates that it dates to the 18th century and that it was also likely copied from a German original. Although the author quotes from the Jewish Book of Psalms, the version given is not from the Hebrew; rather, it is from the Latin Vulgate, a translation of the Bible employed by Roman Catholics at that time.


title: The Book of Abramelin

text: The German esoteric scholar Georg Dehn has argued that the author of The Book of Abramelin was Rabbi Yaakov Moelin (Hebrew יעקב בן משה מולין; ca. 1365–1427), a German Jewish Talmudist and "posek" (authority on Jewish law).


title: The Book of Abramelin

text: The practical magic of Abramelin (found in both Book III of the French text, and Book IV of the German original) centres around a set of talismans composed of magic word squares. These are similar to traditional magic squares, though the latter are usually composed of numbers, while Abramelin's squares contain letters. Commonly word squares are used as puzzles or as teaching aids for students. In the context of Abramelin, the focus becomes mystical—so that each square "should" contain words or names that relate to the magical goal of the square. A parallel is found in the famous Sator Arepo Tenet Opera Rotas word square, an altered version of which is also found among Abramelin's squares.


title: The Book of Abramelin

text: For example, a square entitled "To walk underwater for as long as you want" contains the word MAIAM (מים), the Hebrew word for "water". A square for recovering treasures of jewelry begins with the word TIPHARAH (תפארה, a variant of Tiferet), which can mean "golden ring" in Hebrew and is also the name of the sphere of "Beauty" (which has the planetary attribution of the Sun) on the Kabbalistic Tree of Life.


title: The Book of Abramelin

text: In 1897, "The Book of the Sacred Magic of Abramelin the Mage" was translated into English by the British occultist Samuel L. MacGregor Mathers. The magic described in the grimoire was influential in the Hermetic Order of the Golden Dawn, of which Mathers was the head.


title: The Book of Abramelin

text: A German translation, credited to Abraham of Worms and edited by Georg Dehn, was published in 2001 by Edition Araki. In the Dehn version, the fourth book is included. All 251 of the word squares are completely filled in. An English translation of Dehn's edition was published in 2006 by the American publisher Nicholas Hays.


title: The Gong Show

text: The Gong Show is an American amateur talent contest franchised by Sony Pictures Television to many countries. It was broadcast on NBC's daytime schedule from June 14, 1976, through July 21, 1978, and in first-run syndication from 1976 to 1980 and 1988 to 1989, and was revived in 2017 for broadcast on ABC. The show was created and originally produced by Chuck Barris, who also served as host for the NBC run and from 1977 to 1980 in syndication. Its most recent version was executive-produced by Will Arnett and hosted by Tommy Maitland, a fictional character performed by Mike Myers (uncredited in Season 1). "The Gong Show" is known for its absurdist humor and style, with the actual competition secondary to the often outlandish acts presented; a small cash prize has typically been awarded to each show's winner.


title: The Gong Show

text: Each show presented a competition of amateur performers of often dubious talent, with a panel of three celebrity judges. The original program's regular judges included Jamie Farr, Jaye P. Morgan, Arte Johnson, Patty Andrews, Phyllis Diller, Pat McCormick, Wayland Flowers, Anson Williams, Steve Garvey, Rex Reed and Rip Taylor. Other celebrities occasionally appeared as judges such as David Letterman, Chuck Woolery, Allen Ludden and Sandy Duncan. If any judge considered an act to be particularly bad, they could force it to stop by striking a large gong, a trope adapted from the durable radio show "Major Bowes Amateur Hour". Barris would then ask the judge(s) in question why they had gonged the act, usually receiving a facetious response.


title: The Gong Show

text: Any act that survived without being gonged was given a score by each of the three judges on a scale of 0 to 10, for a maximum possible score of 30. On the NBC series, the contestant who achieved the highest combined score won the grand prize: a check for $516.32 (a "highly unusual amount", in Barris's words; reportedly the Screen Actors Guild's minimum pay for a day's work at the time) and a "Golden Gong" trophy. In the show's opening monologue, Barris would describe the amount as "five hundred and sixteen big ones, and thirty-two little ones". The syndicated series' top prize was originally $712.05 (the first episode was $996.83) and later increased to $716.32. In the event of a tie, three different tiebreakers were used at various times during the show's run. Originally the studio audience determined the winner by applause, but this was later changed to a decision by the producers, and later by the celebrity judges. On rare occasions, both winning acts would each receive a check and a trophy. No prize was awarded if all of the acts on a particular episode were gonged, which occurred at least twice. Runners-up received various prizes; Maureen Orth, on her February 24, 1977, appearance, reported receiving an iron valued at $33.95 for her second-place finish.


title: The Gong Show

text: When Barris announced the final score, actor Jerry Maren (a little person and former Munchkin) ran onstage in top hat and tails, throwing confetti while balloons dropped from overhead.


title: The Gong Show

text: The daily "Gong Show" also gave out a "Worst Act of the Week" award (later changed to the "Most Outrageous Act of the Week"), selected by the producers and each week's judges. The winner of this award was announced following the trophy presentation on the Friday show, and the performer received a dirty tube sock and a check for $516.32.


title: The Gong Show

text: The two biggest "Gong Show"-related showbiz successes were Andrea McArdle and Cheryl Lynn. Twelve-year-old McArdle appeared on an early show in 1976, shortly before winning the lead role in the hit Broadway musical "Annie". Lynn was signed to a recording contract as a result of her performance, and she recorded the Top 40 disco hit "Got To Be Real".


title: The Gong Show

text: Among the other true talents that appeared on the show were country singer Boxcar Willie; actor Kevin Peter Hall who played both the original Predator in the movie of the same name and Harry in Harry and the Hendersons; comics and actors Paul Reubens and John Paragon (best known as Pee Wee Herman and Jambi the Genie); Joey D'Auria ("Dr. Flameo", later WGN's second "Bozo the Clown"); impressionist/comic Michael Winslow; novelty rock band Green Jellÿ; and a band called The Mystic Knights of the Oingo Boingo which evolved into Oingo Boingo, led by future film and television score composer Danny Elfman. Crips founder and executed murderer Stanley Tookie Williams appeared on the show in 1979 as a bodybuilder. In 1976, future Academy Award-nominated actress Mare Winningham sang the Beatles song "Here, There, and Everywhere". Future Super Bowl XXXV winning head coach Brian Billick also made an appearance, performing a routine known as the "spider monkey". Dancer Danny Lockin, who had played Barnaby in the film "Hello Dolly!", was murdered hours after winning the show taped August 21, 1977. Journalist Maureen Orth, then writing for "Newsweek", appeared in 1977 with a second-place showing, appearing as "The World's Oldest Cheerleader."


title: The Gong Show

text: An established game show producer ("The Dating Game", "The Newlywed Game"), Barris was originally the show's co-producer but not its host. He was an emergency replacement host for eventual "Real People" host John Barbour, who had objected to the show's satirical concept and tried to steer it toward a traditional amateur-hour format.


title: The Gong Show

text: Producer Chris Bearde, formerly of "Rowan and Martin's Laugh-In" and "The Sonny & Cher Comedy Hour", clashed with Barris over the show's content, favoring scripted comedy over chaotic nonsense. (Bearde's "new talent" segments on "Laugh-In" had featured oddball performers, the most famous being Tiny Tim.) After a violent argument involving the throwing of punches, chairs and other objects, Bearde resigned from "The Gong Show", leaving Barris fully in charge. Before long, Barris was working so loosely that some viewers assumed he was intoxicated from alcohol or other drugs. Barris later recounted, in an interview with the Archive of American Television, that he was never drunk, and that he would not allow the use of drugs in his production company.


title: The Gong Show

text: Milton DeLugg, the show's musical director, was a popular musician and bandleader during the 1940s, and he got the "Gong Show" job by default. As musical director for the network, he was responsible for any NBC project that required special music (like the annual telecasts of the Macy's Thanksgiving Day Parade). Barris initially regarded DeLugg as "an anachronism", but he soon found that DeLugg was very much attuned to the crazy tone of the show. He appeared in recurring comedy skits with Barris.


title: The Gong Show

text: Veteran composer Joey Carbone provided musical arrangements for the late 1980s revival with his own lineup of studio musicians, known as "The Gong Show Guys".


title: The Gong Show

text: Johnny Jacobs, who had worked for Barris for many years, was the main announcer from 1976 to 1980. When Jacobs was sidelined with an extended illness, Jack Clark substituted from October 3 through December 23, 1977. Charlie O'Donnell served as announcer for the late 1980s revival.


title: The Gong Show

text: Hostesses included Siv Åberg (a Swedish-born model and actress who appeared on Barris's syndicated "New Treasure Hunt"), actress Marlena Clark, porn star Carol Connors and Barris's teenage daughter, Della.


title: The Gong Show

text: NBC first aired the show at 12:30 p.m. (11:30 a.m. Central). This was the network's least important time slot, as programs running at that time had to share the half-hour with a five-minute NBC newscast anchored by Edwin Newman. As a result, the first six-plus months of "The Gong Show" featured approximately twenty minutes of program content in a twenty-five-minute episode.


title: The Gong Show

text: Many NBC affiliates in some larger markets opted not to run network programming during the noon hour at all, preferring to broadcast local news and talk shows instead. Thus "Gong" made its debut mainly on medium-market and smaller stations or on large-market rival stations that had picked up the program from the NBC affiliate that had rejected it. For example, in Boston, then-NBC affiliate WBZ did not run the series, allowing local UHF independent outlet WSBK-TV to air it.


title: The Gong Show

text: "Gong's" time slot was given to a new soap opera, "Lovers and Friends", on January 3, 1977, and the show was relocated to replace the cancelled "Another World" spinoff "Somerset" at 4:00 p.m. The time change allowed "Gong" to expand to a half-hour.


title: The Gong Show

text: NBC broadcast a one-hour prime-time "Gong Show" special on April 26, 1977, featuring in-studio special guests Tony Randall, Alice Cooper and Harry James and His Orchestra. The winning act on this special was The Bait Brothers, and the panelists were Jaye P. Morgan, Jamie Farr and Arte Johnson.


title: The Gong Show

text: During "The" "Gong Show"'s run, Barris became well known for his clashes with the network censors, intentionally bringing in risque acts as bait to allow some of the less racy acts to slip by. In 1977, one of these bait acts, two teenage girls referring to themselves as "Have You Got a Nickel?", made it onto the show. Their act consisted of the girls sitting cross-legged on the stage floor and silently eating popsicles in a manner that suggested they were performing fellatio on the frozen treats. The nature of the act led to the two girls being known as the "Popsicle Twins".


title: The Gong Show

text: While they were able to complete their act without being gonged, two of the judges gave them low marks. Phyllis Diller gave them a zero, while Jamie Farr awarded them a marginally better 2. Jaye P. Morgan awarded them a 10, quipping, "That's how I got my start in show business".


title: The Gong Show

text: Surprisingly, the girls' act was approved by the censors, who apparently did not see anything wrong with it during the rehearsals. However, after the episode aired in the Eastern Time Zone, NBC cut the act from the later tape delay broadcast for western time zones. KNBC, alerted to the content, was able to preempt it. The act was not cut from all the tapes, and the Popsicle Twins incident has aired in reruns and retrospectives. Barris said in a 2001 interview with Salon.com that this particular act began making him reconsider his career.


title: The Gong Show

text: Despite its popularity and respectable ratings for a non-soap-opera midday show, NBC cancelled "The Gong Show", with its final episode broadcast on July 21, 1978. At the time, there was much speculation as to the network's true motivations for dumping the show. Barris has commented that he heard that NBC's official reason was because of both "lower than expected ratings" and a desire by the network to "re-tailor the morning shows to fit the standard morning demographics" (the move coincided with the arrival of new NBC president Fred Silverman, who was well known for such programming overhauls and was reported to have disliked "The Gong Show"). "America Alive!", a magazine-style variety program hosted by Art Linkletter's son Jack, replaced "Gong".


title: The Gong Show

text: Following the cancellation, many critics and industry analysts – including Gene Shalit and Rona Barrett – reported having heard comments from within the NBC programming department from "sources preferring anonymity" that the true reason behind the cancellation was Barris's refusal to tone down the increasingly racy nature of the show. According to the sources, after the "Popsicle Twins" incident and an episode in which Jaye P. Morgan exposed her breasts on air during a Gene Gene the Dancing Machine segment, Barris had been given an ultimatum by the network's Standards and Practices department to deliver cleaner shows for his audience, which included many younger viewers, or NBC would cancel the program.


title: The Gong Show

text: NBC allowed Barris to continue the show for the rest of his contract, and Barris made no perceptible change in preparation for the finale. In the finale, staff member Larry Gotterer appeared as "Fenwick Gotterer" to host the show after Barris started the show doing a "Chuckie's Fables" sketch. The rest of the final episode tried to explain the life of the show and its cancellation. Barris managed to have the last word on the show's demise, appearing as a contestant. Playing in a country music band called "The Hollywood Cowboys" with the house band's rhythm section, Barris sang a slightly modified version of Johnny Paycheck's "Take This Job and Shove It", giving NBC the finger during the song to accentuate his point. NBC censored the gesture, with the word "OOPS!" superimposed over a still shot of the set. However, the network did not realize that Barris also had his fly open during the performance. Barris was gonged by Jamie Farr, who quipped, "Because that little fella's been saying that I've been long of nose, I'm also long of gong, fella." At that point, Barris angrily approached Farr, the two exchanged words off-mike and then started brawling, knocking over part of the set in the process. This forced the network to break for commercials. NBC security was summoned and able to restore order during the break.


title: The Gong Show

text: The group "Lobster Repair" (who performed Harry Belafonte's song "Day-O") won the final $516.32 and trophy of the NBC era. Gotterer presented the award as Barris had been escorted off the set by NBC security.


title: The Gong Show

text: "The Gong Show" continued in syndication for two years after its daytime counterpart's cancellation, often airing on weekends and at night. The entire syndicated run from September 1976 to September 1980 was distributed by Firestone Program Services. While the series eventually met its demise in syndication as it had on NBC, according to Barris, the problem did not lie with any outrageous acts, but instead the controversy and public outcry over another series he had produced.


title: The Gong Show

text: In September 1979, Barris launched the game show "Three's a Crowd", which was a spin-off of "The Newlywed Game". Instead of recently married couples trying to match answers, the wives and secretaries of married men would compete to show who knew the men better. Religious activists and feminist groups protested against "Three's a Crowd" and its ratings eventually forced the show's cancellation during the middle of the season.


title: The Gong Show

text: In Barris' autobiography "The Game Show King", he wrote that "the public backlash from "Three's a Crowd" not only caused the program to be canceled, but it took three other TV shows of mine with it. I went to my house in Malibu and stayed there for a year." "Gong" was one of those shows to be canceled, and Barris never hosted another series. The trauma from the "Three's a Crowd's" backlash was so severe, in the last several weeks of the "Gong Show", Barris reportedly had "a small nervous breakdown" on-air, because he was "bored to death" with broadcasting. His next two series, revivals of the 1960s game show "Camouflage" (the replacement for "Three's a Crowd") and his 1973–77 series "Treasure Hunt" (toward which Barris had little or no input, according to host Geoff Edwards), both failed to find audiences and Barris went further into his self-imposed exile from television. Barris would not have another hit series until the 1985 syndication revival of "The Newlywed Game".


title: The Gong Show

text: Reruns of the NBC airings began in syndication in Fall 1979. The NBC and syndicated episodes were rerun on the USA Network and Game Show Network, although by the time GSN picked up the series, many episodes could not be aired because of musical performance clearance issues. No episodes from the first syndicated season were rerun.


title: The Gong Show

text: A syndicated weekday revival of "The Gong Show", hosted by San Francisco disc jockey Don Bleu, ran during the 1988–89 season from September 12, 1988, to September 15, 1989, Each winner was paid $701.


title: The Gong Show

text: "Extreme Gong", a later incarnation of "The Gong Show" on the Game Show Network had viewers vote on its acts by telephone. It was hosted by George Gray and ran from October 5, 1998, to August 26, 1999, with reruns continuing to air up until Fall of 2000. Winners received $317.69. This version was well known for two known incidents: one episode featuring "Cody the Talking Dog" for which he tried to say things like "I love you" and "ice cream" but did not succeed in talking, and another featuring a Village People parody as "The Village Little People" where they sang a cover of "YMCA". Orange County comedy punk band the Radioactive Chicken Heads (then called Joe & the Chicken Heads) made their national television debut on "Extreme Gong", though they were gonged midway through their performance. Near the end of the show's run, an hour-long "Tournament of Talent" special was aired in August 1999, with twelve previous winning acts (chosen by viewers via a phone-in poll) competing for a payoff of $10,000.


title: The Gong Show

text: Comedy Central debuted a new incarnation called "The Gong Show with Dave Attell", which lasted for eight weeks in the summer of 2008. The show's format was similar to the original, but its scoring was based on a scale of 0 to 500, and winning acts received $600. The $600 was shown as paid in cash on the spot, rather than being paid by check as in earlier versions, but in reality (because of contestant eligibility regulations by Sony) was paid as a check from Sony Pictures. In place of a typical trophy, winners were awarded a belt in the style of boxing championship belts.


title: The Gong Show

text: A live stage version of "The Gong Show" took place at B.B. King's Blues Club, in the Times Square district of New York City on August 12, 2010. It was produced by The Radio Chick, and is the Sony authorized stage production. This production went into development in 2011–12 and now runs regularly in New York City, with engagements in other U.S. cities.


title: The Gong Show

text: On October 3, 2016, ABC and Sony Pictures announced a 10-episode summer 2017 revival of "The Gong Show" executive produced by Will Arnett.


title: The Gong Show

text: The broadcast of the 2017 revival premiered on ABC on June 22, 2017, hosted by previously unknown "British comedian" Tommy Maitland. Maitland is, in fact, a character portrayed by Mike Myers, although neither ABC nor Myers confirmed this and ABC officially credited Maitland as host and executive producer. Maitland's catchphrase is "Who's a cheeky monkey?" He also periodically uses Barris' "back with more stuff" catchphrase to lead into commercials.


title: The Gong Show

text: Celebrity guest judges for the 2017 revival included Arnett, Zach Galifianakis, Alison Brie, Andy Samberg, Elizabeth Banks, Tracee Ellis Ross, Joel McHale, Megan Fox, Courteney Cox, Dana Carvey, Will Forte, Jack Black, Jennifer Aniston, Ken Jeong, Fred Armisen, Maya Rudolph and Anthony Anderson. Among the more notable acts featured on the revival are the Radioactive Chicken Heads, making their second appearance on a "Gong Show" incarnation since "Extreme Gong" in 1998. The first season of this version also features a regular segment featuring a staff performer leading the audience in a sing-along of the novelty song "Shaving Cream", reminiscent of the recurring gag acts on the earlier version.


title: The Gong Show

text: The winner of each show received a gong trophy and an oversized check in the amount of US$2,000.17, later increased by a penny the following year. The final episode of the first season featured a memorial to Barris, who died prior to the series' premiere in 2017.


title: The Gong Show

text: On January 8, 2018, ABC announced that the revival would be picked up for a second season, officially confirmed Myers as the portrayer of Maitland and crediting Myers as an executive producer by name. The second (and final) season premiered on June 21, 2018. Celebrity guest judges for season 2 included Jimmy Kimmel, Jason Sudeikis, Brad Paisley, Dana Carvey, Alyson Hannigan, Ken Jeong, Kristen Schaal, and Rob Riggle. However, the series was not renewed for a third season and was quietly cancelled.


title: The Gong Show

text: In 1980, "The Gong Show Movie" was released by Universal Pictures to scathing reviews and was quickly withdrawn from theatrical release. Advertising proclaimed it as ""The Gong Show" That Got Gonged by the Censor". It is seen periodically on cable TV, but was not released on home video until March 29, 2016, when the film was released on Blu-ray by Shout! Factory.


title: The Gong Show

text: "Confessions of a Dangerous Mind", a film directed by George Clooney and written by Charlie Kaufman, was based on the semi-fictional autobiography of the same name by Chuck Barris. Part of the film chronicles the making of "The Gong Show", and features several clips from the original series.


title: The Gong Show

text: Following the success of the print and screen versions of "Confessions", GSN produced a documentary called "The Chuck Barris Story: My Life on the Edge", which included rare footage from the Gary Owens pilot.


title: The Gong Show

text: At the height of the "Gong Show"'s popularity, NBC gave Barris a prime-time variety hour, "The Chuck Barris Rah Rah Show". This was played somewhat more seriously than the "Gong Show", with Jaye P. Morgan singing straight pop songs as in her nightclub and recording days, and bygone headliners like Slim Gaillard reprising their old hits for a studio audience. Other spinoffs include "The $1.98 Beauty Show" hosted by Rip Taylor and "The Gong Show Movie".


title: Taliesin (studio)

text: Taliesin (), sometimes known as Taliesin East, Taliesin Spring Green, or Taliesin North after 1937, was the estate of American architect Frank Lloyd Wright. An extended exemplar of the Prairie School of architecture, it is located south of the village of Spring Green, Wisconsin, United States. The property was developed on land that originally belonged to Wright's maternal family.


title: Taliesin (studio)

text: With a selection of Wright's other work, Taliesin became a listed World Heritage Site in 2019, under the title, "The 20th-Century Architecture of Frank Lloyd Wright".


title: Taliesin (studio)

text: Wright designed the main Taliesin home and studio after leaving his first wife and home in Oak Park, Illinois with his mistress, Mamah Borthwick. The design of the original building was consistent with the design principles of the Prairie School, emulating the flatness of the plains and the natural limestone outcroppings of Wisconsin's Driftless Area. The structure (which included agricultural and studio wings) was completed in 1911. The name, Taliesin, meaning 'shining-brow' in Welsh, was initially used for this building (built on and into the brow of a hill or ridge) and later for the entire estate.


title: Taliesin (studio)

text: Over the course of Wright's residency two major fires led to significant alterations, and these stages of the residence are now referred to as Taliesin I, II, and III. Wright rebuilt the Taliesin residential wing in 1914 after a disgruntled employee set fire to the living quarters and murdered Borthwick and six others. This second version was used only sparingly by Wright as he worked on projects abroad. He returned to the house in 1922 following completion of the Imperial Hotel in Tokyo. A fire caused by electrical problems destroyed the living quarters in April 1925. The third version of the living quarters was constructed by Wright by late 1925.


title: Taliesin (studio)

text: In 1927, financial problems caused a foreclosure on the building by the Bank of Wisconsin. Wright was able to reacquire the building with the financial help of friends and reoccupy it by November 1928. In 1932, he established a fellowship for architectural students at the estate. Taliesin III was Wright's home for the rest of his life, although he began to winter at Taliesin West in Scottsdale, Arizona upon its completion in 1937. Many of Wright's acclaimed buildings were designed here, including Fallingwater, "Jacobs I" (the first Wright-designed residence of Herbert and Katherine Jacobs), the Johnson Wax Headquarters, and the Solomon R. Guggenheim Museum. Wright was also an avid collector of Asian art and used Taliesin as a storehouse and private museum.


title: Taliesin (studio)

text: Wright left Taliesin and the 600-acre Taliesin Estate to the Frank Lloyd Wright Foundation (founded by him and his third wife in 1940) upon his death in 1959. This organization oversaw renovations to the estate until late 1992 upon the founding of Taliesin Preservation, Inc., a nonprofit organization dedicated to preserving the building and estate in Wisconsin. The Frank Lloyd Wright Foundation and Taliesin Preservation operate numerous public programs on the campus, and the farm is still in use today by tenant farmers.


title: Taliesin (studio)

text: The Taliesin estate was designated a National Historic Landmark in 1976, and the Taliesin structure was inscribed as part of a UNESCO World Heritage Site in July 2019.


title: Taliesin (studio)

text: Four other Wright-designed buildings on the estate are National Historic Landmarks (but not part of the UNESCO designation, which is just reserved for the Taliesin structure). These are the Romeo and Juliet Windmill, designed by Wright in 1896; Tan-y-Deri, the home he designed for Jane and Andrew Porter, his sister, and brother-in-law, in 1907; the Hillside Home School, originally designed in 1901 for his aunts' school; and Midway Barn, a farming facility he began c. 1920.


title: Taliesin (studio)

text: Jones Valley, the Wisconsin River valley in which Taliesin sits, was formed during Pre-Illinoian glaciation. This region of North America, known as the Driftless Area, was totally surrounded by ice during Wisconsin glaciation, but the area itself was not glaciated. The result is an unusually hilly landscape with deeply carved river valleys.


title: Taliesin (studio)

text: The valley, approximately south of the village of Spring Green, Wisconsin, was originally settled by Frank Lloyd Wright's maternal grandfather, Richard Lloyd Jones. Jones had emigrated with his family from Wales, moving to the Town of Ixonia in Jefferson County, Wisconsin. In 1858, Jones and the family moved from Ixonia to this part of Wisconsin to start a farm. By the 1870s, Richard's sons had taken over operation of the farm, and they invited Wright to work during summers as a farmhand.


title: Taliesin (studio)

text: Wright's aunts Jane and Ellen C. Lloyd Jones (known as Jennie and Nell) began a co-educational school, the Hillside Home School, in the family valley in 1887 and let Wright design the building; this was Wright's first independent commission. In 1896, Wright's aunts again commissioned Wright, this time to build a windmill. The resulting Romeo and Juliet Windmill was unorthodox but stable. In the winter of 1900, Wright compiled a portfolio of photographs he took of the surrounding area for a promotional brochure for the Hillside School.


title: Taliesin (studio)

text: In 1901, Wright was again commissioned by Jennie and Nell to design another structure. Unsatisfied with his original design for the Hillside School, Wright designed the Hillside Home School in 1901 in the Prairie Style. Wright later sent several of his children to receive an education at the school. Wright's final commission on the farm was a house for his sister Jane Porter in 1907. Tan-Y-Deri, Welsh for "Under the Oaks", was a design based on his recent "Ladies Home Journal" article "A Fireproof House for $5000." The family, their ideas, religion, and ideals, greatly influenced the young Wright, who later changed his middle name from Lincoln (in honor of Abraham Lincoln) to Lloyd in deference to his mother's family.


title: Taliesin (studio)

text: When Wright decided to construct a home in this valley, he chose the name of the Welsh bard Taliesin, whose name means "shining brow" or "radiant brow". Wright learned of the poet through Richard Hovey's "Taliesin: A Masque", a story about an artist's struggle for identity. The Welsh name also suited Wright's roots, as the Lloyd Joneses gave Welsh names to their properties. The hill upon which Taliesin was built was a favorite from Wright's youth; he saw the house as a "shining brow" on the hill, in hope of a place of refuge "but I had forgotten grandfather Isiah´s punishments and beatings" (FLW Autobiography). Although the name was originally only applied to the house, Wright later used the term to refer to the entire property. Wright and others used roman numerals to distinguish the three versions of the house.


title: Taliesin (studio)

text: From 1898 to 1909, architect Frank Lloyd Wright lived and worked out of his home and studio in Oak Park, Illinois. In Oak Park, Wright had developed his concept of Prairie School architecture, designing houses primarily for local clients. In 1903, Wright began designing a home for Edwin Cheney, but quickly took a liking for Cheney's wife. Wright and Mamah Borthwick Cheney began an affair and separated from their spouses in 1909.


title: Taliesin (studio)

text: In October, Borthwick Cheney, having left her husband in the summer, met up with Wright in New York City. From there, they sailed to Europe, and going to Berlin, so Wright could negotiate a portfolio of his work. After that, Wright and Mamah Borthwick Cheney parted temporarily. She had settled in Leipzig, teaching English, and Wright settled in Italy to continue work on the portfolio. They joined each other there in February. He moved his studio to a town within view of Florence, which is named Fiesole. While in Fiesole, Wright was particularly inspired by Michelozzo's Villa Medici because it was built into a hill, had commanding views of its surroundings, and featured gardens on two levels. So, by February 1910, Wright made sketches of his future studio.


title: Taliesin (studio)

text: In 1910, the pair sought to return to the United States, but knew they could not escape scandal if they returned together to Oak Park. Wright saw an alternative—his family's ancestral land near Spring Green, Wisconsin. Wright returned alone to the United States in October 1910, publicly reconciling with his wife, Catherine, while working to secure money to buy land on which to build a house for himself and Borthwick Cheney. On April 3, 1911, Wright wrote to client, Darwin D. Martin, requesting money so that he could "see about building a small house" for his mother.


title: Taliesin (studio)

text: On the 10th, Wright's mother Anna signed the deed for the property. By using Anna's name, Wright was able to secure the property without attracting any attention to the affair. Late in the summer, Mamah Borthwick (having divorced Cheney and legally reverting to her maiden name) quietly moved into the property, staying with Wright's sister, Jane Porter, at her home, Tan-y-Deri. However, Wright and Borthwick's new property was discovered by a "Chicago Examiner" reporter that fall, and the affair made headlines in the "Chicago Tribune" on Christmas Eve.


title: Taliesin (studio)

text: At Taliesin, Wright wanted to live in unison with Mamah, his ancestry, and with nature. He chose only local building materials. The house was designed to nestle against the hill, in an example of Wright's "organic architecture". The bands of windows, one of his trademarks, allow nature to enter the house. The transitions from interior to exterior are fluent, which was radical at the time. "I attend the greatest of churches. I spell nature with a capital N. That is my church" (TV interview in 1957).


title: Taliesin (studio)

text: The Taliesin house had three sections: a long section on the east, which held the residential wing (where Wright and Borthwick lived); a long section on the west, which held the agricultural wing; and a section connecting these two, the office wing. The office wing held the drafting studio and workroom, and an apartment for the head draftsman. This apartment may have originally been intended for Wright's mother. Typical of a Prairie School design, the house was, as Wright described, "low, wide, and snug." As with most of his houses, Wright designed the furniture. The one-story complex was accessed by a road leading up the hill to the rear of the building. The estate gateway was on County Road C, just west of Wisconsin Road 23. Iron entry gates were flanked by limestone piers capped with planter urns.


title: Taliesin (studio)

text: Wright chose yellow limestone for the house from a quarry of outcropping ledges on a nearby hill. Local farmers helped Wright move the stone up the Taliesin hill. Stones were laid in long, thin ledges, evoking the natural way that they were found in the quarry and across the Driftless Area. Plaster for the interior walls was mixed with sienna, giving the finished product a golden hue. This caused the plaster to resemble the sand on the banks of the nearby Wisconsin River.


title: Taliesin (studio)

text: The outside plaster walls were similar, but mixed with cement, resulting in a grayer color. Windows were placed so that sun could come through openings in every room at every point of the day. Wright chose not to install gutters so that icicles would form in winter. Shingles on the gradually-pitched roof were designed to weather to a silver-grey color, matching the branches of nearby trees. A porte-cochère was built over the main entrance of the living quarters to provide shelter for visiting automobiles. The finished house measured approximately of enclosed space.


title: Taliesin (studio)

text: Upon moving in with Borthwick in the winter 1911, Wright resumed work on his architectural projects, but he struggled to secure commissions because of the ongoing negative publicity over his affair with Borthwick (whose ex-husband, Edwin Cheney, maintained main custody of their son and daughter). However, Wright did produce some of his most acclaimed works during this time period, including the Midway Gardens in Chicago and the Avery Coonley Playhouse in Riverside. He also indulged his hobby for collecting Japanese art, and quickly became a renowned authority. Borthwick translated four works from Swedish difference feminist Ellen Key.


title: Taliesin (studio)

text: Wright designed the gardens with the assistance of landscape architect, Jens Jensen. This included over a thousand fruit trees and bushes ordered by from in 1912. Wright requested two hundred and eighty-five apple trees planted, including one hundred McIntosh, fifty Wealthy, fifty Golden Russet, and fifty Fameuse. Among the bushes were three hundred gooseberry, two hundred blackberry, and two hundred raspberry. The property also grew pears, asparagus, rhubarb, and plums. It is unknown exactly how many were planted, because part of the orchard was destroyed during a railroad strike.


title: Taliesin (studio)

text: The fruit and vegetable plants were placed along the contour of the estate, which may have been done to mimic the farms he saw while in Italy. Wright also dammed a creek on the property to create an artificial lake, which was stocked with fish and aquatic fowl. This water garden, probably inspired by the ones he saw in Japan, created a natural gateway to the property.


title: Taliesin (studio)

text: In 1912, Wright designed what he called a "tea circle" in the middle of the courtyard, adjacent to the crown of the hill. This circle was heavily inspired by Jens Jensen's council circles, but also took influence from Japanese wabi-sabi landscape architecture. Unlike Jensen's circles, the rough-cut limestone tea circle was much larger and featured a pool in the center. The circle featured a curved stone bench flanked with Chinese jars built during the Ming Dynasty. The tea circle had two oak trees: one on the inner edge of the seating areas, and one just outside of the stone seat. The remaining oak tree (outside of the stone seat) blew down in a storm in 1998. The tea garden also included a large plaster replica of "Flower in the Crannied Wall", a statue originally designed by Richard Bock for the Susan Lawrence Dana House, by Wright. The statue's namesake poem is inscribed on its rear.


title: Taliesin (studio)

text: Julian Carlton was a 31-year-old man who came to work as a chef and servant at Taliesin for the summer. Carlton was an Afro-Caribbean of West Indian descent, ostensibly from Barbados. He was recommended to Wright by John Vogelsong Jr., the caterer for the Midway Gardens project. Carlton and his wife Gertrude had previously served in the house of Vogelsong's parents in Chicago. Originally a genial presence on the estate, Carlton grew increasingly paranoid. He stayed up late at night with a butcher knife, looking out the window. This behavior had been noticed by Wright and Borthwick, who issued an ad in a local paper for a replacement cook. Carlton was given notice that August 15, 1914, would be his last day in their employ.


title: Taliesin (studio)

text: Before he left, Carlton plotted to kill the residents of, and workers at, Taliesin. His primary target was draftsman Emil Brodelle, who had called Carlton a "black son-of-a-bitch" on August 12 for not following an order. Brodelle and Carlton also engaged in a minor physical confrontation two days later. He planned the assault, targeting the noon hour, when Borthwick, her visiting children, and the studio personnel would be on opposite sides of Taliesin's living quarters awaiting lunch. Wright was away in Chicago completing Midway Gardens while Borthwick stayed at home with her two children, 11-year-old John and 8-year-old Martha.


title: Taliesin (studio)

text: As only two survived that day and there was no criminal trial, the sequence of events have been posited based on details from the two survivors (William Weston and Herbert Fritz), and evidence found at the scene. On August 15, Carlton grabbed a shingling hatchet and began an attack. It is believed that he started with Borthwick and her children, John and Martha, who were waiting on the porch off the living room. Apparently, Mamah Borthwick was killed by a single blow to the head, and her son John was slaughtered as he sat in his chair. Martha managed to flee, but was hunted down and was found slain in the courtyard. He then coated the bodies in gasoline and set them on fire, setting the house ablaze.


title: Taliesin (studio)

text: Carlton then turned his attention to the six other diners. It appears that he poured gasoline underneath the door of the far end of the living quarters and set the gasoline on fire. Draftsman Herbert Fritz managed to break open a window and escape, though he broke his arm in the process. Carlton went around the outside of the room, near where Fritz had exited, and mortally wounded Brodelle. The next person coming out that side of the room, William Weston, was struck twice by Carlton and apparently left for dead. Carlton then attacked the others from the opposite side of the room: Brunker, Ernest Weston, and David Lindblom. Lindblom was attacked and burned, but still able to go for help with William Weston.


title: Taliesin (studio)

text: With the house empty and people wounded, Carlton ran to the basement and into a fireproof furnace chamber. He brought a small vial of hydrochloric acid with him as a fallback plan in case the heat became too much for him to handle. Carlton did attempt suicide by swallowing the acid, but it failed to kill him.


title: Taliesin (studio)

text: Together, Lindblom and Weston ran to a neighboring farm to send the alert of the attack. Weston then returned to the Taliesin, and used a garden hose to help extinguish the flames. His efforts saved the studio (with the many of Wright's drawings and manuscripts), as well as the agricultural part of the building. Eventually, neighbors arrived to assist in putting out the fire, to tend to survivors, and search for the murderer. Gertrude was found in a nearby field, apparently unaware of her husband's intentions. She was dressed in travel clothes, expecting to catch a train to Chicago with Julian to seek a new job.


title: Taliesin (studio)

text: Later in the afternoon, Sheriff John Williams located Carlton and arrested him. Carlton was transferred to the county jail in Dodgeville.


title: Taliesin (studio)

text: Gertrude was released from police custody shortly after the incident. She was sent to Chicago with $7 and was never heard from again. The hydrochloric acid that Carlton ingested failed to kill him, but did badly burn his esophagus, which made it difficult for him to ingest food. Carlton was indicted on August 16 and was charged with the murder of Emil Brodelle, the only death that was directly witnessed by a survivor. Carlton entered a not guilty plea. Forty-seven days after the fire, before the case could be heard, Carlton died of starvation in his cell.


title: Taliesin (studio)

text: Bodies of the dead and injured were brought to Tan-y-Deri, the nearby home of Wright's sister, Jane Porter. The dead were Mamah and Emil, with John missing (his remains were later found incinerated). Martha Cheney, foreman Thomas Brunker, and Ernest Weston (13-year-old son of William Weston) would die later that day or that night. Gardener David Lindblom survived until August 18 (Tuesday morning).


title: Taliesin (studio)

text: Wright returned to Taliesin that night with his son John, and Edwin Cheney. Cheney brought the remains of his children back to Chicago while Wright buried Mamah Borthwick on the grounds of nearby Unity Chapel (the chapel of the mother's side of his family). Heartbroken over the loss of his lover, Wright did not mark the grave because he could not bear to be reminded of the tragedy. He also did not hold a funerary service for Borthwick, although he did fund and attend services for his employees.


title: Taliesin (studio)

text: Wright struggled with the loss of Borthwick, experiencing symptoms of conversion disorder: insomnia, weight loss, and temporary blindness. After a few months of recovery, aided by his sister Jane Porter, Wright moved to an apartment he rented in Chicago at 25 East Cedar Street. The attack also had a profound effect on Wright's design principles; biographer Robert Twombly writes that his Prairie School period ended after the loss of Borthwick.


title: Taliesin (studio)

text: Within a few months of his recovery, Wright began work on rebuilding Taliesin, naming the rebuilt structure "Taliesin II": There is release from anguish in action. Anguish would not leave Taliesin until action for renewal began. Again, and at once, all that had been in motion before at the will of the architect was set in motion. Steadily, again, stone by stone, board by board, Taliesin the II began to rise from Taliesin the first. The new complex was mostly identical to the original building. The dam (which burst less than a week after the murders) was rebuilt; Wright added an observation platform, perhaps inspired by the one he designed in Baraboo. Later, he built a hydroelectric generator in an unsuccessful effort to make Taliesin completely self-sufficient. The generator was built in the style of a Japanese temple. Within only a few years, parts of the structure eroded away. It was demolished in the 1940s.


title: Taliesin (studio)

text: Around Christmas time of 1914 while designing the residence after the first devastating fire, Wright received a sympathetic letter from "Maude" Miriam Noel, who contacted him after reading about the Taliesin fire and murders. Wright exchanged correspondence with the wealthy divorcee and met with her at his Chicago office. Wright was quickly infatuated, and the two began a relationship. By spring 1915, Taliesin II was completed and Noel moved there with Wright.


title: Taliesin (studio)

text: Wright's first wife Catherine finally granted him a divorce in 1922, meaning that Wright could marry Noel a year later. Although Wright admired Noel's erratic personality at first, her behavior (later identified as schizophrenia) led to a miserable life together at Taliesin. Noel left Wright by the spring of 1924.


title: Taliesin (studio)

text: In the new Taliesin, Wright worked to repair his tarnished reputation. He secured a commission to design the Imperial Hotel in Tokyo, Japan; when the building was undamaged following the Great Kantō earthquake of 1923, Wright's reputation was restored. Although he later expanded the agricultural wing, Wright spent little time at the second Taliesin house, often living near his construction sites abroad. Instead of serving as a full-time residence, Wright treated Taliesin like an art museum for his collection of Asian works. Wright only truly lived at Taliesin II starting in 1922, after his work at the Imperial Hotel was completed.


title: Taliesin (studio)

text: On April 20, 1925, Wright returned from eating dinner in the detached dining room when he noticed smoke billowing from his bedroom. By that time of night, most of the employees had returned home; only a driver and one apprentice were left in the complex. Unlike the first Taliesin fire, Wright was able to get help immediately. However, the fire quickly spread due to high winds. Despite the efforts of Wright and his neighbors to extinguish the flame, the living quarters of the second Taliesin were quickly destroyed. However, the workrooms where Wright kept his architectural drafts were spared. According to Wright's autobiography, the fire appeared to have begun near a telephone in his bedroom. Wright also mentioned a lightning storm approaching immediately before noticing the fire. Wright scholars speculate that the storm may have caused an electrical surge through the telephone system, sparking the fire.


title: Taliesin (studio)

text: Once again, the architect began rebuilding the living quarters of Taliesin. He also wrote about this in his 1932 autobiography, naming the house "Taliesin III":Well—counselled [sic] by the living—there was I alive in their midst, key to a Taliesin nobler than the first if I could make it. And I had faith that I could build another Taliesin!


title: Taliesin (studio)

text: A few days later clearing away the debris to reconstruct I picked up partly calcined marble heads of the Tang-dynasty, fragments of the black basalt of the splendid Wei-stone, Sung soft-clay sculpture and gorgeous Ming pottery turned to the color of bronze by the intensity of the blaze. The sacrificial offerings to—whatever Gods may be.


title: Taliesin (studio)

text: And I put these fragments aside to weave them into the masonry—the fabric of Taliesin III that now—already in mind—was to stand in place of Taliesin II. And I went to work.Wright was deeply in debt following the destruction of Taliesin II. Aside from debts owed on the property, his divorce from Noel forced Wright to sell much of his farm machinery and livestock. Wright was also forced to sell his prized Japanese prints at half value to pay his debts. The Bank of Wisconsin foreclosed on Taliesin in 1927 and Wright was forced to move to La Jolla, California.


title: Taliesin (studio)

text: Shortly before the bank was to begin an auction on the property, Wright's former client Darwin Martin conceived a scheme to save the property. He formed a company called Frank Lloyd Wright Incorporated to issue stock on Wright's future earnings. Many of Wright's former clients and students purchased stock in Wright to raise $70,000. The company successfully bid on Taliesin for $40,000, returning it to Wright.


title: Taliesin (studio)

text: Wright returned to Taliesin by October, 1928. Wright's interaction with Taliesin lasted for the rest of his life, and eventually, he purchased the surrounding land, creating an estate of 593 acres (2.4 km²).


title: Taliesin (studio)

text: Some of Wright's best-known buildings and most ambitious designs were created at his studio in the Taliesin III period. Works completed at Taliesin through the 1930s include Fallingwater (the house for Edgar Sr. and Liliane Kaufmann), the world headquarters for S.C. Johnson, and the first Usonian house for Herbert and Katherine Jacobs.


title: Taliesin (studio)

text: After World War II, Wright moved his studio work in Wisconsin to the drafting studio at the Hillside Home School. After that, Wright used the studio at Taliesin for meeting with prospective apprentices and clients.


title: Taliesin (studio)

text: In its final form, the Taliesin III building measured . All Wright buildings on the property combine for , just short of , on of land.